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Visibilidades da autoetnografia na educação artística inclusiva: um olhar sobre a multideficiência
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Este estudo emerge da minha experiência enquanto docente numa Unidade de Ensino Especializado para Alunos com Multideficiência, no ano letivo de 2022/23, marcada por um sentimento inicial de impreparação face aos desafios do contexto. Perante a escassez de formação específica e de recursos adequados, desenvolvi um percurso de educação artística inclusiva assente na experimentação e na procura de respostas ajustadas a cada aluno, transformando a prática em espaço de investigação. A falta de preparação pedagógica para intervir junto de alunos com limitações significativas constituiu o eixo central do estudo. No enquadramento teórico-conceptual, recorri à Arte Processual, privilegiando o processo criativo e a experimentação, e à Arte Adaptativa, ajustando materiais, técnicas e interações, de modo a promover acessibilidade e participação, numa intervenção progressivamente mais inclusiva e equitativa. No enquadramento metodológico adotei a Autoetnografia como metodologia de investigação qualitativa, integrando o Memorial Seletivo, a Fotografia e as reflexões, o que me permitiu analisar criticamente a prática. Este percurso pessoal de estudo e reflexão sobre a prática docente revelou-se promotor do desenvolvimento expressivo e criativo dos alunos e, simultaneamente um processo de autotransformação, marcado pela construção de conhecimento a partir da experiência. Os resultados evidenciam que uma intervenção através da educação artística consistente, informada, sensível e adaptada favorece aprendizagens significativas em alunos com multideficiência, paralelamente à evidência de necessidades emergentes e lacunas na formação docente. Como resposta prática e concreta, foi concebido um curso de formação em Educação Artística Inclusiva. Este estudo reforça a autoetnografia como via legítima de produção de conhecimento, contribuindo para uma compreensão situada e humanizada dos desafios da Educação Artística Inclusiva, num olhar sobre a multideficiência.
This study emerges from my experience as a teacher in a Special Education Unit for Students with Multiple Disabilities during the 2022/23 school year, which was marked by an initial sense of unpreparedness for the classroom challenges. Due to the lack of specific training and adequate resources, I developed an Art Education approach based on experimentation and on finding solutions adapted to each student, turning my practice into a space for inquiry. The lack of preparation for working with students with significant disabilities became the main focus of this study. Within the theoretical framework, I draw on Process Art, focusing on the creative process and experimentation, and Adaptive Art, adjusting materials, techniques, and interactions to make activities accessible and encourage participation. This approach gradually became into a more inclusive and equitable practice. I adopted Autoethnography as my qualitative research methodology, using selective memoir, photography, and reflective writing, which allowed me to critically analyze my own teaching practice. This personal journey of study and reflection on teaching practice supported students´ creative and expressive development and also became a process of personal growth, enabling me to learn from my own experience. The results indicate that a consistent, informed, sensitive and adapted artistic intervention promotes meaningful learning in students with multiple disabilities while also highlighting emerging needs and gaps in teacher training. As a practical and concrete response, a training course in Inclusive Art Education was designed. This study demonstrates that autoethnography is a valid approach to knowledge production, offering a grounded and human-centered understanding of the challenges of Inclusive Art Education, particularly in relation to students with multiple disabilities.
This study emerges from my experience as a teacher in a Special Education Unit for Students with Multiple Disabilities during the 2022/23 school year, which was marked by an initial sense of unpreparedness for the classroom challenges. Due to the lack of specific training and adequate resources, I developed an Art Education approach based on experimentation and on finding solutions adapted to each student, turning my practice into a space for inquiry. The lack of preparation for working with students with significant disabilities became the main focus of this study. Within the theoretical framework, I draw on Process Art, focusing on the creative process and experimentation, and Adaptive Art, adjusting materials, techniques, and interactions to make activities accessible and encourage participation. This approach gradually became into a more inclusive and equitable practice. I adopted Autoethnography as my qualitative research methodology, using selective memoir, photography, and reflective writing, which allowed me to critically analyze my own teaching practice. This personal journey of study and reflection on teaching practice supported students´ creative and expressive development and also became a process of personal growth, enabling me to learn from my own experience. The results indicate that a consistent, informed, sensitive and adapted artistic intervention promotes meaningful learning in students with multiple disabilities while also highlighting emerging needs and gaps in teacher training. As a practical and concrete response, a training course in Inclusive Art Education was designed. This study demonstrates that autoethnography is a valid approach to knowledge production, offering a grounded and human-centered understanding of the challenges of Inclusive Art Education, particularly in relation to students with multiple disabilities.
Descrição
Palavras-chave
Arte Adaptativa Arte Processual Autoetnografia Educação Artística Inclusiva Formação Docente Multideficiência Adaptive Art Autoethnography Inclusive Art Education Multiple Disabilities