Cultural interchange ..., reCreating...

experimenting parangols: 3 countries and a few artists

Brasil: Hlio Oiticica
EMEF Prestes Maia So Paulo

Portugal: Graa Morais and ngelo de Sousa

ESAM Viseu Viseu Escola Secundaria Damio de Goes- Alenquer Agrupamento de Escolas de Mira e Centro Social de Azurva Aveiro

Latvia: Boriss Berzins

Latvia: Pardaugavas School - Riga

Hlio Oiticica
Rio de Janeiro 1937 1980

Relationship between artist and audiences anxious to bring everyone and everything to the world o art People from the slums ( Favelas ) can access to the world of art Art is politics Performance as ativism: In Parangoles he wants people to dress the art work

EMEF PRESTES MAIA

- Secretaria da Educao , district of So Paulo, with students from 6 to 15 years old , from a poor community ( favela) - drugs, violence, lack of perspective, self esteem, etc.. -the community has the habit of discarding garbage on the sidewalks surrounding the school, despite having garbage collection service and several educational projects undertaken by the school.

Teaching approach : Art to enable creation, expression and critical reflection. To open up new possibilities, increase students self-esteem, art as a possibility to be recognised and happy

Students from EMEF Prestes Maia (8 A) creating parangols:

Visiting the 29 Bienal de Arte de So Paulo and contacting with works by Oiticica .

Receiving photos and videos from the other students in Europe dressing their parangoles

Participating in the Blog Sending videos and letters to the students in Portugal

Prof. Ari e Prof Teresa na viso de um aluno da 5 srie

Sending their teacher to a congress in Portugal to present their project and to visit the schools

School ALVES Martins, Portugal

A class of students 9 grade , aged 13-14 years old, an old public school with good resources, in a safe city of medium size Some students from middle class, Special needs students Students spoiled by their parents, spending many hours in internet, mobile phones, video games Lacking sense of place, of belonging and cultural identity Lacking knowledge of their patrimony , and local cultural references Students used to be rewarded by competition and individualistic assessment instruments

Teaching approach
Using the arts to develop local cultural knowledge Awareness of belonging ( community values) Developing sharing practices through art making Performance as pedagogy Art lessons as rituals of communion

Iberian Masks and folk carnival rituals ( Tras os Montes, the boys festival) Museum Abade Baal, Bragana

The art works of reference

Santiago Idanez, contemporary Spanish artist Works inspired in Iberian carnival rituals ( Tras os Montes, the boys festival)
Graa Morais Museum of contemporary Art Bragana

Art works by contemporary Portuguese artist Graa Morais celebrating Earth, Women and rural culture in Tras os Montes
Graa Morais Museum of contemporary Art Bragana

Art works by Angelo de Souza , contemporary Portuguese minimal artist

Plus : Helio Oiticica and Boriss Berzins

There are as many forms of making art as you may wish , to

The important is the process

And the meaning

There are as many forms of making art as you may wish , to The important is the process And the meaning

The important is how you use the arts to know more about the world About yourself, your roots About the community

The important is how you use the arts as a ritual for growing in peace and happiness

 http://ariartesprestesmaia.blogspot.com/ http://intercambioparangoles.blogspot.com/ http://visualnarratives.wikispaces.com/