Abstract
Este estudo teve como objetivo analisar os fundamentos do ensino da dança (GEHRES, 2008) nos programas nacionais do Brasil e de Portugal. No Brasil, selecionamos os Parâmetros e Orientações Curriculares em Educação Física e em Arte; em Portugal, os Programas de Educação Física e a Proposta alternativa para o ensino da dança no ensino fundamental II. Levando em conta o objetivo da pesquisa, optamos por realizar uma investigação filosófica do tipo analítica que, como nos diz Thomas e Nelson (2002), visa à investigação crítica, ao estudo dos fatos e à síntese das variáveis, procurando analisar o material existente a partir um modelo teórico viável. A investigação dos documentos orientadores dos dois países revelou a predominância em ambos os países de propostas subjetivistas. Contudo, foi observado que Portugal e Brasil divergiam no privilégio ao objetivismo em Portugal e ao interacionismo no Brasil.
Highlights
Brazil and Portugal share social-political-cultural relations which date back to a distant past and last until the present time
In both countries, we identified a polarity between dance education as content or modality of the curricular component of Physical Education and as one of the artistic languages to be taught in the curricular component of Art in Brazil and Artistic Education in Portugal
This study aims at analyzing the fundamental principles of dance education (GEHRES, 2008) in national programs in Brazil and Portugal
Summary
Brazil and Portugal share social-political-cultural relations which date back to a distant past and last until the present time. These relations, contacts and contamination are intensified in a global scale In this context, in which there are global and local communication at large, we carried out an analytical documentation study in order to compare the epistemic-methodological fundamental principles of the curricular documentation guidelines for dance education in the schooling process in these two countries, or, as Brasileiro (2009, 2001) states, in dealing with knowledge of Dance in schools. It is in the congruence of these three levels that the curriculum is realized as an actual fact
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