<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2318-1982</journal-id>
<journal-title><![CDATA[Série-Estudos]]></journal-title>
<abbrev-journal-title><![CDATA[Sér.-Estud.]]></abbrev-journal-title>
<issn>2318-1982</issn>
<publisher>
<publisher-name><![CDATA[Universidade Católica Dom Bosco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2318-19822022000300013</article-id>
<article-id pub-id-type="doi">10.20435/serieestudos.v27i61.1734</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O currículo &#8220;imita&#8221; a arte: relações fronteiriças potencializadas na dança-teatro de Pina Bausch]]></article-title>
<article-title xml:lang="en"><![CDATA[The curriculum &#8220;imitates&#8221; art: border relations potentiated in Pina Bausch&#8217;s dance-theater]]></article-title>
<article-title xml:lang="es"><![CDATA[El currículo &#8220;imita&#8221; el arte: relaciones de frontera potenciadas en la danza-teatro de Pina Bausch]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Carvalho]]></surname>
<given-names><![CDATA[Ana Paula Pereira Marques de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Frangella]]></surname>
<given-names><![CDATA[Rita de Cássia Prazeres]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Estado do Rio de Janeiro (UERJ)  ]]></institution>
<addr-line><![CDATA[Rio de Janeiro Rio de Janeiro]]></addr-line>
<country>Brasil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>09</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>09</month>
<year>2022</year>
</pub-date>
<volume>27</volume>
<numero>61</numero>
<fpage>13</fpage>
<lpage>29</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S2318-19822022000300013&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S2318-19822022000300013&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S2318-19822022000300013&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O texto em tela parte do mote &#8220;O Currículo &#8216;imita&#8217; a Arte&#8221;, visando suscitar reflexões sobre o campo curricular como um movimento fluido que não se encerra nos muros da escola. Trazemos ao debate experiências de experimentações artísticas e a dança-teatro de Pina Bausch, as quais mobilizam debates que extrapolam lógicas binárias, incidindo sobre a concepção de significação como processo fluido, híbrido. Nas fronteiras entre a tradição do ballet e as próprias performances dessa tradição, os palcos de Pina trazem a dança como experiência, algo ambivalente, em que o novo sempre eclode, rompendo essa tradição, em função dos processos de enunciação cultural. Nesse percurso, trazemos Homi Bhabha e Jacques Derrida, os quais, em diálogo com a dança-teatro de Pina Bausch, permitem-nos adensar uma perspectiva discursiva pós-estrutural sobre currículo como movimento que se hibridiza na relação com o outro em que as tentativas de reprodução &#8211; imitação &#8211; são processos de diferimento. Assim, as apropriações que fazemos para o campo do currículo &#8211; e que trazemos neste texto &#8211; nos permitem problematizar os sentidos de currículo como um novo contaminado. Defendemos, portanto, a provisoriedade e a experiência sempre outra da produção curricular que é sempre fronteiriça, tal qual nos propõe a dança bauschiana.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The text on screen starts from the motto &#8220;The Curriculum &#8216;imitates&#8217; Art&#8221;, aiming to provoke reflections on the curricular field as a fluid movement that does not end in the walls of the school. We bring to the debate experiences of artistic experimentation and the dance-theater of Pina Bausch that mobilize debates that go beyond binary logics, focusing on the conception of meaning as a fluid, hybrid process. On the borders between the ballet tradition and the performances of this tradition, Pina&#8217;s stages bring dance as an experience, something ambivalent in which the new always breaks out, breaking this tradition, due to the processes of cultural enunciation. In this path, we bring Homi Bhabha and Jacques Derrida, who, in dialogue with Pina Bausch&#8217;s dance-theater, allow us to deepen a post-structural discursive perspective on curriculum as a movement that hybridizes in the relationship with the other in which the attempts of reproduction &#8211; imitation &#8211; are deferral processes. Thus, the appropriations that we make to the curriculum field &#8211; and that we bring in this text &#8211; allow us to problematize the meanings of curriculum as a new contaminated. We defend, therefore, the provisionality and the always other experience of the curricular production that is always borderline, as proposed by Bauschian dance.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El texto en pantalla parte del lema &#8220;El Currículo &#8216;imita&#8217; al Arte&#8221;, para provocar reflexiones sobre el campo curricular como un movimiento fluido que no termina en las paredes de la escuela. Traemos al debate experiencias de experimentación artística y la danza-teatro de Pina Bausch, las cuales movilizan debates que van más allá de las lógicas binarias, centrándose en la concepción del sentido como un proceso fluido, híbrido. En las fronteras entre la tradición del ballet y las representaciones de esta tradición, los escenarios de Pina traen la danza como experiencia, algo ambivalente en el que irrumpe siempre lo nuevo, rompiendo esta tradición, debido a los procesos de enunciación cultural. En este camino, traemos a Homi Bhabha y Jacques Derrida, quienes, en diálogo con la danza-teatro de Pina Bausch, nos permiten profundizar una perspectiva discursiva posestructural sobre el currículo como un movimiento que se hibridiza en la relación con el otro, en el que los intentos de reproducción &#8211; imitación &#8211; son procesos de diferimiento. Así, las apropiaciones que hacemos al campo curricular &#8211; y que traemos en este texto &#8211; nos permiten problematizar los sentidos del currículo como un nuevo contaminado. Defendemos, por tanto, la provisionalidad y la siempre otra experiencia de la producción curricular siempre fronteriza, como propone la danza bauschiana.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[currículo]]></kwd>
<kwd lng="pt"><![CDATA[arte]]></kwd>
<kwd lng="pt"><![CDATA[negociação]]></kwd>
<kwd lng="en"><![CDATA[curriculum]]></kwd>
<kwd lng="en"><![CDATA[art]]></kwd>
<kwd lng="en"><![CDATA[negociation]]></kwd>
<kwd lng="es"><![CDATA[currículo]]></kwd>
<kwd lng="es"><![CDATA[arte]]></kwd>
<kwd lng="es"><![CDATA[negociación]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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