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debate Discuss with colleagues the difficulties and propose alternatives to solve the problems encountered. Evaluate what was your feeling when experiencing these movements. What were the movements that you achieved during class? How? Let us recall the year we made earlier in relation to the reading of the lyrics. How is it possible to express all these issues using dance as a language? We are nearing the end of this production, through which it sought to reflect, in a simple and provocative, some issues that relate to dance, as the social and cultural relations, the importance of respecting the individuality of people and time, destacan- to be able to be transmitted through dance a critical message. The dance is a knowledge produced by mankind and needs to be resized in the school, situating it historically, socially, as a way to broaden views and concepts. After all, who dance their ills ... References: CAMINADA, E. History of dance : cultural evolution. Rio de Janeiro: Sprint, 1999. GROUP OF AUTHORS. Methodology of teaching physical education Sao Paulo: Cortez, 1992. Coelho Netto, JT Critical Dictionary of cultural politics : culture and imagery. Sao Paulo: Illuminations, 1997. Daolio, J. Physical education and the concept of culture Campinas: Authors Associate, 2004. FOX, EL; MATHEWS, DK Physiological bases of physical education and sports 3rd ed. Rio de Janeiro: Guanabara, 1986. GONZALEZ, FJ; FENSTERSEIFER, PE Critical Dictionary of physical education Ijuí: Unijuí, 2005. Giddens, A. Sociology 6th ed. Porto Alegre: Artmed, 2005. JEANDOT, N. Exploring the world of music 13th ed. São Paulo: Scipione, 1990.
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debata Razgovarajte s kolegama na teškoće i predložiti alternative za rješavanje problema s kojima se susreće. Procijenite što je bio vaš osjećaj kada se suočili ove pokrete. Koji su pokreti koje postignuti tijekom nastave? Kako? Prisjetimo godine smo napravili ranije u odnosu na čitanje stihova. Kako je moguće izraziti sva ta pitanja pomoću ples kao jezik? Mi se bliži kraj ove proizvodnje, kroz koje je tražio da odražava, na jednostavan i provokativna, nekim pitanjima koja se odnose na ples, kao i društvenih i kulturnih odnosa, o važnosti poštivanja individualnost ljudi i vremena, destacan- biti u mogućnosti da se prenose kroz ples kritična poruka. Ples je poznavanje produkciji čovječanstva i treba se mijenjati u školi, da ga ne stavimo povijesno, društveno, kao način da se proširi stavove i koncepte. Uostalom, tko pleše svoje bolesti ... Reference: Hod, E. Povijest plesa : kulturna evolucija. Rio de Janeiro: Sprint, 1999. Grupa autora. metodologiju nastave tjelesnog odgoja Sao Paulo: Cortez, 1992. Coelho Neto, JT Kritična Rječnik kulturne politike : Kultura i kipovi. Sao Paulo: Iluminacije, 1997. Daolio, J. Tjelesni odgoj i koncept kulture Campinas: Autori Suradnik, 2004. FOX, EL; MATHEWS, DK Fiziološke osnove tjelesnog odgoja i sporta 3. izdanje. Rio de Janeiro: Guanabara, 1986. Gonzalez, FJ; FENSTERSEIFER, PE Kritična Rječnik tjelesnog odgoja Ijui: Unijuí, 2005. Giddens, A. Sociologija. Porto Alegre: Artmed, 2005. JEANDOT, N. Istražujući svijet glazbe São Paulo: Scipionea, 1990.