PIMENTA, Delcimar Fragoso. RODRIGUES, Ana Paula. Art as a Facilitating Device in the Psychopedagogical Intervention Process in the Meaningful / Creative Teaching-Learning of Contemporary Learners. Revista Científica Multidisciplinar Núcleo do Conhecimento. Year 06, Ed. 04, Vol. 04, pp. 33-50. April. ISSN: 2448-0959, Access link:
This work aimed to analyze art as a facilitating device in the psychopedagogical intervention process, aiming mainly to present art as an interventiontool in the facilitation and inclusion of learners with learning disabilities (AD). Through this proposal, we can say that this work is justified to the extent that it has become opportunistic in the production of new knowledge and in community stiffening, referring to coping with learning difficulties. As a methodological procedure, bibliographic research was used (an exploratory study that allowed us to gather information on the proposed theme). Thus, For the explanation of this theme, we seek support in the studies produced by: Coli (1995), Cury (2001), Freire and Shor (1986), Freire (1987, 1994, 1995, 1998), Lemos (2002), Moraes (1997), Machado (1996, 2000), Norius (1990), Piaget (1948), Pimenta E Anastasiou (2002), Severino ( 1994), Vygotsky (2010), Silva (1998), Sacristán (2002), Souza (2000), Bohn, Luz and Luz Filho ( 2010), Coutinho (1995), Peters (2001), Herman (2003) , Milligan (1997), Libâneo (2007), Barbosa (1991, 1995, 1998), Lowenfeld (1954), Theodoro (1996), Brasil (1998), Beuclair (2004), Bossa (2000), Rubinstein (1987), Smith (2007).
Keywords: Art, Teaching-learning, Psychopedagogy.
Art with its artistic languages plays a significant role in the teaching-learning process.It is an area that is intertwined with the other areas and each artistic language has its specificities.
Art fosters the development of the construction of artistic thought and aesthetic perception, which characterize a model of alignment and meaning to one’s own experimentation as a human being: the learner, through art, tends to develop his/her sensitivity, imagination and perception, when performing artistic forms or even in the appreciation or recognition of the forms produced by him, by colleagues , by the nature and cultures of other social groups.
Artistic languages have generated new challenges and new opportunities for the insertion, incorporation and use in the school environment, aiming at the relationship and communicational representation of ideas in the face of learning disability (AD), a reason that aroused the interest of this apprentice author in analyzing “Art as a Facilitating Device in the Psychopedagogical Intervention Process in Meaningful/Creative Teaching-Learning in the Formation of Contemporary Learners”, in a significant perspective of complementation and collaborative construction of knowledge, leveraging and extolling the potential ity of promoting the awakening in the cognitive development of criticality skills, creativity and sensitivity in students/learners with AD, regarding the acts of reading, writing and interpreting images and texts.
Measure Jorge Visca (1987), Psychopedagogy is an arc that has as study the process of human learning. It also affirms the emphasis on methodical study, that of convergent epistemology current (VISCA, 1987, p. 16).
Taking this into account, we highlight that artistic languages have been perpetuating in teaching-learning as a “Tool” for a better assimilation of significant, collaborative teaching-learning in the formation of contemporary learners, it can be seen that there is a large portion of professionals who have not sought sufficient training to deal with Learning Disabilities (AD) within the classroom, making it justifiable a survey of an investigative and qualitative character , referencing the theme of this work, in order to provide suggestions such as continuing education and training that contemplate art in artistic languages applied in teaching-learning.
It is axiomatic, in contemporary times, the application of artistic languages to the teaching-learning of students with learning disabilities (AD), and that contemplates the training of contemporary teachers for a better significant and collaborative facilitation-learning, because through art and its languages, learners and learners can represent and disseminate their own thought, reading and attributing meanings, as well as bargaining for information, consolidating significant knowledge in an act of reading, writing, reflecting and redoing, which favor individual growth in the field of personal intellectuality and collectivity. “Art” favors a better understanding of reality and directly contributes to the individual’s performance in the transformation of society.
Coping with these challenges often implies in an action of the investigator “psychopedagogue”, observing, trying to apprehend and understand the universe of the subject with AD: familiar, school, affective and cognitive, life conditions, his language, conceptual spontaneity, as well as revealing himself to the learner/student in the sense of mediating and guiding him, using art with his artistic languages as an intervention device to overcome the problem.
Teaching-learning circulates arcs of connection to dissimilar means of learning, which include pedagogical activities for the student/learner in the creation, production of knowledge, interactivity, cooperation, art, collaboration, self-knowledge and a range of integration: theory/practice; prior/new knowledge; personal/professional knowledge; citizen/social group.
In this universe, it aims, first, that the teacher/facilitator is the individual capable of visualizing, learning, unlearning and relearning and thus pertaining and assimilating the role of languages in contemporary cultural sectors, situating the real importance of art for educational teaching-learning today, and artistic languages are used in the didactics of the educational system as a tool for teaching and learning.
Teaching-learning includes arches of access to different means of learning, which include activities for the learner in the production of knowledge, interactivity, cooperation, art, collaboration, self-knowledge and a range of integration: theory/practice; prior/new knowledge; personal/professional knowledge; citizen/social group. In this perspective, it aims, first, that the psychopedagogue/therapist is able to visualize, perceive and assimilate the role of languages in contemporary cultural sectors and thus situate their importance for educational teaching-learning nowadays, because artistic languages should be used as a tool for psychopedagogical intervention in teaching and learning.
2.2.1 OVERALL OBJECTIVE
To analyze art as a facilitating device in the process of psychopedagogical intervention in meaningful and collaborative teaching-learning in the formation of contemporary students/learners with learning disabilities in Brazilian basic education.
2.2.2 SPECIFIC OBJECTIVES
- Define artistic languages as a facilitating device in the process of psychopedagogical intervention in teaching-learning;
- To analyze the pedagogical potential of artistic languages resources as a facilitating device in the process of psychopedagogical intervention in teaching-learning;
- Propose strategies of artistic languages available for situations that collaborate in the construction of significant knowledge and skills, through psychopedagogical intervention in the teaching-learning of contemporary learners/students of Brazilian basic education.
2.3 SCOPE OF WORK
This research aims at the study of the use of art – fine arts as a facilitating device in the process of psychopedagogical intervention in teaching-learning, for the construction and reconstruction of knowledge, and an analysis of art as a device in the process of psychopedagogical intervention, as a facilitator in the process of significant and collaborative teaching-learning in the formation of learners/students contemporary in Brazilian basic education, using art with its plastic languages as a direct object of studies as a tool in the facilitation and inclusion of learners with AD.
The focus of this research is to create or propose molds for intervention, facilitation and hardening of the didactics facilitating the teaching in front of the AD.
2.3.1 WORK STRUCTURE
The organization of the structure in this Course Completion Work (TCC) was as follows: in the first chapter, the introduction and context of the theme launched in the research, the academic and personal justification of the theme, the general and specific objective, the scope of the work, and concluding, its completion with the structure of the work, were argued.
The secondary chapter is the theoretical framework in which conceptualization and links of the correlated areas are exposed to direct the foundation of such areas mentioned here, which refer to the theme: “Art as a facilitating device in the process of psychopedagogical intervention in the significant/creative teaching-learning of contemporary learners”.
The description of the concepts that make up this chapter are: art, teaching-learning and psychopedagogy.
The third chapter highlights the conclusions drawn based on the study and the release of future suggestions of inquisition. They also compose this work document of completion of course, bibliographic references employed and mentioned in the body of work.
2.4 THEORETICAL FRAMEWORK
The theoretical framework is based on sociologists, philosophers, historians of Education, and facilitators/teachers, such as Coli (1995), Cury (2001), Freire and Shor (1986), Freire (1987, 1994, 1995, 1998), Lemos (2002), Moraes (1997), Machado (1996 and 2000), Norius (1990), Piaget (1948), Pimenta and Anastasiou (2002), Severino (1994), Vygotsky (2010), in curriculum theorists such as Silva (1998), Sacristán (2002), in educoms, as Souza (2000), in scholars of the use of educational technologies, such as Bohn, Luz and Luz Filho (2010), Coutinho (1995), Peters (2001), Herman (2003), Milligan (1997), Libâneo (2007), in art-educators, as Barbosa (1 991, 1995, 1998), Lowenfeld (1954), Theodoro (1996), Brasil (1998), and in psychopedagogy, such as Beuclair (2004), Bossa (2000), Rubinstein (1987), Smith (2007) and others.
Many changes have been taking place rapidly in contemporary society. Teaching-learning is to the extreme for the creation of a new knowledge, a participatory learning in the sharing between teacher and learner. Art has the power to transform the ordinary into extraordinary and everything indicates that it can be an immense ally of the cognitive development of learners/students, especially when it allows the development of a toil that adapts to different learning rhythms, and allows the learner to learn from his mistakes. “The visualization of the teacher needs to travel along with the history of the learner, coloring his development, without leaving aside that he is unique, human and singular, and thus each being learns in his own way.” (HOFFMANN, 1998, p. 31).
For there to be learning, it is necessary to fraternize with the time of each learner, mediating, respecting, analyzing their mistakes and successes, evaluating and rethinking didactic practice, so that all those involved in the search for learning can assimilate the knowledge launched to them. Art with its languages provides teachers with new educational conjectures, new functions and forms of action. One of the most important contributions of art to the teaching-learning process, certainly is creativity.
The student/learner is able to seek to create material works consistent with any subject very easily. The manipulation of artistic language has as a repository of knowledge to anchor the student to learn and appreciate his own doing. It is quite salutary for fostering discussions on artistic themes, allowing the learner/student to obtain answers in alternative ways to the simple reading of a book and, consequently, for making it an active agent in the search for information, because art awakens curiosity in the individual/learner and “constitutes specific ways for the manifestation of creativity in human individuals in the interaction with the universe in which they are located, in their own recognition”. (FERRAZ and FUSARI, 1999, p. 16)
To conceive changes in the educational system, we have to thoroughly and analysically reflect critically on:
- Values that help the development and growth of individuals and society;
- Inclusive psychopedagogy through learners with learning disabilities;
- New devices, methodologies, education systems, content curation, innovation and change;
The answer lies in the desire to learn and relearn always, confronting the old know with the new doing. Confronting this knowledge and doing implies:
an action of the teacher in the sense of knowing, recovering the speech of the learner/student, listening to it, visualizing it, finally, that makes a semiotic reading of the apprehending of his cognitive, affective and social world, his language, his living conditions, candid concepts, and also showing himself to the learner (FREIRE and SHOR, 1986, p. 123).
The emphasis given by the educational institutions of artistic languages, as a facilitating device in the process of psychopedagogical intervention in teaching-learning, should be directed to the elaboration of didactic materials that acolitis a didactic aimed at the pleasurable awakening of new knowledge, but based on the previous knowledge of learners. Thus, the use of art in the educational center favors access to the learner/student’s cosmo, whose interpretation helps the teacher/facilitator to create facilitating learning conditions, innovating existing knowledge.
It is perceived that art, with the characteristics that its languages present, has an important role in teaching-learning and that therapists and teachers should seek to learn and explore to the fullthemaximum these potentialities, which not only refer to the development of good educational content, but also to the monetized use of languages in the pedagogical field. This use implies that one is aware of the learning theories or that the mental processes underlying the collection, treatment, registration and evocation of creation are minimally perceived, as well as the gift of answers to the challenges of teaching learners with AD.
The teaching therapists/therapists/psychopedagogists must aim, in their formation, to learn constantly, because according to Feldmann (1999, p. 01): “to assign qualification to the learners to be collectivized in political and transformative commitment”, has proved to be a great challenge to all who believe in education as a universal good, public space, democratic space, natural and social rights in the constitution of identity and in the exercise of citizenship.
Most learners have indicated that the traditional school “technological” is archaic, because it leads them to learn about contents that do not envision meaning for the reality lived by them in contemporary times.
In traditional teaching-learning, pedagogy is characterized by accentuating the
humanistic teaching-learning, of general culture, in which the student is qualified to achieve, by his own effort, his full realization as a person. The contents, the didactic procedures, the teaching-learning relationship have no relation with the daily life of the learner, much less with social realities. It is the predominance of the word of the teacher, of the imposed rules, of the exclusively intellectual cultivation, “of this embarasmus results the critically reelaborated knowledge.” (LIBÂNEO, 2007, p. 20, 21).
Traditional education left in second stage the real situation experienced by
learners, a fact that can still be verified, because we have a low rate of adult people with criticality, creativity and sensitivity working in the labor market.
Therefore, classroom or extraroom activities should excel in the requirement of critical and reflective analyses, which art helps to conceive, to the detriment of the search, reading and interpretation of the world, the understanding of the other and also of writing, creating and reformulating ideas, communicating, recording its history and knowing better itself as the protagonist of its formation , something that art has already been providing in the teaching-learning system.
This does not mean that the content and didactics of technological education known as “traditional” has lost its importance. However, it is urgent in contemporaneity to change the way of working concepts, information, procedures and rules, always seeking to identify facts or occurrences of daily life that has and is significant for the learner, aiming to create situations that favor the transformation of common sense knowledge into scientific knowledge. Scientific conciseness is necessary, but it should not be a starting point. Rather, it is necessary to understand art, to be used in school. Research has shown that there is a need for the teacher to be able to reflect on his practice and direct it according to the reality in which he operates, focused and focused on the interests and needs of learners, seeking to walk new paths to make teaching-learning a stimulating challenge for each learner individual.
Freire (1996, p. 43) states that: “formalizing thoughts critically in current doings and or mirroring themselves in the former is that improvements can be sought to others to do”. But according to Schön (1997, p. 21), “there are conflicting, contending situations, that application of conventional techniques simply does not solve problems.” Such statements make us reflect that one should not abandon all the techniques learned in undergraduate courses. Therefore, it is pertinent to add to this do what is learned in the school day-to-day, and that there will always be conflicting situations and the teacher must be prepared to solve them.
For Nóvoa (1997, p. 27):
the conflicting situations that the learners are obliged to face (and solve) present unique characteristics, thus requiring unique characteristics: the competent professional has reflexive self-development skills (…). The logic of technical rationality always puts it to the development of reflective praxis.
In order to be a competent pedagogical professional, according to this author, the teacher must plan strategies creatively, to solve the problem situations that arise in the educational center, on a daily basis. For him, the good professional is one who manages to combine patience, technique and art. Currently, it is known that the teaching professional is not the protagonist of this situation. This was forged / shaped by the system to fulfill the role of holder of scientific knowledge, which hypothetically could be transferred to students in a homogeneous way and in an increasing scale of difficulty. Thus, the performance of the teacher should remain focused on the teaching of syllabus contents defined in a place outside the classroom context, to be subsequently conducted and followed by the “books” printed on the technologies of the time, and consumed equally in different contexts in order to produce the same results.
Fortunately, “the practice came and has been building and becoming an action on the world, built by individuals little by little conquering awareness of one’s own doing about the world” (FREIRE, 1994, p. 102). Thus, it abruptly increases the amount of teachers/facilitators dissatisfied with this situation, seeking in some way new alternatives to find new ways in which they can engage and employ art and their languages to record their daily life, their didactics, their school and their world, develop projects related to reality and its problem, seeking to understand the past to work today the building of a meaningful, shared, collaborative teaching-learning that can contribute positively to the high quality of teaching. To this do so, art allows the person to make records of his ideas and his worldview channeled by teaching-learning. However, in the present day, only art has as characteristic the tripod: read, contextualize and make.
Second, Barbosa (1995) does so, contextualize simultaneously and read contribute and contribute to a continuous remake, transforming erroneous learning into a substance that can be reviewed and reconstructed instantly (debugged) to produce new knowledge. “To re-look at the visualization seen before almost always implies looking at unseen and perceived angles” (FREIRE, 1995, p. 24). Therefore, the main theme of the formation is to arouse curiosity to seek in a provocative, analytical and reflexive epistemological way about the foundation of the learning process, visualized through representation with art as an intervention device, because the contents can break with the linearity and temporality of AD, in the learner in the face of teaching-learning. It is necessary to highlight the deficiencies and concerns of learners regarding integration in the educational center, so that they can favor themselves with the use of artistic languages, with the psychopedagogue/therapist having a fundamental role, balancing flexibility and organization in their interventional mediations. The author describes that, through the psychopedagogical space, all those involved can make semiotic readings with greater amplitude, because through art with their languages, there are wide windows in the awakening of curiosities and creativity for the teaching-learning field, as a facilitating device in the process of psychopedagogical intervention in collaborative meaningful teaching-learning in the formation of contemporary learners/students.
2.5 DESCRIPTION OF CONCEPTS
2.5.1 CONCEPT: ART
Art (from Latin ars), a concept that brings together all the creations executed by the human individual, either to express a vision or a sensitive approach of the world, linked to modern manifestations of culture, which intend to detach themselves from the canons, causing a break with pre-established values, and not merely serving as accomplices. Therefore, the changes in phases of the teaching/facilitator, psychopedagogue/therapist and learner/student, more than linked to economic interests, they are linked to social interests, either through the reflexive provocation of knowledge and enrichment of contact with the globalized contemporary world, as Coli (1995) reports, affirming its fundamental importance, which is: “waking up in our heart, emotions and reasons, culturally rich reactions, which recognize the instruments of which we use, to learn and relearn the world that circulates to us” (COLI, 1995, p. 110). This fact shows, in most occurrences, the reaction of “teaching/teacher” individuals to learners with learning difficulties; teachers/facilitators are extremely reactive or prejudiced with art, as it is usually linked to the learning process that occurred in their life trajectory, always linked to the past, when languages were used only as activities and there was no art as a discipline with such magnitudes of dissemination of information as in contemporaneity.
Currently, we have to seek to make the insertion of the artistic scope in the place due to it, mainly by sowing it in basic education, from Early Childhood Education, making cultivation within our society of the real importance of art for intellectual and professional formation, as a deeply transforming and enriching activity, both spiritually and socially, because art transforms the ordinary into extraordinary , already being inserted subliminally in all human activities since the beginning of human development.
Art in the conception of contemporary teaching-learning has served as a contribution of psychopedagogy, thus having a new artistic conception in the face of current teaching-learning, focused on the use as a facilitating device in the process of psychopedagogical intervention in the significant collaborative teaching-learning in the formation of learners/students with AD, valuing even more artistic ideas (doings), than only their aesthetics.
Therefore, teachers/facilitators, psychopedagogues/therapists of today, should seek a continuous formation in the face of artistic languages, to discover and incorporate in their professional activities, new ways of mediation and intervention through art, thus awakening in their students / learners curiosity.
The Brazilian system of Higher Education of teacher and psychopedagogy for basic education, already deserved and should undergo changes, incorporating in fact and right the discipline “art” with a greater rigor, a discipline that awakens in individuals curiosity, raising creativity, criticality and sensitivity. It is notorious that, in the 21st century, our basic teaching-learning institutions, which globalize from Early Childhood Education to High School, do not contemplate favorable environments when doing artistic, a fact that puts them at a formative disadvantage in Brazilian teaching-learning, since all other disciplines of Brazilian basic education use artistic languages, such as visual, music, dance or theater , used directly or indirectly.
To paraphrase analyses of large teaching-learning concepts thinkers of the field facilitating teaching-learning, concepts that are implicit or explicit in the theoretical and methodological assumptions that foster the various fields of knowledge were anchored. As Saviani (1985, p. 27) argues, it is necessary to bring to the clear which areas of knowledge, in a large percentage of cases, do not appear in their candid form, nor are they exclusively mutual in consistent methodological making. However, the classification and description of the concepts aim to function as an instrument of analysis.
For teaching-learning in the educational center environment to occur in a manner correlated with the concepts described here, it is necessary to:
sharing and facilitating knowledge, depreconceptualizing, dare, elevating the learner’s self-esteem and one’s own, bias between knowledge and learning, generating new creations and untying conceptual we that are hyperlinked with the arc of different technologies, contemplating artistic languages, educational theories, student learning, practice of the educator teacher, making the therapist and the constructive formulation of change in his didactics, in school and in society. (ALMEIDA, 2002, p. 73)
Children, young adolescents and adults have been changing their behavior in this new contemporary context; society also requires new ways of thinking, planning and structuring the facilitation of knowledge from the means of teaching, learning, and especially from the teachers / teachers, to form individuals better prepared to act in a society that is constantly changing. In Vygotsky’s (1987) statement, it appears that:
Concept is the result of a complex activity in its formation, in which take part all basic intellectual functions. However, the process cannot be reduced to attention, image construction, interference, association or decisive tendencies, because they are indispensable, but insufficient if we use the word or sign, as a means by which we channel our reasoning, we control the course of mental operations towards the resolution of the problem they faced (p. 50).
The empirical reference is then taken to the social contextualization of reality, because the relationship of teaching and learning materializes. It is immeasurable to point out that Vygotsky (1987) sought to ascertain more than one type of concept. The author talked and argued about everyday concepts and scientific concepts. In everyday concepts, the development process occurs when the individual begins to be formulated as he uses language to give names in everyday objects and facts. Scientific concepts, for Vygotsky (1987), are the learningsystemated from school inclusion, deriving from an intertwined body of knowledge. Therefore, the daily concept begins within the family and the scientific concept within educational institutions, with curricular proposals, political-pedagogical projects with intentions to be effected and transcorporated in apprentices/students.
Psychopedagogy, a field of science that studies learning processes and difficulties, develops its work with a focus on children, adolescents, young people and adults. Its function, nowadays, can be developed in public and private school units, industries and commercial companies and hospitals, using several areas of knowledge. Psychopedagogy has in its composition pigments of pedagogy, psychoanalysis, psychology and anthropology.
Acting in their activities, the therapist/psychopedagogical seeks measures to understand what is happening to the learner and thus creates a mechanism to prevent and remedy failures in the learning process of a given person. The professional therapist seeks to develop his achievements on a case-by-case basis, investigating, generating support for diagnostic preventive intervention, and problem-solving treatment.
According to the psychopedagogist Alicia Fernández (apud BOSSA, 2000, p. 41), Psychopedagogy had its intro in the Argentine Republic in the nineteenth century, in Buenos Aires, the first city to offer the course of Psychopedagogy. In Brazil, in the 1970s, camouflaged socio-pedagogical problems, which at that time learning difficulties were neurological dysfunction, called minimal brain dysfunction (CMD). It is observed that there is a large temporal gap between the emergence of psychopedagogy in Argentina and the finding of regulation of psychopedagogy as a profession in Brazil. Until 2009, psychopedagogy was not a regularized profession in Brazil. It was only after the project 7855/10 was carried out, which regulates the activity of psychopedagogist, together with a manifesto of approval, made by the Brazilian Association of Psychopedagogy (ABPP), that in December 2009 the project was approved.
Psychopedagogy has as its forerunner the European Arminda Aberastury, professor, pediatrician and psychoanalyst, and the Argentine Jorge Visca, considered the father of Psychopedagogy (creator of the Institute of Psychopedagogy of Argentina, in the 60s) and directly responsible for the official definition of Psychopedagogy as an area of knowledge.
Among a range of concepts of psychopedagogy, Bossa (2007), it is fraternized with the following: “it should not be limited to a school unit” (p. 22), that is, one must broaden the field of vision, one should not simply focus on a single diagnosis, but to several until a solution of the case in question is reached, and it cannot fail to report to the family , so that its support can collaborate in a better treatment. “AD for psychopedagogues is the subject of investigative questions” (BOSSA, 2007, p. 23). Psychopedagogy is used by studying the processes and learning difficulties, having as assisted in the therapeutic treatment children, adolescents, young people and adults, a problem that is little explored and evolved due to the lack of material and human resources. In contemporary Brazil there has been and is a great growth in the area of psychopedagogy, as it is a field of work that brings together clinical area, teaching-learning, continuing education, pedagogical guidance, didactic supervision, human resources, among others.
In the current conjecture, the world is in an extensive network of changes in which basic teaching-learning plays a key role. This formative teaching-learning redesigns relationships in the personal and social field, unveiling a new configuration, where individuals began to have greater interaction, thus generating a society with specific characteristics, named by some authors as the “Knowledge Society”.
Thus, knowledge has become an asset of immeasurable value, causing in society a generalized need to seek formation. Education has then become the means by which the individual has the real possibility of accessing much of this knowledge now required and thus actively participate in social and economic advancement.
In this work/research, it can be observed that the teachers/teachers are not able to meet the demand of learners with AD, a fact that evidences art as a facilitating device in the process of psychopedagogical intervention in the significant teaching-learning/creative of contemporary learners. For the inclusion of the learner with AD, it is also necessary to provide the continuous training of teachers so that they can make use of art to develop works, using their languages with interdisciplinary focuses in view of learning difficulties, because art itself is not the determining issue in the face of learning disability, but the way to face learning disability , especially using art as a cognitive learning device.
Also emphasizing that children, young adolescents and adults have been modifying their behavior in this new technological context. The school also seeks to break, through the teachers/teachers, new ways of thinking, planning and structuring the acquisition of knowledge for the formation of individuals more prepared to act in the society that is constantly transformed. It is also recognized that the paths for the formation of the psychopedagogue as a researcher/mediator/articulator of differentiated psychopedagogical practices with the use of art began to be opened.
The end of this work represents a new beginning, because by resuming all the notes and reflections performed, it was possible to visualize it in a different way, realizing that there is still to be studied and transformed into the didactic practice itself. This dissertation is a small contribution to the study of the use of art as a facilitating device in the process of psychopedagogical intervention in teaching-learning. Therefore, this subject is a source of searches to research the one described here, which will contribute to increasingly improve the use of art in the process of psychopedagogical intervention and in the teaching-learning process, because art transforms the ordinary into extraordinary.
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 Master’s degree in Education, Specialist in Higher Education.Postgraduate Lato Sensu in Art and Education. Postgraduate Lato Sensu in Institutional Psychopedagogy, Clinical and Ludopedagogy. Graduation in Social Communication – Advertising with emphasis on Marketing. Graduation in Artistic Education.
 Guidance counselor.
Submitted: December, 2019.
Approved: April, 2021.