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, Dolors Cañabate Ortiz (secret.) , Caterina Mercè Picornell Belenguer (voc.) This research explores the possibilities of the use of body movement in the field of the teaching of literature and, more specifically, for teaching poetry. It is based on a questioning of the control of the body that takes place in educational institutions and proposes using body movement as a tool to unlock and encourage poetic writing. Based on the fact that poetry generally has little presence in the classroom of literature, the lack of tools, training and teaching materials along with the study of the prejudices that many teachers and students show towards the genre, we propose a renewal of poetry education that advocates an unacomplexed vision that promotes enjoyment and that claims it as a popular genre, accessible to all students regardless of their social and cultural background. We aim to demonstrate that dance and body movement can facilitate the process of teaching and learning poetry and that the body can be used as a reading tool, that we can read a poem with the movement of the body. The classroom here is conceived as a place where teachers and students can research together through interdisciplinary work. And, at the same time, we want to emphasize the importance of teaching arts and literature and of education as a factor of social change.
It is both a theoretical and practical piece of research. Based on several theoretical references and methodological tools as well as on my previous experience as a poetry workshop facilitator, I have carried out three didactic interventions in three different educational environments. Firstly, at the Serrallarga High School of Blanes, with a group of secondary school students. Secondly, at the Joaquim Ruyra school in Blanes, with two groups of pupils in fourth year of primary school. And thirdly, with an adult group, in a workshop that took place at the first Congress of Dance Philosophy of the Complutense University of Madrid. In this PhD, we first present the theoretical and methodological framework and later our practical intervention along with an analysis of it that incorporates the results obtained from the focus groups sessions that we carried out afterwards.
This is a search that occurs in an interstitial space between word and movement, between poetry and dance. It starts with the idea that we can read a poem by dancing it. This is our poetic vision and we have decided to explore it from the conviction that classrooms can be and should be spaces for openness and artistic experimentation.
