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Relações interdisciplinares entre música de câmara e ginástica acrobática: papéis do professor na dinâmica de grupo
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O presente relatório de estágio contém, na sua primeira parte, a caracterização da Prática de Ensino Supervisionada realizada na Escola Artística do Conservatório Nacional, no ano letivo de 2023-2024. Segue-se a componente investigativa deste trabalho, onde se estuda a dinâmica de grupo numa perspetiva comparada que confronta a Música de Câmara – enquanto disciplina ao invés de repertório – com a Ginástica Acrobática – enquanto modalidade competitiva. A experiência vivida da autora nas duas áreas permitiu a constatação subjetiva da existência de relações entre as duas práticas, partindo das características formais que ambas partilham: tratam-se de grupos pequenos, com alta interdependência entre membros, em que cada membro tem um papel formal distinto e bem definido; as duas atividades são performativas e implicam um elevado nível de especialização e autonomia, uma vez que os indivíduos que orientam estes grupos têm de os preparar para ser autossuficientes na performance – apenas os músicos e ginastas se apresentam.
Este estudo tem como ponto de partida a convicção de que os professores de Música de Câmara e os treinadores de Ginástica Acrobática têm papéis e problemáticas práticas similares, sendo que tanto as semelhanças como as diferenças entre cada praxis têm o potencial de informar a outra disciplina, principalmente a nível pedagógico. A hipótese defendida é de que existem estratégias comuns entre a Ginástica Acrobática e a Música de Câmara que apontam a uma equivalência entre as funções do professor e do treinador, onde estes desempenham as duas funções (ambos são professores e são treinadores).
Através de uma abordagem interdisciplinar, apresentam-se e definem-se conceitos ligados às duas práticas – contextualizando-as histórica e socialmente –e à Dinâmica de Grupo. No âmbito desta última, exploram-se teorias sobre os grupos, suas tipologias, entitatividade, estrutura (tanto formal como psicológica, onde se incluem as normas e os papéis), liderança e coesão de grupo. Problematizam-se também os termos ‘professor’ e ‘treinador’ pelo uso do termo ‘coach’ na literatura anglófona para significar tanto quem orienta grupos de Música de Câmara como para os treinadores desportivos – o que não acontece na língua portuguesa, designando-se quem orienta grupos de música de câmara ‘professor’ e quem orienta equipas desportivas ‘treinador’.
Foram realizadas entrevistas semiestruturadas a personalidades de relevo em cada área – 6 professores de Música de Câmara, docentes no ensino superior em Portugal, e 5 treinadores de Ginástica Acrobática com experiência na orientação de grupos competitivos de primeira divisão da modalidade.
Concluiu-se que a problemática abordada corresponde à hipótese inicial, de haver pertinência na abordagem de âmbito transdisciplinar, enriquecedora para a Música de Câmara. Conservo o desejo de que o mesmo se verifique para a Ginástica Acrobática.
Abstract: The first part of this internship report contains a description of the Supervised Teaching Practice undertaken at Escola Artística de Música do Conservatório Nacional during the 2023-2024 academic year. This is followed by the research component of this work, which studies group dynamics from a comparative perspective that addresses both Chamber Music – as a discipline rather than a repertoire – and Acrobatic Gymnastics – as a competitive sport. The author's experience in both areas allowed for a subjective observation of the existence of relationships between the two practices, starting with the formal characteristics they share: both deal with small, highly interdependent groups, in which each member has a distinct and well-defined formal role; both activities are performative and require a high level of specialization and autonomy since the individuals who guide these groups must prepare them to be self-sufficient in their performance – only the musicians and gymnasts perform. This study is based on the conviction that chamber music teachers and acrobatic gymnastics coaches have similar roles and practical problems, and that both the similarities and differences between each praxis have the potential to inform the other discipline, especially at the pedagogical level. The hypothesis defended is that there are common strategies between Acrobatic Gymnastics and Chamber Music that point to an equivalence between the roles of teacher and coach, where they perform both roles (both are teachers and coaches). Through an interdisciplinary approach, concepts related to both practices are presented and defined – contextualizing these areas historically and socially – as well as Group Dynamics. Within the scope of the latter, theories about groups, their typologies, entity, structure (both formal and psychological, including norms and roles), leadership, and group cohesion are explored. The terms ‘teacher’ and ‘coach’ are also discussed, due to the use of the term ‘coach’ in English-language literature to refer to both those who guide chamber music groups and sports coaches – which is not the case in Portuguese, where those who guide chamber music groups are called ‘teachers’ and those who guide sports teams are called ‘coaches’. Semi-structured interviews were conducted with prominent figures in each area – six chamber music teachers in higher education in Portugal and five Acrobatic Gymnastics coaches with experience in guiding competitive first division groups in the sport. It was concluded that the issue addressed corresponds to the initial hypothesis, namely that a transdisciplinary approach is relevant and enriching for chamber music. I hope that the same will be true for acrobatic gymnastics.
Abstract: The first part of this internship report contains a description of the Supervised Teaching Practice undertaken at Escola Artística de Música do Conservatório Nacional during the 2023-2024 academic year. This is followed by the research component of this work, which studies group dynamics from a comparative perspective that addresses both Chamber Music – as a discipline rather than a repertoire – and Acrobatic Gymnastics – as a competitive sport. The author's experience in both areas allowed for a subjective observation of the existence of relationships between the two practices, starting with the formal characteristics they share: both deal with small, highly interdependent groups, in which each member has a distinct and well-defined formal role; both activities are performative and require a high level of specialization and autonomy since the individuals who guide these groups must prepare them to be self-sufficient in their performance – only the musicians and gymnasts perform. This study is based on the conviction that chamber music teachers and acrobatic gymnastics coaches have similar roles and practical problems, and that both the similarities and differences between each praxis have the potential to inform the other discipline, especially at the pedagogical level. The hypothesis defended is that there are common strategies between Acrobatic Gymnastics and Chamber Music that point to an equivalence between the roles of teacher and coach, where they perform both roles (both are teachers and coaches). Through an interdisciplinary approach, concepts related to both practices are presented and defined – contextualizing these areas historically and socially – as well as Group Dynamics. Within the scope of the latter, theories about groups, their typologies, entity, structure (both formal and psychological, including norms and roles), leadership, and group cohesion are explored. The terms ‘teacher’ and ‘coach’ are also discussed, due to the use of the term ‘coach’ in English-language literature to refer to both those who guide chamber music groups and sports coaches – which is not the case in Portuguese, where those who guide chamber music groups are called ‘teachers’ and those who guide sports teams are called ‘coaches’. Semi-structured interviews were conducted with prominent figures in each area – six chamber music teachers in higher education in Portugal and five Acrobatic Gymnastics coaches with experience in guiding competitive first division groups in the sport. It was concluded that the issue addressed corresponds to the initial hypothesis, namely that a transdisciplinary approach is relevant and enriching for chamber music. I hope that the same will be true for acrobatic gymnastics.
Descrição
Relatório de estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Música - Instrumento e Músca de Conjunto.
Palavras-chave
Dinâmica de grupo Música de câmara Ginástica acrobática Liderança Group dynamics Chamber music Acrobatic gymnastics Leadership