Os movimentos negros dos anos 1970 no ensino de História : impactos na consciência racial e na valorização do cabelo afro no ambiente escolar

Abstract

The present dissertation develops an in-depth search into afro hair as a political, esthetic, and identity symbol in the context of Brazilian Black movements of the 1970s, emphasizing its centrality in the fight against structural racism and the affirmation of Afro-Brazilian culture. It starts from the understanding that the Black body, and particularly the hair, historically subjected to processes of stigmatization, control, and esthetic standardization, has become a powerful instrument of resistance and subjective and collective affirmation. In this sense, the study analyzes how the appreciation of natural hair has become a political practice, articulating identity, self-esteem, and the confrontation of racial hierarchies consolidated in Brazilian society. The research falls within the field of antiracist education and aims to develop and implement pedagogical proposals aimed at elementary school classes, with the goal of contributing to the formation of a critical awareness regarding ethnic-racial relations. It is noteworthy that Black esthetics, especially the appreciation of curly hair and afro hairstyles, has assumed a central role in this historical process by confronting Eurocentric beauty standards and promoting individual and collective empowerment within Black communities. In the methodological scope, various formative and intervention activities were carried out, among which the screening of the documentary "Cabelo Bom" stands out, followed by a discussion circle and guided debate, aimed at stimulating critical reflection among students about racial stereotypes and everyday experiences of discrimination. Furthermore, guided research was conducted in the computer lab, reading and analyzing texts about the Black movements of the 1970s, and developing specific activities on affirmative action policies, with an emphasis on the racial quota system and the procedures of hetero-identification committees, questioning their historical, legal, and social foundations. The analysis also extended to the artistic dimension as a form of activism and political expression, thoroughly investigating the musical and performative esthetics of Gilberto Gil in the 1970s as a manifestation of blackness, cultural resistance, and the symbolic reconfiguration of black identity in the Brazilian artistic scene. In this context, the didactic resources used to support classroom discussions included the songs Sarará Miolo (1973) by Gilberto Gil and A Carne (2002), performed by Elza Soares, understood the cultural productions that articulate social denunciation, identity affirmation, and the resignification of the historical experience of the Black population. The pedagogical proposal is based on the use of music, art, and historical analysis as interdisciplinary tools capable of promoting debate on racism, racial inequality, and representativity. Thus, the theme is mobilized as an educational tool to deconstruct prejudices, foster respect for diversity, and strengthen an education committed to the principles of equity and social justice. In summary, the dissertation aims to provide theoretical-methodological support to teachers, integrating History, Art, Music, and Ethnic-Racial Studies, with a view to constructing critical and inclusive pedagogical practices that recognize and value the Afro-Brazilian legacy, contributing to the formation of conscious, reflective individuals committed to social transformation.