.png)
Transforming the school day into an experience of freedom, art, and growth
Educating a child is
much more than delivering content: it is about building bridges for them to
discover themselves, others, and the world with wonder, confidence, and
freedom. This is the essence of the Pedagogies of Creativity and Autonomy
(PCA), developed by professor and playwright Antônio Carlos dos Santos.
Based on three main pillars — TBMB (Teatro de Bonecos Mané Beiçudo), MAT
(Mindset, Action, and Theater), and ThM (Theater Movement) — the
PCA offer a sensitive, artistic, and deeply transformative educational
approach. Below, we present ten simple and inspiring strategies for
implementing these practices in the everyday school routine, promoting the
holistic development of children.
The first strategy is
to set up a pretend play corner using puppets inspired by the stories of
Mané Beiçudo. Simple puppets made from recycled materials can be used by
children to create their own narratives. A cardboard box turned inside out,
pieces of fabric, wooden spoons, and some imagination are enough. This
activity, based on TBMB, encourages symbolic language, creativity, and
emotional expression. In a public school in Pernambuco, for example,
second-grade students created a play about a puppet who was afraid of the dark
— reflecting the feelings of many children in the class. The activity led to
group discussions, emotional support, and stronger social bonds.
The second strategy is
to begin classes with a positive mindset circle, encouraging children to
share something they learned from a mistake or something they are proud of.
This practice comes from the MAT methodology, inspired by the work of
psychologist Carol Dweck, who found that children with a “growth
mindset” tend to be more motivated and resilient. In this circle, mistakes are
seen as part of the learning journey rather than failure. As children listen to
their classmates sharing how they overcame challenges — such as learning to tie
their shoes or reading a difficult word — they internalize the idea that effort
is more important than perfection.
The third strategy is
to use the body as a means of expression through creative movement sessions
inspired by ThM (Theater Movement). With instrumental music and an open
space, children are invited to move as if they were animals, emotions, or
natural elements. This practice, grounded in research on relational
psychomotricity and movement neuroscience (such as the work of Llinás and
Berthoz), stimulates motor coordination, body language, and self-awareness.
Teachers report that more energetic children find a way to channel their
energy, while more reserved students feel seen and valued for their unique
forms of expression.
The fourth strategy is
to create dialogues between children's
literature and theater. Use the works of Antônio Carlos dos Santos, such as
“Ui Ghur: the teddy bear that released books” or “Happy pets,” as a starting
point for improvisations and performances by the children themselves. By
dramatizing the books, children deepen their reading comprehension, develop
empathy, and symbolically experience the characters' dilemmas. In a school in
Porto Alegre, when performing the story of “The ballerina who wanted to fly,” a
student with a physical disability felt represented and valued, and gained
confidence to talk about her emotions in public for the first time.
The fifth strategy is
to organize theme-based projects led by the children, inspired by the
MAT approach. For instance, when studying the environment, the teacher can ask:
“What would you like to change in the world?” and let students propose actions
- writing posters, creating plays, composing songs. Autonomy, when genuinely
offered, leads to a sense of belonging and engagement. According to the OECD’s
Education 2030 report, methodologies based on choice and authorship significantly
increase students’ intrinsic motivation.
The sixth strategy is
to offer spaces for emotional listening with character mediators.
Inspired by the TBMB world, the teacher can create a puppet who acts as the
class’s counselor — like “Professor Beiçudo” or “Grandma Maria Benta” — who
shows up during conflicts to listen to students. The symbolic distance helps
children express emotions with more ease. In schools where this practice has
been adopted, there has been a noticeable decrease in peer conflicts and an
increase in empathy, according to feedback from pedagogical coordinators.
The seventh strategy
is to propose creative learning missions that involve the body, mind,
and art. A simple activity might be: “Today’s mission is to walk around the
school as if you were a sad robot. What would change in the world if robots
felt sadness?” This playful task sparks philosophical, artistic, and social
reflections. This practice — connected to both ThM and MAT — promotes critical
thinking from an early age. Research from Stanford University shows that
simulation and empathy-based activities help develop theory of mind and moral
decision-making.
The eighth strategy is
to encourage the creation of personal artistic journals, where children
can record their ideas, drawings, stories, and emotions without corrections or
judgment. This personal notebook fosters creative freedom, self-expression, and
a connection to one’s own process. A student might, for instance, invent a
superhero who solves school problems or a magical creature that helps overcome
sadness. Teachers say that revisiting these notebooks allows them to track
emotional and cognitive development.
The ninth strategy is
to involve families in interactive
projects based on PCA. Inviting parents to theater workshops, storytelling
sessions or creative movement sessions strengthens the bond between school and
community. At a school in Belo Horizonte, mothers and fathers participated in a
play with their children, playing characters from the book “Screens only with
health” written by Antônio Carlos dos Santos. The result was moving: parents
cried, children laughed, and everyone left feeling more connected..
Finally, the tenth
strategy is to cultivate, every day, a pedagogical attitude of trust and
enchantment, as advocated by the PCA philosophy. This means believing that
each child is unique, full of potential, and deserves the freedom to explore.
It means replacing haste with listening, control with partnership, repetition
with invention. Antônio Carlos dos Santos teaches that “creativity is the
language of childhood,” and that educators must be translators and guardians of
this language. When we apply the PCA with simplicity and affection, we do more
than teach — we transform lives.
Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br
.png)
Nenhum comentário:
Postar um comentário