Criatividade motora na Dança Esportiva e na Ginástica Rítmica: percepção subjetiva de técnicos e árbitros
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Data
2016-12-16
Autores
Trevisan, Priscila Raquel Tedesco da Costa [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este estudo, de natureza qualitativa, teve por objetivo investigar os parâmetros de julgamento na percepção subjetiva sobre criatividade motora, na visão de árbitros e técnicos das modalidades: Ginástica Rítmica e Dança Esportiva. O estudo aliou pesquisa bibliográfica e pesquisa exploratória. Os resultados da tese são apresentados em forma de artigos, tendo sido analisados descritivamente, por meio da Técnica de Análise de Conteúdo. O primeiro artigo, intitulado “Produção do conhecimento sobre criatividade motora” é referente a uma pesquisa exploratória realizada no portal Periódicos CAPES, utilizando-se a busca por artigos completos em bases de dados na área Ciências da Saúde, subárea Educação Física e Esportes que contivessem os termos criatividade motora nos idiomas: Português, Inglês e Espanhol incluídos em seus títulos ou como assunto. Esse artigo 1, teve por objetivo investigar a produção do conhecimento científico acerca do tema criatividade motora. Os dados analisados apontaram para a escassez de publicações em Português e a prevalência de artigos no idioma inglês. Prevalesceram as publicações relacionadas à infância, às esferas psicológicas e ao desenvolvimento criativo. A Ginástica Rítmica e a Dança foram modalidades apontadas para o desenvolvimento da criatividade motora. Para os artigos 2 e 3, utilizou-se entrevista semiestruturada, aplicada a uma amostra intencional de árbitros e técnicos adultos, com experiência em âmbito competitivo das modalidades Ginástica Rítmica e/ou Dança Esportiva. O artigo 2, intitulado “Percepção subjetiva sobre criatividade: visão de árbitros e técnicos de Ginástica Rítmica”, versou sobre as formas como a criatividade é percebida no julgamento e treinamento das ginastas participantes de eventos esportivos competitivos. Esses resultados apontaram que, para esses árbitros e técnicos de GR, a criatividade é uma capacidade que envolve gerar o novo, o diferente, o bonito, o que surpreende, além de apresentar variedade, adequação e harmonia no uso dos elementos corporais. As respostas demonstram a necessidade de formas mais precisas e orientações claras quanto ao modo de avaliar aquilo que é artístico. O que é reconhecido como criativo representa algo subjetivo, que se torna dependente do gosto e da afinidade do árbitro. A criatividade é avaliada por meio da composição da coreografia, do uso da música, dos passos de dança, manejo dos aparelhos e maestrias, mas, as recompensas para tanto, podem ser sacrificadas, especialmente quando ocorrem erros na performance da atleta. Dessa forma, o que é tido como criativo é avaliado no todo da apresentação, quando a ginasta atende às exigências e promove um espetáculo. Méritos artísticos, expressivos e criativos reforçam a subjetividade e são fatores que orientam as decisões e a definição da melhor ginasta e melhor série. O artigo 3, intitulado “Percepção subjetiva sobre criatividade: visão de árbitros e técnicos de Dança Esportiva”, objetivou investigar o julgamento da criatividade, na visão de técnicos e árbitros de Dança Esportiva. Os dados indicam que o que é criativo é percebido como um conhecimento transformado em um produto novo, adequado, expressivo e fluído, relacionado à música, às exigências, à habilidade de resolver problemas, de se conectar com o parceiro e de se deslocar pelo salão de forma harmoniosa. A criatividade em eventos competitivos se torna um recurso para surpreender, transcender a técnica e para atrair o olhar do árbitro para o casal. Assim, ambas as modalidades foram salientadas como uma forma artística de expressão. Este estudo aponta a criatividade motora como uma capacidade subjetiva de apresentar soluções originais, diferentes e variadas, como um diferencial, inclusive artístico, para o domínio de técnicas e conhecimentos oriundos dos regulamentos e fundamentos esportivos nestas modalidades focalizadas. Sugerem-se novos estudos que abarquem a criatividade motora no âmbito de outras modalidades esportivas, tendo em vista sua importância, não apenas estética, mas como diferencial de performance.
This thesis is a qualitative research and aims to investigate the parameters of judgment in the subjective perception about motor creativity in the Rhythmic Gymnastics and Dance Sport in the referees and coaches’ point of view. The study allied literature review and exploratory research. The thesis is presented in articles format, which were descriptively analyzed by Content Analysis Technique. The first article was entitled “Production of knowledge about motor creativity” refers to a exploratory survey conducted in journals of the Portal CAPES using the search for full articles in databases in the Health Sciences area, Physical Education and Sports subarea which contained the terms criatividade motora, motor creativity and creatividad motriz in their titles or as subject matter, in order to apprehend the publications in Portuguese, English and Spanish languages. This article 1 aimed to investigate the production of scientific knowledge about motor creativity. Data descriptive analysis showed the scarcity of Portuguese publications and the prevalence of English articles. Publications related to childhood, psychological spheres and creative development prevailed. Rhythmic Gymnastics and Dance were modalities highlighted at the development of motor creativity. For articles 2 and 3, a semi-structured interview was applied to an intentional sample composed by referees and adult coaches with experience in the Rhythmic Gymnastics and / or Sports Dance competitive ambits. The second article, entitled Subjective perception about creativity: gymnastics rhythmic referees and coaches point of view was about the ways as the creativity is perceived in the judgment and in the training of gymnasts participating in these sport competitive events. These results indicated that, for these referees and coaches of GR, creativity is a skill that involves generating the new, the different, the beautiful, what surprises and, besides, to present variety and harmony in the use of body elements. These answers show the need for more accurate ways and clear guidelines on how to evaluate what is artistic. What is recognized as creative is something that becomes dependent on the taste and the referee affinity. Creativity is evaluated by the composition the choreography and is associated with the use of music, the dance steps, the apparatus management and of the masteries, but the rewards for both, may be sacrified, especially when errors occur in the athlete performance. So, technically, what is perceived as creative is assessed in the whole of the presentation, when the gymnast meets the requirements and promotes a show. Artistic, expressive and creative merits reinforce the subjectivity and are factors that guide the decisions in order to define the best gymnast and serie. The third article entitled Subjective perception about creativity: referees and Dance Sport coaches’ vision, investigated the judgment of creativity, in the Dance Sport coaches and referees’ point of view. The colleted data indicate that what is creative is perceived as a knowledge transformed into a new, suitable, expressive and fluid product, related to the music, to the requirements, to the ability to solve problems, to connect with the partner and to move smoothly around the hall. The creativity in competitive events was highlighted as a resource to surprise, to transcend the technique and to attract the referee attention to the couple. Therefore, both modalities were emphasised as an artistic form of expression. This study highlights the motor creativity as a subjective ability to present original, different and varied solutions as a differential, including, the artistic way, for domain technical and the knowledge from the regulations and sporting bases in these focused modalities. However, new studies that encompass motor creativity in the context of other sports in view of its importance, not only aesthetic but as a differential of performance.
This thesis is a qualitative research and aims to investigate the parameters of judgment in the subjective perception about motor creativity in the Rhythmic Gymnastics and Dance Sport in the referees and coaches’ point of view. The study allied literature review and exploratory research. The thesis is presented in articles format, which were descriptively analyzed by Content Analysis Technique. The first article was entitled “Production of knowledge about motor creativity” refers to a exploratory survey conducted in journals of the Portal CAPES using the search for full articles in databases in the Health Sciences area, Physical Education and Sports subarea which contained the terms criatividade motora, motor creativity and creatividad motriz in their titles or as subject matter, in order to apprehend the publications in Portuguese, English and Spanish languages. This article 1 aimed to investigate the production of scientific knowledge about motor creativity. Data descriptive analysis showed the scarcity of Portuguese publications and the prevalence of English articles. Publications related to childhood, psychological spheres and creative development prevailed. Rhythmic Gymnastics and Dance were modalities highlighted at the development of motor creativity. For articles 2 and 3, a semi-structured interview was applied to an intentional sample composed by referees and adult coaches with experience in the Rhythmic Gymnastics and / or Sports Dance competitive ambits. The second article, entitled Subjective perception about creativity: gymnastics rhythmic referees and coaches point of view was about the ways as the creativity is perceived in the judgment and in the training of gymnasts participating in these sport competitive events. These results indicated that, for these referees and coaches of GR, creativity is a skill that involves generating the new, the different, the beautiful, what surprises and, besides, to present variety and harmony in the use of body elements. These answers show the need for more accurate ways and clear guidelines on how to evaluate what is artistic. What is recognized as creative is something that becomes dependent on the taste and the referee affinity. Creativity is evaluated by the composition the choreography and is associated with the use of music, the dance steps, the apparatus management and of the masteries, but the rewards for both, may be sacrified, especially when errors occur in the athlete performance. So, technically, what is perceived as creative is assessed in the whole of the presentation, when the gymnast meets the requirements and promotes a show. Artistic, expressive and creative merits reinforce the subjectivity and are factors that guide the decisions in order to define the best gymnast and serie. The third article entitled Subjective perception about creativity: referees and Dance Sport coaches’ vision, investigated the judgment of creativity, in the Dance Sport coaches and referees’ point of view. The colleted data indicate that what is creative is perceived as a knowledge transformed into a new, suitable, expressive and fluid product, related to the music, to the requirements, to the ability to solve problems, to connect with the partner and to move smoothly around the hall. The creativity in competitive events was highlighted as a resource to surprise, to transcend the technique and to attract the referee attention to the couple. Therefore, both modalities were emphasised as an artistic form of expression. This study highlights the motor creativity as a subjective ability to present original, different and varied solutions as a differential, including, the artistic way, for domain technical and the knowledge from the regulations and sporting bases in these focused modalities. However, new studies that encompass motor creativity in the context of other sports in view of its importance, not only aesthetic but as a differential of performance.
Descrição
Palavras-chave
Criatividade, Movimento, Esporte, Creativity, Movement, Sport, Dança esportiva, Ginástica rítmica, Rhthmic gymnastic, Dance sport