ABSTRACT: This article aims to introduce a reflection on the Pedagogy of the Situation, a perspective proposed by Gisèle Barret for the area of Dramatic Expression and with the possibility of being applied in other artistic areas or in other areas of knowledge. Confronting this pedagogy, attentive to the here and now of the pedagogical situation, with other perspectives of approach, seeks to understand its main characteristics and what again can contribute to educational practices in general. KEYWORDS: Pedagogy of the Situation; Gisèle Barrett; Dramatic expression; Educational (...)

ABSTRACT: This exploratory reflection, as its name indicates, intends to be a preliminary study of the issues that arise with greater acuity in contemporary times in the area of teaching-learning of dance composition. Starting from the (in)definition that characterizes contemporary dance and its methods and processes of creation and in which we recognize the development of singular pathways as fundamental, we want to reflect on the need to contribute to the development of creative skills in the training context of contemporary performers and creators. This is a problem that our educational (...)

ABSTRACT: In this paper we propose to present and discuss the ESDmap research project being carried out by the Higher School of Dance of the Polytechnic Institute of Lisbon. The project, using procedures of collection, classification and documentary observation, oral history and discourse analysis, focuses on the educational heritage of the School and on the school objects that constitute it, to identify in the history of the institution the contexts in which these artifacts were used between 1983 and 2016, to problematize, in a pioneering analysis on higher education, its relation to the (...)

RESUMO: Partindo de uma reflexão sobre as práticas coreográficas pretende-se expor o seu potencial no contexto educativo. Reconhecendo como essencial para ambos os processos, o de criação e de ensino-aprendizagem, a capacidade de promover que os seus agentes se posicionem numa direção comum de descoberta. O corpo, como instância inacabada e que se procura singular, encontra neste contexto a possibilidade de se revelar, sendo que os mecanismos de geração de material coreográfico são pensados sob este (...)