(In)visibilities of the Body in the Circus: mapping university extension initiatives in Brazilian universities

Abstract:

The research analyzes the (in)visibilities, spaces and temporalities of the body in the circus in university extension initiatives of Brazilian Universities. The method is based on the description of experiences and phenomenological reduction, using images and focus group meetings. The research findings indicate the perception of the body in circus practices as an expressive and educational potential. In addition, they suggest that the Brazilian university extension needs more focus on the body in the circus, especially if we consider the growing demand for professionals and increased number of shows, circus schools, among others.

Keywords:
Body; Circus; University Extension; Phenomenology; Cartography

Resumo:

A pesquisa analisa as (in)visibilidades, espaços e temporalidades do corpo no circo em ações de extensão de universidades brasileiras. O método está pautado na descrição das experiências e na redução fenomenológica, por meio do uso de imagens e dos encontros do grupo focal. Os achados indicam a percepção do corpo nas práticas circenses como potencialidade expressiva e educativa. Além disso, sugerem que a extensão universitária brasileira precisa olhar com mais atenção para o corpo no circo, sobretudo se considerarmos a crescente demanda por profissionais, ampliação do número de espetáculos, escolas de circo, entre outros.

Palavras-chave:
Corpo; Circo; Extensão Universitária; Fenomenologia; Cartografia

Résumé:

La recherche analyse les (in)visibilités, les espaces et les temporalités du corps dans le cirque dans les actions d’extension des universités brésiliennes. La méthode est basée sur la description d’expériences et la réduction phénoménologique, à travers l’utilisation d’images et de réunions de groupes de discussion. Les résultats de la recherche indiquent la perception du corps dans les pratiques du cirque comme un potentiel expressif et éducatif. En outre, ils suggèrent que l’extension universitaire brésilienne doit examiner de plus près le corps dans le cirque, surtout si l’on considère la demande croissante de professionnels, l’expansion du nombre de spectacles, les écoles de cirque, entre autres.

Mots-clés:
Corps; Cirque; Activités Sociales des Universités; Phénoménologie; Cartographie

Introduction

The first decades of the 21st century are seeing a certain effervescence resulting from the diversification and expansion of circus teaching spaces and formats in Brazil, as pointed out by Barreto, Duprat and Bortoleto (2021), in addition to the growing academic production on this phenomenon (Rocha, 2010; Ontañón; Duprat; Bortoleto, 2012). Certainly, its implementation in different educational settings - including elementary schools, professional circus schools, social projects and also universities - has generated demand for new research, knowledge, practices and pedagogies. According to Tiaen (2013), Fernandes (2014), Tucunduva and Bortoleto (2019), whether in the scope of teaching, university extension or research, the circus has been introduced in the curricula of higher education programs, but still “between the cracks” (Bortoleto, Silva, 2017; Miranda; Ayoub, 2017).

In fact, a greater number of people have experienced the circus beyond the condition of spectators, in a growing movement to democratize this language, previously restricted to the circus social group. As pointed out by Silva (2016), until the 1970s, circus activity was conducted almost exclusively under the "Big Top" tents and, for many centuries, orality remained the first source of knowledge transmission.

All this instigating kaleidoscope starring the circus and whose characteristic is contemporaneity has led to multiple pedagogical and artistic experiences, new bonds, but also resistances and alterities. Being contemporary means living at the same time, in the current time, something that is constitutive of this language, as well as the paradoxes, continuities, miscellanies, and transformations of its knowledge and practices (Silva, 2011). Finally, the circus has become widespread and shows its power to reinvent itself in the face of the challenges of its time.

Considering these multiple circus training contexts, both in Brazil and abroad, this research addresses the circus in university extension, with studies published in recent years (Barragán et al., 2016; Trevizan, Chagas, Kronbauer, 2018; Capellato Melo et al., 2020; Zaim-De-Melo, 2020; Santos Rodrigues et al., 2020; Tucunduva, 2020) indicating different types of university extension initiatives (programs, projects, courses and workshops, events or service provision), as part of the modes described in the Guidelines for University Extension in Brazilian Higher Education (Brasil, 2018) and their developments. The pioneering nature of these pedagogical experiments seems to contribute to the initial and continuing education in order to strengthen a humanistic and critical view of the future professional regarding issues involving the Circus as a heritage of humanity, including a greater number of scholars or volunteers.

However, according to Nóbrega (2005), if we want to advance in the debate, we need to face the challenge posed in order to overcome the restricted and instrumental treatment given to the body in educational practices, reconsidering sexuality, affections, fragilities, passions, in short, the ephemerality of the body. As the author points out, “Reading, writing, counting, narrating, dancing, playing are productions of the human subject that is the body” (Nóbrega, 2005, p. 610, free translation). Now, circus practice is also a production of the subject that is a body in their primordial relationship with the world.

Accordingly, it is important to highlight the initial questions that guided this research: what can a body do in the circus? What is the space of the body and sensitivity in circus extension actions at the University?

Understanding the body through the lived experience, the unfinished and its inherent nature in relation to the world is the challenge posed by Merleau-Ponty’s oeuvre, because, if it is by the body that we emerge in the world, we desire and dream in the condition of embodied beings, body and world are intertwined in the production of knowledge and subjectivities. Furthermore, the body is seen as an open work of art and is always in transformation, creating new meanings (Merleau-Ponty, 1994; 2003; 2004).

However, most of the publications that address the circus in university extension do not seem to have the body as the focus of the discussion. Currently, with the “curricularization” of the university extension being implemented, guided by Resolution No. 7, of December 18, 2018¹ (Brasil, 2018), it seems appropriate to problematize the perspectives and weaknesses of the processes of introducing the circus in the university, their objectives and assumptions.

Thus, we are interested in broadening the focus in order to map the (in)visibilities, spaces and temporalities of the body and the circus in university extension initiatives of different Brazilian universities, in addition to analyzing how the coordinators of the researched projects perceive this bodily condition in the circus, creating networks of meanings.

Based on the objectives above, we present below the methodological approach of the research.

Theoretical-methodological framework: approximations between cartography and Merleaupontian phenomenology

The action of mapping implies both an objective form linked to the study, production, diffusion and research of maps, and a symbolic condition, as a tool for understanding space, landscapes and social relations. Certainly, cartography as a method requires not only tracing itineraries, but also following processes, outlining escape routes, in short, shedding light on possible horizons and meanings that indicate paths for research in education.

Perhaps, that is why the conceptual framework of Deleuze and Guattari (1995; 1997) inspired this research, for which cartography has been powerful, enabling the researcher to commit to the researched object. Instead of rules, the aforementioned authors propose clues, which guide the cartographer’s work, fostering a posture of constant openness, without neglecting rigor and some parameters.

In this sense, we note the relevance of pointing out some approximations between cartography and the phenomenological method as a means of understanding reality, since, according to Souza and Francisco (2017, p. 120, free translation), they are “epistemologies that call into question the mode of knowledge production based on the directions and developments imposed by positivist Cartesianism.” In both phenomenology and cartography nothing is given a priori and there is no subject-object separation. The proposal is to understand the phenomenon in all its complexity through experience.

In fact, in the cartographic movement of “intervention-research,” sensitive listening that is not unilateral is present, but also the gaze and attention interact in a nomadic movement that does not cease (Souza; Francisco, 2017). Cartography challenges this research by proposing to follow ongoing processes, through refinement of the perception to the movements of subjectivity, experimentation with devices, displacements of points of view, among other aspects. Passos, Kastrup and Escossia (2020, p. 201) argue that, more than a methodological direction, cartography requires the production of a “cognitive policy,” that is, an attitude resulting from taking a position in relation to the world and oneself.

In this context, cartography is in line with the phenomenological attitude proposed by Merleau-Ponty based on the world lived and directed to the being in the world, in relation to the other. The focus is on the description of what is experienced - of space, time, the lived world. This experience is thematized by the phenomenological reduction in the elaboration of reflective thinking on and understanding of phenomena, being necessary to question the experience and open new possibilities of meanings (Merleau-Ponty, 1994). In the case of this research, in the expressive and educational potential of the circus present in university extension practices.

In the cartographic path, we intertwine specialized literature with reflection through images and other documents, such as university extension projects or programs related to circus in the researched HEIs. In addition to this theoretical aspect, we used the focus group technique with the coordinators of the university extension actions as a means of expanding the field and our understanding of the studied topic. According to Gatti (2005), this technique enables greater group interaction, detail and depth in the answers, in addition to highlighting the contradictions and silences of the discourses. Respect for the multiplicity of views on the phenomenon is the task of the mediator, who does not seek consensus, but an open and frank dialogue.

We note that the following criteria were established for participation in the focus group: voluntarily accepting to participate in the research by signing an informed consent form; having worked in the coordination of university extension activities in circus for more than two years and having publications in the circus area. Regarding the research participants, we carried out a preliminary survey of Brazilian HEIs that could offer university extension actions related to the circus based on the origin of the reports of experiences published in the last five years. Thus, we established contact with the coordinators of the university extension programs by email, in order to ask if there was interest in collaborating with the research.

The initial proposal was to carry out two to three remote work sessions with a maximum duration of 1 hour and 30 minutes with the participants of the focus group, which seemed quite challenging, as some difficulties could arise to reconcile the schedules and the numerous demands of the professors in their universities. In addition, the possible format of the meetings was contrary to what Gatti (2005) proposed, that is, there were no objective conditions for face-to-face meetings in order to favor a direct dialogue. Firstly because each professor resides in a distant and different region of Brazil and, secondly, there were still some restrictions regarding the pandemic.

In fact, it was possible to hold three online meetings that were scheduled and held from December 2021 to March 2022. There was the participation of a professor collaborating in the research who acted as an observer in the first session, two professors in the second and one observer in the last session, who took turns in the sessions, with the task of reporting their impressions about the interaction of the group, contradictions in the discourses, silences, among other aspects that they deemed relevant. Considering the dynamism of the focus group, we emphasize that the interaction of the group took place in order to enable participants to explore their points of view, exchange experiences through reflections on the phenomenon under analysis, generating new conceptions (Gatti, 2005)

The implementation of the focus group seemed feasible due to different factors. Firstly, because it did not require a long period to prepare the participants regarding the subject addressed in comparison to isolated interviews, especially if we consider the short time of completion of the postdoctoral program (12 months). Secondly, this proposal proved coherent with the objectives and epistemological assumptions of the research. The preparation of the “preliminary work guide” (Gatti, 2005, p. 17) guided the mediation carried out by the first author, who, obviously, was flexible, so that unplanned subjects could be contemplated in the interactive process.

Thus, in the first meeting, we welcomed the participants, detailing the research objectives and presenting an informed consent form for those who agreed to participate in the research. We maintained confidentiality regarding the participants’ identity, indicated by fictitious names, and the data and materials obtained were anonymized, respecting the ethical aspects of the research. For the other work sessions, we requested the submission of the project or program to check the objectives and goals, target public served, products generated, among other information, in addition to having as a basis for the debate the guide presented below.

In the first session, there was a greater number of professors, in this case, five. In the second session, four professors participated and, in the last one, only two were able to participate. Based on the focus group technique, we sought to contemplate the multiplicity of sources and voices in the research as strategies for phenomenological reduction.

We previously presented to the focus group participants the preliminary work guide with the following issues for discussion:

1. Based on this image, how do you perceive the body in the circus and what sensations are evoked in you?

2. Considering the different contexts of circus practice resulting in multiple pedagogical experiences, what is the space of the body, sensitivity and circus in university extension?

3. Since the circus is a potentially transversal and polysemic art, how do you see this dialogue with different fields of knowledge in the university extension setting?

4. Please indicate three or four words that summarize the university extension project/program you coordinate.

In the next part, we highlight the university extension actions, their location, time of operation, characteristics, in addition to the categories that guided the analyses.

Directions, drafts and maps: university extension actions in focus

Seeking to give visibility to the mapping of circus extension actions of the Brazilian universities surveyed, we prepared Chart 1, which includes projects located in different regions (Southeast, South, Midwest, Northeast), totaling nine. Obviously, these projects do not include so many others scattered throughout Brazil and that, unfortunately, in the time of the research it was not possible to identify. In the last column of the chart, we list those coordinators who agreed to participate in the research by signing the consent form, totaling four projects.

Chart 1
University extension projects identified in the Brazilian regions. Source: Prepared by the authors.

Project	University	Location	Coordinator2	Time	Part.
A	UNICAMP	Campinas/SP	Mateus	2006	X
B	USP	São Paulo/SP	Paulo	2011
C	UNESP	São Paulo/SP	Laura	2010
D	UFPR	Curitiba/PR	Benjamin	2009	X
E	UNICENTRO	Irati/PR	Gabriela	2010
F	UFMS	Campo Grande/MS	Rafael	2018	X
G	UFF	Rio de Janeiro/RJ	Eva	2018	X
H	UFAL	Maceió/AL	Icaro	-
I	UFU	Uberlândia/MG	Aline	2000

Through this overview, we address the phenomenological reduction considering both the incompleteness of language and its openness to new possibilities. Some documents of the actions provided by the professors, articles published in the category of experience reports, in addition to the voices of the coordinators expressed in the life stories were also incorporated into the analysis. This process, guided by the phenomenological method, valued sensitive and attentive listening by signaling that the body in the circus can constitute a bridge to the experience of the unconsidered, since “it is the things themselves, from the bottom of their silence, that want to lead to expression” (Merleau-Ponty, 2003, p. 16, free translation).

After the process of transcribing the remote meetings was completed, the material was sent to the project coordinators, so that they were aware and so they could, if they wanted, modify or add something to the text. Subsequently, we held several readings of the transcribed texts, seeking to elucidate meanings considering the research propositions. In this movement, we highlight recurring accounts that drew attention, considering the research objectives, in order to configure the Units of Meaning.

In the relation with the material, the reading was conducted through two categories according to the context of university extension, namely: the experience of the body in the circus; the (non-)place of the body and the circus. Specifically regarding the second category, we refer to this (non-)place of the body and the circus, questioning the space of the body and the circus in the Brazilian university extension and that, perhaps, this movement has occurred much more “between the cracks,” again citing Bortoleto and Silva (2017), than properly perennially in the curricula, giving centrality to the body. As we have stated, there is a growing set of productions and experience reports that cannot be ignored and that attests to the presence of the circus at the university, but this is not yet a majority reality in the Brazilian context.

The process of defining the categories was conducted through an irreducible attention not only to the said, but also to the silences and contradictions contained in the accounts of the participants, in order to take distance and spread “the intentional threads that connect us to the world to make them appear” (Merleau-Ponty, 1994, p. 10, free translation).

After presenting the location of the projects, of the Institutions of origin, in addition to the year of beginning of the activities, consistently with the methodological approach, the three delimited Units of Meaning are presented, with the intention of exposing the meanings perceived in the reports of the participants and that will be contemplated in the discussions of the next two topics, namely: the body and its centrality in the circus, university extension as a space for circus practice, and university extension as a possibility of deconstructing prejudices and stereotypes.

What can a body do in the circus³?

Situating the debate on the circus in contemporary times necessarily implies recognizing the plurality of its architectures, contexts of practice, training spaces, equipment, practitioners, forms of financing, among other aspects, which draws attention to the challenge of thinking about the issue of the body. For Merleau-Ponty (1994, p. 315), the body as a center of perspective projects visibilities, sayings and updates multiple expressive meanings. It is about thinking that the body “is the common texture of all objects,” that is, it is the way to have a world and, therefore, makes things exist.

When thinking about what the body can do in the circus, we find a polyphonic and secular artistic language woven through disputes, power-knowledge relations and countless discourses that are established in relation to a given imaginary of what it is to be “contemporary,” to be “traditional,” in short, of what “is circus.” It is a fact that, over time, this phenomenon has shown its power to dialogue with other artistic languages and body practices, establishing multiple historical links in body education (Bortoleto; Silva, 2017; Lopes; Ehrenberg, 2020).

In its long process of artistic formation, the body in the circus seems to be structured by constancy, discipline and resilience, as pointed out by Duprat and Bortoleto (2015). Thus, immersed in different formative possibilities, the body yearns, unfolds and merges with the world to signify it, in order to shift the viewer’s gaze to new epistemological, ethical and aesthetic perspectives.

It is clear that the advent of circus schools "outside the tent," which arose in the last decades of the twentieth century, concomitantly with other countries, amid the numerous economic, political, technological and cultural transformations, substantially changed the circus context, as attested by Silva (2011) and Duprat (2014). In fact, this historical movement is pointed out by Professor Mateus:

Circus schools arose in the late 1970s. So, it has been 40 years and they have drastically changed this path taken by the circus. We know that there is this important change between the first half of the twentieth century and the second. Above all, thanks to the offering, to the treatment, the experimentation with the circus in different pedagogical spaces, social projects, NGOs, schools (Professor Mateus - Project A, focus group, 2022).

From elementary schools to universities, from social projects to hospitals, from professional circus schools to gyms, that is, there are multiple settings, objectives, characters, forms of thematization and incorporation of this knowledge. In this sense, Professor Eva highlights the public school setting, which, in her view, would have a primary role in the democratization of the circus:

I think there is a separation between university extension and schools, between the university and public schools. Because the circus can be in these most varied places, but public schools as R. said would provide the possibility to more people who have never had contact with the circus in their lives and who may have had nothing (Professor Eva, Project G, focus group, 2022).

Accordingly, previous studies (Chiqueto; Ferreira, 2008; Caramês, 2014; Santos Rodrigues, 2018), in addition to recent publications (Presta et al., 2021; Ribeiro et al., 2021), in which the presence of the circus in the continuing education of professors is discussed, as well as in the public school, attest that it is a fundamental locus for the socialization and resignification of circus art as a cultural heritage of humanity (UNESCO, 1988).

However, it seems to be that, for different authors (Bolognesi, 2001; Guzzo, 2004; Wallon, 2009), the body is placed as a central element in the circus, whether the grotesque body of the clown or the sublime body of the acrobat, producing multiple knowledge, stories and memories, also seeking to reveal, before the eyes of the spectators, our power, but also our finitude and fragility. Professors Mateus and Rafael corroborate this idea when they refer to the diversity and centrality of the body in the circus, also observed in the image of Chagall’s work (Figure 1 - Le Cirque, 1956), which was suggested to start the debate in the focus group. However, despite pointing out this convergence of the body in the circus, we still perceive a certain resistance to discuss the body in the circus throughout the meetings, with a greater emphasis on the practice materialized in their projects.

Figure 1
Le cirque - Marc Chagall (1956).

Chagall’s work, employed by us to encourage debate in the focus group, seems to evoke aesthesia, enabling us to think about the density and porosity of the body in the circus, the senses and how we are affected by the things of the world, by other bodies. It brings reality without abandoning sensations, paradoxes and deformations. Without absolute contours, both Chagall and Merleau-Ponty teach us that it is through the body that we are in the world and create forms of intense communication with the senses. The surrounding space itself is not exterior, we are part of it. As Pencenat (2009) well discusses, in the circus it seems to be that all this can be amplified, even by the intimate relationship with space and devices, textures, colors and sounds that permeate us.

Nóbrega (2015) highlights Merleaupontian reflections on the body, especially in the author’s studies on nature and locates the esthesiological body that moves, desires and seals its inherency to the world. “Notably, the esthesiological body, the body and its sensations give us access, although not entirely, to the depth of the existential events experienced and to which we attribute polymorphous meanings through language” (Nobrega, 2015, p. 286, free translation). Similarly, for the author, esthesiology is the feeling itself, revisiting the notion of body schema.

It is clear the circus invites us to honor no longer the body examined and defined by variables of classical science, but precisely this possible, esthesiological body. It is a matter of emphasizing an educational perspective that favors the affections, values the differences and contradictions of a circus that can be produced in the power of the (re)encounters of life. When reporting his experiences, professor Rafael expresses his goals aimed at “training a Physical Education teacher who can, at the school environment, be sensible and offer to offering his students this possible body, that they recognize themselves” (Professor Rafael, Project F, focus group, 2022). Certainly, a window is opened through which the body is not a mere instrument of educational practices, nor does the circus stand as something alien, accessory to experience.

It seems impossible to think about the body of the practitioner or even of the circus artist without reflecting on the materiality of the risk and its ambiguities. Despite being a recent term, the risk carries in its core the polysemy. In the circus, facing the real risk puts in focus the artist’s physical safety (Goudard, 2009), whether translated into a loss of stability, a dangerous stunt, a fall, or death. There is no room for negligence or even recklessness, otherwise the price may be too high. However, as in any other daily situation, there is no way to prevent exposure to risk; therefore, it should be analyzed in its most varied dimensions (economic, social, professional, etc.) and by different fields of knowledge.

For Ferreira (2012), there is a need to implement a “safety culture” among circus professionals and practitioners focused on risk control and management. Considering safety, a current and relevant topic for any area, according to the same author, it needs to be established as a matter of priority in the circus, given the complexity of the phenomenon, which requires careful analysis based on multiple indicators, whether subjective or objective. Now, risk management is a relevant task to be shared, as specifically pointed out by Professor Benjamin:

Discovering how the body and bodily physical practice can lead to discovering oneself and how one can discover life in a different and special way. I saw a relationship of trust being built with the other people who were sharing at that moment because they fell the encouragement, the care. And what I think is really nice in the circus is because when we deal with risk and it is shared (Professor Benjamin - Project D - focus group, 2022).

Through the reflections on this topic, in order to contribute to the discussion about what the body can do in the circus, we bring some perspectives within the scope of university extension not only as the space to produce circus, but to think of university extension as another locus of deconstruction of prejudices and stereotypes.

(In)visibilities of the body in the circus: debate on the context of university extension

University extension has proven a receptive setting for the process of consolidating the circus at the university, as shown by the many works already published and cited in this research. Certainly, an instigating open door that has contributed to the institutional valorization of university extension and that reveals an attractive landscape for many participants, whether undergraduates, professors, graduate students, and the general public. The Law of Direction and Bases of Education (LDB) itself - Law 9,394/96 (Brazil, 1996) and the entire legal framework referred to reinforce the constitutional precept of 1988, recovering the principle of inseparability between teaching, research and extension, which is fundamental for this analysis.

However, the increase in circus training spaces and their marked presence in different social contexts, as already stated, do not seem to be enough to modify the resistance and distrust of part of the Brazilian population, managers and other professionals for whom the circus is not seen as something legitimate to be treated in institutionalized teaching spaces. A similar problem is evident in Professor Mateus’s report, presented below:

Despite the growth, the increase in the number of shows, the number of schools, the number of companies, shows, all this is growing. But this is not enough to change the image that the circus occupies within the imaginary of the great mass of society to something serious, something that can contribute prominently to the population and to the progress of our society in terms of sensitivity, of polysemy (Professor Mateus - Project A, focus group, 2022).

The several initiatives with the circus in university extension, spread throughout the Brazilian territory, are also in contrast to its recurrent disqualification in the academic milieu, as shown by the numerous products generated, the diversification of the publics served, in addition to the time of operation of the activities, indicating its expansion and perpetuity. For now, locating the significant presence of the circus in university extension seems to be fundamental for this mapping, although it is recognized that there is much to do and evaluate in a qualitative and quantitative manner, especially in building indicators and/or evaluation models. At the same time, it is important to expand the potential of offering university extension activities in circus, as the demand is growing and, often, the objective conditions (materials, monitors, professors involved, infrastructure) are unfavorable. Evidently, the expansion of activities cannot imply the precariousness of the work carried out, something that soon could go against the coherence of the proposals and goals to be achieved in the long term.

In the case of the circus, the growing demand applies not only to university extension, but also to circus schools, for example, as shown by the aforementioned research by Barreto, Duprat and Bortoleto (2021). For example, the authors carried out a survey identifying the diversity of circus teaching spaces and formats in Brazil, considering all establishments that are designated as circus teaching spaces, whether public or private, cultural centers, circus schools, social projects, gyms, elementary schools, and universities, among others. The research found that, in the last ten years, the number of training spaces for circus art has increased almost fourfold in the country, reaffirming the relevance of the circus to contemporary society, as well as creating demand for vocational training.

However, if it is true that a Circus Higher Education program is not yet a reality in Brazil, unlike other countries, as addressed by Duprat (2014), there is fertile ground, there is also interested public and professors, but, unfortunately, there are still scarce higher education institutions that include circus in the curriculum, in addition to institutional and political space necessary for it to be treated with due attention, which has already been affirmed in unison in the propositions of Bortoleto and Silva (2017, p. 112, free translation), that is, “the university’s cracks seem to be narrower, hindering the rise of circus initiatives, but not preventing them.”

Santos Rodrigues et al. (2020) point out that professors are responsible for legitimizing spaces for the implementation of circus in their curricular propositions, in line with teaching and research. It could be said that this is not an exclusive task of professors, but concerns programs in general and their political-pedagogical projects recognizing and becoming aware of the educational and expressive possibilities of this language (Miranda; Bortoleto, 2018).

In this sense, Professor Mateus expresses his position: “I think that university extension holds this important role of not only receiving the circus at the university, but of fostering and creating territory, its own space, an argument for circus to occupy teaching, occupy research. That’s how it started in our own school” (Professor Mateus - Project A, focus group, 2022).

It is clear that university extension can provide not only a territory, but different settings for the body in the circus, affording the much desired visibility, woven in multiple educational possibilities. As stated by Santos Rodrigues et al. (2020), university extension can become another formative context, not only for the promotion of circus, but also as a source of principles that can inspire other pedagogical initiatives, whether at the university or outside it.

Presenting the notion of esthesiological body, addressed by Merleau-Ponty, may help us think the circus as a sensitive expression, the feeling that articulates body, thought, action, affection, escaping from dualistic and deterministic conceptions. But feeling beyond sensation, as Nóbrega (2022, p. 18, free translation) would tell us, “adds at the same time the perceptual experience, including affections, the esthesiology and the semantic dimension of the concept.”

Certainly, it is urgent to think university extension no longer as an appendix, but as part of the structuring process at the university, a “two-way street” that enables the exchange of knowledge and the democratization of academic knowledge (Gadotti, 2017; Magalhães, Marta, 2020). The university extension initiatives researched seem to be nourished precisely by the engagement of professors who value university extension and “believe” in the potential of the circus. They see more than a “pedagogical adventure,” but rather the possibility of seeking the intertwining and coherence between teaching, research and extension practices.

Complementing the discussion, we underscore Professor Mateus’s reflections, which deserve attention, as they show the degree of openness found in university extension and how it can be a space for valorization of the particularities of social contexts and cultural diversity, awakening in students the critical and reflective sense.

University extension activities, on the other hand, are much more volatile in this regard. It is very rare to see university extension projects that are focused on the local culture and trends that happen in the different regions of Brazil, and there are even professor and student initiatives that escape from those dominant models of teaching and research. Then, anyhow, university extension, perhaps because of its recent institutionalization, maybe because of the lower financial support, of the codes that are already very robust in research, teaching, through the Ministries, CAPES, CNPQ. University extension is less restricted, I don’t mean that it is totally free and that we act freely, but it has this drive to be free (Professor Mateus - Project A, focus group, 2022).

The contribution of Santos (2004) reinforces the centrality of university extension in its role as an axis articulating the transformative relationship with society. In addition, it is a fundamental dimension for tackling social issues, especially discrimination and exclusion, as it makes it possible to hear the voice and dialogue with minority or excluded groups in defense of cultural diversity.

When the findings of this research lead us to reflect again on the (in)visibilities of the body in the circus, the question directed to the professors of focus group emerges and seems quite pertinent: “What is the space of the body, sensitivity and circus in university extension?” Now, we found that this universe can be as broad and fruitful as it is restricted, depending on the subjects who will operate this language, their values, beliefs and conceptions. Fortunately, it is possible to find more and more teachers from primary education, social projects and universities that are aware of the circus and its knowledge - which is already a promising start.

On the other hand, in the focus group it seems that the discussions on the theme of the body in the circus also did not advance and were more restricted to the socialization of pedagogical practices, with some exceptions. However, both academic production and the curriculum itself - and, why not, university extension as part of it - are disputed territories, contested fields that can somehow also favor the deconstruction of stereotypes and prejudices, as stated by Professor Mateus:

And we talk about the circus and in general there are some prejudices. The first is that it requires extraordinary skills with the body and often a lot of flexibility, a lot of agility, which is not all true. So, we are making an effort so that the circus get in contact with the university environment free of such prejudices. So that it does not install, or at least does not reproduce prejudices that were associated to the circus, that, to be part of a circus, one must be strong, skilled, flexible or must be funny to be a clown, and that is not what we are proposing. Then, building a university extension project also means not building stereotypes, not reinforcing prejudices (Professor Mateus - Project A, focus group, 2022).

However, we note the current moment, when we have the opportunity to discuss the curricularization of university extension. To this end, it seems necessary to rethink, for example, the objectives, foundations and other purposes of university extension, many of which are unknown to the professors themselves, as stated by Magalhães and Marta (2020). We understand that the challenges posed by the curricularization require that universities carry out a broader and more complex analysis of university extension, reviewing their conceptions of education and body, through a radical change in the way of understanding the curricular components.

It is necessary to advance toward overcoming the simple bureaucratic inclusion, either as a specific curricular component or as part of some other curricular component, since many professors still lack the necessary awareness of the means of operationalizing this process, as reported by Professor Rafael: “But this process […] I still cannot see how it will happen. We haven’t been able to discuss it with the university yet. The university just said that we have to do it, it did not show us the tools” (Professor Rafael, Project F, focus group, 2022).

This whole movement, which requires much dialogue and synergy between the Dean’s Offices for University Extension and Undergraduate Education in order to establish a more uniform course of action in relation to university extension activities, became even more complex and contradictory due to the health, social and economic crisis caused by the COVID-19 pandemic. It is noteworthy that the social isolation context constituted other challenges to university extension practices, as it was necessary to review objectives and strategies in order to find solutions that complied with the established sanitary protocols. Thus, during the beginning and peak of the pandemic, several university extension projects were suspended or changed the way their activities were offered, disintegrating, in a way, an entire articulated structure, which was addressed by the professors of the focus group. The use of digital tools had to be quickly learned and incorporated to a greater extent. Concomitantly, there were threats of salary cuts, layoffs, family members dying, among other serious issues, in the face of work overload and pressures suffered, as the research participants commented.

However, there must always be consideration of the risks that this process can entail, if the curricular assumptions, educational objectives and projects are not reviewed for effective curricular inclusion of university extension. Even suppressing the effort to think about the transversality between university extension, research and education in a dialogical way with society, destroying the power of university extension to aggregate distinct realities (Dalmolin; Vieira; Bertolin, 2019). Something similar was evident in Professor Mateus’s considerations on curricularization: “University extension ceases to be the space of complementarity, ‘doing because I want to, a space where I want to learn more, where I want to project my education beyond what the curriculum allows,’ to a fake space to meet hour requirements” (Professor Mateus - Project A, focus group, 2022). Therefore, more than a space for “circus practice,” meeting hour requirements, that is, a bureaucratic requirement, university extension - which is part of the academic basis - needs to problematize, denaturalize and question crystallized conceptions about the body and the circus itself.

To this end, the strengthening of university extension, a space not only for denunciation, but for the announcement of propositions and new methodologies that have as their premise the respect for the diversity of knowledges and cultures in the educational, scientific, artistic, cultural and technological processes, is real and necessary. The curricular restructuring needs to highlight the social commitment of the university, as university extension initiatives also value the needs, aspirations and particularities of the community and its surroundings in line with institutional demands. Now, we know that even today university extension has not been able to achieve the comprehensive education of several students, challenging university management and calling into question the role and function of the university.

Final considerations

To carry out the research, based on Merleau-Ponty’s phenomenological attitude in dialogue with cartography, we sought not only receptivity to the field of research, but also the look into what was not immediately sought - the silences and questions. In this opportunity, we note that the professor coordinating the university extension program is a fundamental figure, as well as the research groups, because, despite the many challenges found, such as the granting and maintenance of scholarships for students; the issue of materials and physical spaces; the view that university administration, other educators and society itself have about the circus, numerous successful pedagogical experiments have been consolidated in the researched context.

The findings observed in the work showed that the debate about university extension within the university seems to be increasingly present and pulsating, precisely when the current legislation requests the implementation of its curricularization. It is certainly not interesting that this movement brings only simplistic solutions that contemplate the quantitative aspect, weakening the full potential of university extension for the democratization of academic knowledge.

This prospect challenges the Brazilian context to raise awareness in order to legitimize spaces for debate with circus artists as a possibility to understand the main contemporary problems in the area; as well as to invest in the initial and continuing training of professors, valuing and expanding this artistic language; among other collective actions, considering that we have not yet been able to offer a higher education program in circus in Brazil, for example.

We found that the Brazilian university extension still needs more focus on the body in the circus, so the experiences lived are not restricted to the experience of the circus, but can also provide the contextualization of knowledges, the experience of witnessing artistic diversity, whether through visits of artists, shows, videos, among other possibilities that value the interaction with the academic community, emphasizing the educational and expressive potential of the circus.

However, the research showed that many seeds of the circus have already been diligently planted by its actors in the cracks of the university and one of them certainly is university extension. Seeds that have already yielded many fruits nourished by study, research, creativity and teaching commitment. It was clear that mapping is also drawing routes to find less rigid coordinates, more flexible maps that embrace the flavors and knowledges of the circus, of unpredictability and transversality. Granting the space-time necessary for this secular art to be consolidated in the university, favoring the expansion and deepening of the knowledge of students in initial training and also of the other participants in the university extension actions.

With regard to the development of this research, we point out some issues, such as: the perceived difficulties due to the virtual participation in the focus group, for example, a possible perceived dispersion with the advance of time or even connection problems; the participation of professors throughout the meetings, which gradually decreased for various reasons; the probable “nonachievement” of other circus extension actions that were not identified through the survey of the works at the beginning of the research, among other aspects, help in the contextualization of the study, providing relevant elements of analysis for future research, in addition to their contributions to the field.

However, the reflections provided by the research showed that university extension has contributed so that circus practice fosters new ways of moving and dealing with art, strengthening affective bonds, becoming a more accessible option for diverse publics with different objectives and even for artistic/vocational training. Similarly, they enable us to think this art as a means of education of the body, of an artistic and aesthetic education (Bortoleto, 2011), which seeks to promote its educational potential in university extension, through the exchange of knowledge with the community, in a dialogical relationship.

Now, the circus has reinvented itself over the last few centuries in different spaces and times, and, in the university extension context, we hope that this setting is no different. Furthermore, in the near future, we envision that the aspects previously presented may change society’s very reading of the circus, expanding horizons and bringing the conviction that the circus instigates each of us to feel and live the esthesiological body as a source of knowledge.

If it is true that the body is our way of being and being in the world, therefore an organizing principle of all knowledge, the debate about the body in the circus, especially in the context of university extension, is essential, even for legitimation of the epistemic plurality of the circus and its interfaces with other artistic languages, with Education itself, Philosophy, History, among other fields of knowledge.

We understand that the research was able to produce a dialogue about the body, the circus and university extension based on the accounts of the participants, who are subjects in this educational process.

Notes

• 1
  The aforementioned resolution establishes the Guidelines for University Extension in Brazilian Higher Education (Brasil, 2018), which is mandatory for all undergraduate programs, and must provide for, at least, ten percent (10%) of the total curricular workload as university extension programs and projects, primarily for fields with major social relevance.
• 2
  The names of the coordinators, as well as of the projects, are fictitious.
• 3
  Inspired by Spinoza’s question: What can a body do?

Research data availability:

the dataset that supports the results of this study is published in the article itself.

This original paper, translated by Roberto Cândido (Tikinet Edição Ltda.), is also published in Portuguese in this issue of the journal.

References

• BARRAGÁN, Teresa Ontañón et al O papel da extensão universitária e sua contribuição para a formação acadêmica sobre as atividades circenses. Pensar a Prática, Goiânia, v. 19, n. 1, p. 42-55, 2016. Disponível em: https://doi.org/10.5216/rpp.v19i1.35857 Acesso em: 11 maio 2022.
  » https://doi.org/10.5216/rpp.v19i1.35857
• BARRETO, Mônica (Lua); DUPRAT, Rodrigo Mallet; BORTOLETO, Marco Antônio Coelho. De norte a sul: mapeando a formação em circo no Brasil. Urdimento - Revista de Estudos em Artes Cênicas, Florianópolis, v. 3, n. 42, p. 1-32, 2021. Disponível em: https://doi.org/10.5965/1414573103422021e0210 Acesso em: 11 abr. 2022.
  » https://doi.org/10.5965/1414573103422021e0210
• BOLOGNESI, Mário Fernando. O corpo como princípio. Trans/Form/Ação, São Paulo, v. 24, n. 1, p. 101-112, 2001. Disponível em: https://doi.org/10.1590/S0101-31732001000100007 Acesso em: 25 jun. 2021.
  » https://doi.org/10.1590/S0101-31732001000100007
• BORTOLETO, Marco Antonio Coelho; SILVA, Ermínia. Circo: educando entre as gretas. Rascunhos, v. 4, n. 2, p. 104-117, 2017. Disponível em: https://doi.org/10.14393/issn2358-3703.v4n2a2017-07 Acesso em: 3 dez. 2020.
  » https://doi.org/10.14393/issn2358-3703.v4n2a2017-07
• BRASIL. Lei nº 9394/96, de 20 de dezembro de 1996. Estabelece as Diretrizes e Bases da Educação Nacional. Diário Oficial da União, Brasília, MEC, 1996. Disponível em: http://portal.mec.gov.br/seesp/arquivos/pdf/lei9394_ldbn1.pdf Acesso em: 04 out. 2021.
  » http://portal.mec.gov.br/seesp/arquivos/pdf/lei9394_ldbn1.pdf
• BRASIL. Resolução nº. 7, de 18 de dezembro de 2018. Estabelece as diretrizes para a Extensão na Educação Superior Brasileira e regimenta o disposto na Meta 12.7 da Lei nº. 13.005/2014 que aprova o Plano Nacional de Educação - PNE 2014-2024 e dá outras providências. Diário Oficial da União, Brasília, 2018. Disponível em: http://www.in.gov.br/materia/-/asset_publisher/Kujrw0TZC2Mb/content/id/55877808 Acesso em: 15 set. 2021.
  » http://www.in.gov.br/materia/-/asset_publisher/Kujrw0TZC2Mb/content/id/55877808
• CAPELLATO MELO, Caroline et al. Invirtiendo la lógica: niños enseñando circo para adultos - todos aprendiendo. Educación Física y Deporte, v. 38, n. 2, p. 357-381, 2020. Disponível em: https://doi.org/10.17533/udea.efyd.v38n2a07 Acesso em: 15 set. 2021.
  » https://doi.org/10.17533/udea.efyd.v38n2a07
• CARAMÊS, Aline Souza. Professores na corda bamba: as atividades circenses na formação inicial enquanto conteúdo da educação física. 2014. Dissertação (Mestrado em Educação Física) - Programa de Pós-Graduação em Educação Física, Centro de Educação Física e Desportos, Universidade Federal de Santa Maria, Santa Maria, 2014. Disponível em: https://repositorio.ufsm.br/handle/1/6717 Acesso em: 15 set. 2021.
  » https://repositorio.ufsm.br/handle/1/6717
• CHIQUETO, Eliza; FERREIRA, Lilian Aparecida. O ensino de atividades circenses para alunos de 5ª. série. Revista Motrivivência, ano XX, n. 31, p. 50-65, 2008. Disponível em: https://periodicos.ufsc.br/index.php/motrivivencia/article/view/2175-8042.2008n31p50/12952 Acesso em: 15 set. 2021.
  » https://periodicos.ufsc.br/index.php/motrivivencia/article/view/2175-8042.2008n31p50/12952
• DALMOLIN, Bernadete Maria; VIEIRA, Adriano José Hertzog; BERTOLIN, Julio Cesar Godoy. Gestão e curricularização da extensão em uma universidade comunitária: do requisito acadêmico aos desafios da implementação. In: CERETTA, Luciane Bisognin; VIEIRA, Reginaldo de Souza. Inserção curricular da extensão: aproximações teóricas e experiências: volume VI. Criciúma: UNESC, 2019. p. 55-86. Disponível em: http://repositorio.unesc.net/handle/1/7054 Acesso em: 13 jul. 2022.
  » http://repositorio.unesc.net/handle/1/7054
• DELEUZE, Gilles; GUATTARI, Félix. Mil platôs: capitalismo e esquizofrenia. v. 1. Rio de Janeiro: Ed. 34, 1995.
• DELEUZE, Gilles; GUATTARI, Félix. O que é filosofia? Rio de Janeiro: Editora 34, 1997.
• DUPRAT, Rodrigo Mallet. Realidades e particularidades da formação do profissional circense no Brasil: rumo a uma formação técnica e superior. 2014. Tese (Doutorado em Educação Física) - Programa de Pós-Graduação em Educação Física, Faculdade de Educação Física, Universidade Estadual de Campinas, Campinas, 2014. Disponível em: https://www.circonteudo.com/trabalho-academico/realidades-e-particularidades-da-formacao-do-profissional-circense-no-brasil-rumo-a-uma-formacao-tecnica-e-superior/ Acesso em: 13 jul. 2021.
  » https://www.circonteudo.com/trabalho-academico/realidades-e-particularidades-da-formacao-do-profissional-circense-no-brasil-rumo-a-uma-formacao-tecnica-e-superior/
• DUPRAT, Rodrigo Mallet; BORTOLETO, Marco Antonio Coelho. O corpo na formação dos circenses. Revista do LUME, v. 8, p. 2-11, 2015. Disponível em: https://orion.nics.unicamp.br/index.php/lume/article/view/374 Acesso em: 10 jun. 2021.
  » https://orion.nics.unicamp.br/index.php/lume/article/view/374
• FERNANDES, Rita de Cassia. Do tecido à lona: as práticas circenses no tear da formação inicial em Educação Física. 2014. Tese (Doutorado em Educação) - Programa de Pós-Graduação em Educação, Faculdade de Educação, Universidade Estadual de Campinas, Campinas, 2014. Disponível em: https://core.ac.uk/download/pdf/296877011.pdf Acesso em: 01 mai. 2020.
  » https://core.ac.uk/download/pdf/296877011.pdf
• FERREIRA, Diego Leandro. Segurança no circo: questão de prioridade. Dissertação (Mestrado em Educação Física) - Programa de Pós-Graduação em Educação Física, Faculdade de Educação Física, Universidade Estadual de Campinas, Campinas, 2012. Disponível em: https://www.circonteudo.com/trabalho-academico/seguranca-no-circo-questao-de-prioridade-pdf/ Acesso em: 01 mai. 2020.
  » https://www.circonteudo.com/trabalho-academico/seguranca-no-circo-questao-de-prioridade-pdf/
• GADOTTI, Moacir. Extensão universitária: para quê? 2017. Disponível em: Extensão_Universitária_-_Moacir_Gadotti_fevereiro_2017.pdf (paulofreire.org). Acesso em: 2 ago. 2020.
• GATTI, Bernardete Angelina. Grupo focal na pesquisa em Ciências Sociais e Humanas Brasília: Líber Livro, 2005.
• GOUDARD, Phillipe. Estética do risco: do corpo sacrificado ao corpo abandonado. In: WALLON, Emmanuel (Org.) O circo no risco da arte Belo Horizonte: Autêntica Editora, 2009. p. 25-31.
• GUZZO, Marina Souza Lobo. Corpo em risco. Athenea Digital: Revista de Pensamiento e Investigacion Social, v. 6, p. 56-65, 2004. Disponível em: https://www.ssoar.info/ssoar/bitstream/handle/document/6499/ssoar-athenea-2004-6-guzzo-corpo_em_risco.pdf?sequence=1 Acesso em: 01 maio 2021.
  » https://www.ssoar.info/ssoar/bitstream/handle/document/6499/ssoar-athenea-2004-6-guzzo-corpo_em_risco.pdf?sequence=1
• LOPES, Daniel Carvalho; EHRENBERG, Monica Caldas. Entre o pódio e o picadeiro: o sportsman circense Zeca Floriano. Revista História da Educação (Online), v. 24, 2020. Disponível em: https://doi.org/10.1590/2236-3459/94488 Acesso em: 01 maio 2021.
  » https://doi.org/10.1590/2236-3459/94488
• MAGALHÃES, José Augusto; MARTA, Sara Nader. Curricularização da Extensão: compromisso social e inovação acadêmica. In: SILVA, Antonio Wardinton; FRANCO, Paulo Fernando Campbell (Org.). Curricularização da extensão: compromisso social e inovação. Santos: Editora Universitária Leopoldianum, 2020. p. 24-35. Disponível em: https://forext.org.br/curricularizacao-da-extensao-compromisso-social-e-inovacao/ Acesso em: 01 maio 2022.
  » https://forext.org.br/curricularizacao-da-extensao-compromisso-social-e-inovacao/
• MERLEAU-PONTY, Maurice. Fenomenologia da percepção São Paulo: WMF Martins Fontes, 1994.
• MERLEAU-PONTY, Maurice. O visível e o invisível São Paulo: Perspectiva, 2003.
• MERLEAU-PONTY, Maurice. O olho e o espírito: seguido de A linguagem indireta e as vozes do silêncio e A dúvida de Cézanne. São Paulo: Cosac & Naify, 2004.
• MIRANDA, Rita de Cassia Fernandes; AYOUB, Eliana. Por entre as brechas dos muros da universidade: o circo como componente curricular na formação inicial em educação física. Revista Portuguesa de Educação, v. 30, n. 2, p. 59-87, 2017. Disponível em: https://doi.org/10.21814/rpe.11867 Acesso em: 09 jun. 2021.
  » https://doi.org/10.21814/rpe.11867
• MIRANDA, Rita de Cassia Fernandes; BORTOLETO, Marco Antonio Coelho. O circo na formação inicial em educação física: um relato autoetnográfico. Revista Brasileira de Ciências do Esporte, v. 40, n. 1, p. 39-45, 2018. Disponível em: https://doi.org/10.1016/j.rbce.2018.01.004 Acesso em: 01 maio 2021.
  » https://doi.org/10.1016/j.rbce.2018.01.004
• NÓBREGA, Terezinha Petrucia. Qual o lugar do corpo na educação? Notas sobre conhecimento, processos cognitivos e currículo. Revista Educação e Sociedade, Campinas, v. 26, n. 91, p. 599-615, 2005. Disponível em: https://www.scielo.br/j/es/a/t5CV6czxDQfbXBJ9xNCmgjj/?format=pdf⟨=pt#:~:text=Pensar%20o%20lugar%20do%20corpo,sujeito%20humano%20que%20%C3%A9%20corpo Acesso em: 01 maio 2021.
  » https://www.scielo.br/j/es/a/t5CV6czxDQfbXBJ9xNCmgjj/?format=pdf⟨=pt#:~:text=Pensar%20o%20lugar%20do%20corpo,sujeito%20humano%20que%20%C3%A9%20corpo
• NÓBREGA, Terezinha Petrucia da. Sentir a dança ou quando o corpo se põe a dançar... Natal: IFRN, 2015.
• NÓBREGA, Terezinha Petrucia da. Movimentos do corpo estesiológico em Merleau-Ponty e a experiência da dança. Repertório, Salvador, v. 1, n. 38, 2022. Disponível em: https://periodicos.ufba.br/index.php/revteatro/article/view/48945 Acesso em: 21 jul. 2023.
  » https://periodicos.ufba.br/index.php/revteatro/article/view/48945
• ONTAÑON, Teresa Barrágan; DUPRAT, Rodrigo Mallet; BORTOLETO, Marco Antônio Coelho. Educação Física e atividades circenses: “O estado da arte”. Movimento, v. 18, n. 2, p. 149-168, 2012. Disponível em: https://doi.org/10.22456/1982-8918.22960 Acesso em: 01 mai. 2021.
  » https://doi.org/10.22456/1982-8918.22960
• PASSOS, Eduardo; KASTRUP, Virgínia; ESCOSSIA, Liliana da. Sobre a formação do cartografo e o problema das políticas cognitivas. In: PASSOS, Eduardo; KASTRUP, Virgínia; ESCOSSIA, Liliana da (Org.) Pistas do método da cartografia: pesquisa-intervenção e produção de subjetividades. Porto Alegre: Sulina, 2020. p. 201-205.
• PENCENAT, Corine. Atleta, ator, artista. In: WALLON, Emmanuel (Org.). O circo no risco da arte Belo Horizonte: Autêntica Editora, 2009. p. 39-44.
• PRESTA, Michelle Guidi Gargantini et al. Formação continuada de professores: o circo em debate. Educação: Teoria e Prática, v. 31, n. 64, p. e10[2021], 2021. Disponível em: https://doi.org/10.18675/1981-8106.v31.n.64.s14132 Acesso em: 10 mai. 2022.
  » https://doi.org/10.18675/1981-8106.v31.n.64.s14132
• RIBEIRO, Camila da Silva et al. O “não lugar” do circo na escola. Revista Portuguesa de Educação, v. 34, n. 1, 2021. Disponível em: https://revistas.rcaap.pt/rpe/article/view/16128 Acesso em: 12 jul. 2022.
  » https://revistas.rcaap.pt/rpe/article/view/16128
• ROCHA, Gilmar. O circo no Brasil - estado da arte. BIB. Revista Brasileira de Informação Bibliográfica em Ciências Sociais, v. 70, p. 51-70, 2010. Disponível em: https://bibanpocs.emnuvens.com.br/revista/article/view/344 Acesso em: 12 jul. 2022.
  » https://bibanpocs.emnuvens.com.br/revista/article/view/344
• SANTOS RODRIGUES, Gilson et al. A extensão universitária e as atividades circenses: notas sobre um encontro formativo. Revista Brasileira de Ciência e Movimento, v. 28, n. 2, p. 1-15, 2020. Disponível em: https://doi.org/10.31501/rbcm.v28i2.10584 Acesso em: 3 fev. 2021.
  » https://doi.org/10.31501/rbcm.v28i2.10584
• SANTOS RODRIGUES, Gilson. Pedagogia das atividades circenses na Educação Física Escolar: experiências da arte em escolas brasileiras de ensino fundamental. 2018. Dissertação (Mestrado em Educação Física) - Programa de Pós-Graduação em Educação Física, Faculdade de Eucação Física, Universidade Estadual de Campinas, Campinas, 2018. Disponível em: http://repositorio.unicamp.br/handle/REPOSIP/335933 Acesso em: 10 maio 2020.
  » http://repositorio.unicamp.br/handle/REPOSIP/335933
• SANTOS, Boaventura de Sousa. A Universidade no século XXI: para uma reforma democrática e emancipatória da Universidade. São Paulo: Cortez, 2004.
• SILVA, Erminia. Aprendizes permanentes: circenses e a construção da produção do conhecimento no processo histórico. In: BORTOLETO, Marco Antonio Coelho; BARRAGÁN, Teresa Ontañón; SILVA, Ermínia. Circo: horizontes educativos. Campinas: Autores Associados, 2016. p. 7-26.
• SILVA, Ermínia. O novo está em outro lugar. Palco Giratório: Rede Sesc de Difusão e Intercâmbio das Artes Cênicas, Rio de Janeiro, SESC, Departamento Nacional, p. 12-21, 2011. Disponível em: https://www.circonteudo.com/o-novo-esta-em-outro-lugar/ Acesso em: 10 maio 2018.
  » https://www.circonteudo.com/o-novo-esta-em-outro-lugar/
• SOUZA, Severino; FRANCISCO, Ana Lúcia. Aproximações entre fenomenologia e o método da cartografia em pesquisa qualitativa. Atas - Investigação Qualitativa em Saúde, v. 2, p. 120-129, 2017. Disponível em: https://proceedings.ciaiq.org/index.php/ciaiq2017/article/view/1201 Acesso em: 3 out. 2021.
  » https://proceedings.ciaiq.org/index.php/ciaiq2017/article/view/1201
• TIAEN, Marcos Sergio. Atividades circenses na formação continuada do professor de educação física 2013. Dissertação (Mestrado em Educação) - Programa de Pós-Graduação em Educação, Faculdade de Educação, Universidade Federal do Mato Grosso do Sul, Corumbá, 2013. Disponível em: https://ppgecpan.ufms.br/es/marcos-sergio-tiaen-atividades-circenses-na-formacao-continuada-professor-de-educacao-fisica/ Acesso em: 3 out. 2021.
  » https://ppgecpan.ufms.br/es/marcos-sergio-tiaen-atividades-circenses-na-formacao-continuada-professor-de-educacao-fisica/
• TREVIZAN, Mayara; CHAGAS, Paula Izabella; KRONBAUER, Glaucia Andreza. Circo em contextos - diálogos entre a cultura e a extensão universitária. Revista Conexão UEPG, v. 14, n. 1, p. 130-139, 2018. Disponível em: https://doi.org/10.5212/Rev.Conexao.v.14.i1.0017 Acesso em: 10 jun . 2019.
  » https://doi.org/10.5212/Rev.Conexao.v.14.i1.0017
• TUCUNDUVA, Bruno Barth Pinto. O que é ‘circar’? Fundamentos para metodologia de iniciação ao circo. Repertório, v. 23, n. 35, p. 87-114, 2020. Disponível em: https://doi.org/10.9771/r.v1i34.35669 Acesso em: 14 jul. 2021.
  » https://doi.org/10.9771/r.v1i34.35669
• TUCUNDUVA, Bruno Barth Pinto; BORTOLETO, Marco Antonio Coelho. O circo e a inovação curricular na formação de professores de educação física no Brasil. Movimento, Porto Alegre, e25055, 2019. Disponível em: https://doi.org/10.22456/1982-8918.88131 Acesso em: 15 maio 2020.
  » https://doi.org/10.22456/1982-8918.88131
• UNESCO. El circo: Un espectáculo del mundo. 1988. Disponível em: https://unesdoc.unesco.org/ark:/48223/pf0000077050_spa Acesso em 12 dez. 2023.
  » https://unesdoc.unesco.org/ark:/48223/pf0000077050_spa
• WALLON, Emmanuel. O circo no risco da arte Belo Horizonte: Autêntica, 2009.
• ZAIM-DE-MELO, Rogério. Vai, vai, vai começar a brincadeira. Revista Em Extensão, v. 18, n. 2, p. 178-185, 2020. Disponível em: https://doi.org/10.14393/REE-v18n22019-47997 Acesso em: 12 ago. 2021.
  » https://doi.org/10.14393/REE-v18n22019-47997

• Editor in charge: Celina Nunes de Alcântara

Publication Dates

• Publication in this collection
  03 Feb 2025
• Date of issue
  2025

History

• Received
  20 July 2023
• Accepted
  21 Dec 2023