RESUMO
Resumo O circo, patrimônio artístico da humanidade, possui como modelo de transmissão tradicionalmente a família. Na contemporaneidade, a existência do circo se propaga também pelo circo social, que utiliza a arte circense como meio para o desenvolvimento integral de jovens marginalizados. Em Ribeirão Preto, há um caso (Sustentáculos) emergente na periferia, em que uma líder-circense-professora se apropria do circo para contribuir na formação psicossocial dos infanto-juvenis da sua comunidade. O objetivo do estudo foi investigar o arranjo do Sustentáculos tendo como esteio o circo social, a fim de comparar as propostas. A etnopsicanálise guiou o método através de observação e entrevistas; os colaboradores foram a líder e oito crianças; os encontros realizados semanalmente. Perceberam-se semelhanças fundamentais, porém um caráter mais pedagógico e estruturado no circo social, por trabalharem em rede e com apoio financeiro. No Sustentáculos, há uma marca clara do artístico propriamente dito, um viés político-contestador e autonomia do projeto.
Resumen El circo, patrimonio artístico de la humanidad, es tradicionalmente transmitido entre familias. Actualmente, su existencia también se propaga a través del circo social, que utiliza el circo como un medio para el desarrollo integral de jóvenes marginados. En Ribeirão Preto, hay un caso emergente (Sustentáculos) en la periferia, dónde una artista y maestra se apropia del circo para contribuir a la formación psicosocial de jóvenes en su comunidad. El objetivo del estudio fue investigar el Sustentáculos teniendo como pilar principal el circo social, para comparar las propuestas. Etnopsicoanálisis guió el método a través de la observación y las entrevistas; los colaboradores fueron el líder y 8 niños; las reuniones se realizaron semanalmente. Se observaron similitudes, pero un carácter más pedagógico y estructurado en el circo social, porque hay una rede y apoyo financiero. En Sustentáculos, hay una clara marca de lo artístico en sí, un sesgo político-concursante y autonomía total.
Abstract The circus, artistic patrimony of humanity, traditionally has the family as transmission model. Currently, the circus' existence also spreads through the social circus, which uses circus art as a means for the integral development of marginalized young people. In Ribeirão Preto, there is a case of this (Sustentáculos) in the periphery, in which a circus artist-teacher-leader appropriates the circus to contribute to the psychosocial education of the youth from her community. The aim of the study was to investigate Sustentáculos, having as mainstay the social circus in order to compare the proposals. Ethnopsychoanalysis guided the method through observation and interviews; the collaborators were the leader and eight children; the meetings were held weekly. Important similarities were noted, but a more pedagogical and structured character was noted in the social circus, for working in a network and with financial support. As for Sustentáculos, there is a clear mark of the artistic itself, a political-contestant bias and autonomy.
Assuntos
Humanos , Masculino , Feminino , Criança , Adolescente , Arte , Projetos de Investimento Social , Etnopsicologia , Criança , Adolescente , Marginalização Social/psicologiaRESUMO
Worldwide, interest is increasing in community-based arts to promote social transformation. This study analyzes one such case. Ecuador's government, elected in 2006 after decades of neoliberalism, introduced Buen Vivir ('good living' derived from the Kichwan sumak kawsay), to guide development. Plans included launching a countrywide programme using circus arts as a sociocultural intervention for street-involved youth and other marginalised groups. To examine the complex ways by which such interventions intercede in 'ways of being' at the individual and collective level, we integrated qualitative and quantitative methods to document relationships between programme policies over a 5-year period and transformations in personal growth, social inclusion, social engagement and health-related lifestyles of social circus participants. We also conducted comparisons across programmes and with youth in other community arts. While programmes emphasising social, collective and inclusive pedagogy generated significantly better wellbeing outcomes, economic pressures led to prioritising productive skill-building and performing. Critiques of the government's operationalisation of Buen Vivir, including its ambitious technical goals and pragmatic economic compromising, were mirrored in social circus programmes. However, the programme seeded a grassroots social circus movement. Our study suggests that creative programmes introduced to promote social transformation can indeed contribute significantly to nurturing a culture of collective wellbeing.
