INTRODUCTION
The present work has as objective to discuss as the creativity it is being treated in class room, specifically in the ambit of the Special Education and, in particular, with mental deficient students.
However, initially we will tell facts that impelled our concern with the creativity in class room, so much in the regular teaching as in the Special Education.
In what says respect to the concern with the creativity in the regular teaching we will pass, to tell a fact happened five years ago. A gentleman sought us with the purpose an attendance for its son with the complain that this was with aversion to the school. For occasion of the firs interview, we tried to investigate the reason of the complaint. According to the father's report, the son frequented to 5th year of fundamental teaching and "It had removed zero in the Artistic Education and it will be reprove". We thought immediately: "Zero". That is that we called surprise. Then, we continued the interview trying to know with larger details on the origin of the "Zero". The father told us that the son had painted the green horse and the teacher said that "green horse didn't exist".
The interview continued and we were still more concerned because, according to the accompanied of the exhibition of the work father's report made by the son, we could observe that the teacher had distributed for each student a paper (size A4) contends the drawing of a horse mimeographed to be colored.
Continuing the interview, we could investigate, still, that student with 11 years of age frequently "changed colors", mainly, "red and green".
The direction to the case was the following: we suggested an exam for identification of the problem of the change of colors. Obviously, this exam delayed some time (one month) to be effectuate. And, meanwhile, the student continued with the "zero" in the Artistic Education.
The student was "saved" by the result of the exam : positive problem . It put an end the "suffering" to relationship to the punishment for the use of the changed colors. Even se, the freedom of "creating the drawing" in class room didn't end : the execution of the painting continued in drawings mimeographed.
This report we send to the following interrogation : How is the creativity being treat in class room?
Now we will start to tell the concern with the creativity in the Special Education and, particularly, in the class room for deficient mental.
Frequently we visit to the class rooms of specialized institutions and, a lot of times, we came across the fact narrated to proceed
The teachers place a clothesline in the posterior part of the class room and there they expose "the students' graphic works". However, as information given by the own teachers, only place in the exhibition the best drawings and/or paintings. And, for incredible that it seems, these drawings and/or paintings are not products of the student's creativity. They are paintings accomplished in drawings mimeographed and, in the case of perfection, as prize, they are exposed in the clothesline.
Again it comes us to mind the following interrogation: "How is the student's creativity being treated in the class room for deficient mental?".
And, we cannot speak about creativity without we think of arts.
DEVELOPMENT
Through the history of the civilization, we know that , from the antiquity the man is used the expression of feelings, of knowledge and of values through the art and, until today, it continues to express its life way through artistic representations. We observed, like this, that the art is the first form of the man's communication. Even before learning to write, the prehistoric man drew and he painted in the walls of the caves. He also made use of the music, of the theater and of the dance to express its emotions and feelings ( Pereira and Costa, 1998). Its creativity was expressed through the arts.
For Duarte Jr. (1998, p.18), "the art is always product of a culture and of a certain historical period. In her the feelings of a people are expressed with relationship to the human subjects, as they are interpreted and lived in its atmosphere and in its time. Through the art we have access to that dimension of the life cultural non explicit. formulated in the other constructions 'rational' (science and philosophy)".
We verified, therefore, that, with passing of the times, the art assumed many meanings and different social functions ( Pereira and Costa, 11998). Therefore, nothing escaped from the imagination, of the drawing, of the painting, of the sculpture and to of the dance and of the music. Thus, we considered the art of fundamental importance in the people's day-to-day and of the society, once it reflects behaviors of the creative activity of the man to the operate with middle where is inserted.
As the art was seen is rights for its existence, however, we observed in the educational way, as discipline (Artistic Education), it is more gone back to the preparation of commemorative parties and even acquires an aspect, that we can infer, mechanic through drawings mimeographed. As the examples mentioned previously ( Pereira and Costa, 1998, p.320)
The Artistic Education, as discipline, is in charge of, mainly, with the student's formation as human being, as citizen integrated in its social context; that through the work artistic search to develop the perception and the sensibility for the creation ( Hosoume, Lima, Hosoume, Goes and Costa, 1998).
Thus, so much in the 'Regular Teaching' as in the Special Education, the fundamental presuppositions are the same ones: they seek the individual's full development. Consequently, in the current historical moment when the education is proclaimed "for everybody", obviously cannot exclude the mental deficient students. Therefore, this aims us that should be to provide 'adaptations' so that everybody has access to the artistic activities, developing like this its creativity ( Hosoume et alii,1998).
Certainly, for the fact of the school to be characterized as a place in that works him the "knowledge" in its dimension 'rationality" and, for not being this the characteristic in the teaching of arts, a tendency exists in considering the Artistic Education as a "decoration" and, consequently, outlying to the curriculum (Sans,1994).
Parents and educators, generally, agree that it is very important to develop the creativity, but all time that a plan of activities is delineated with end, everybody disagrees under several aspects. Among the most common excuses it is always placed that such activities represent an expense of useless time, when there is so much thing 'to learn' as if they were not sufficiently proven the cognitive contents of the process of the creation (Derdyk, 1989 and Hosoume et alii, 1998).
With a space guaranteed for the creativity through the Artistic Education, what wanted it is to provide to the mental deficient student opportunities of experiences in different situations so that he learns how to live in group and discover its rich interior world. The conviviality with those differences should be stimulated and not annulled. The mental deficient student will discover behaviors different from yours and he will learn how to live together with people that think and they act in ways, different from yours (Derdyk, 1989 and Hosoume et alii, 1998).
When being born, all the people possess the potentiality of creating. However, "probably, most loses it when becoming with culture"( Marlow, mentioned in Telford and Sawrey, 1978, p.198). This because, "The relationship between intelligence and creativity in all its width is not still known. However, it is known that some intelligence is necessary to the creative activity. To and from, "a high intelligence level doesn't translate a creativity" warranty (Hosoume et alii, 11998, p 332).
The studies aim that the child with cognitive défict goes by the same stages of the development of the infantile drawing that other children. Considering that there is differentiation between the potential and the form of the child's development, it is natural that the transformations for the which it passes are also different. Those transformations are happened in a continuous way starting from the infantile experience. Thus, a child can go by several stages of its development 'artistic' of the three to the six years while other alone one later reach the same development degree; in more serious cases, they won't get to surpass the phase of the scrawl. We owed, therefore, to look at for besides the limits of the intelligence in order to we understand the creativity. This evidences that the space for the creativity should be part of the work with mental deficient students.
We observed that mental deficient children exposed to experiences can develop its creativity ( Hosoume et alii, 1998). However, for this to happen is necessary we offer conditions for these they develop its creative and spontaneous potentialities. The to be fact always if transforming gives to the child a curious, attentive and experimental spirit and it is in the school, during the activities, that should be provided experiences of different situations so that she learns how to live in group and to stimulate its creativity.
We concluded the present work waiting that our concern on as the creativity it is being ( badly) treated in class room it is only ours. We waited, also, that the told facts have been odd, that is to say, that other teachers in the classes of Artistic Education have never given paper with drawing mimeographed to be painted by mental deficient student. Finally, we want to ratify our optics that we should look at in creativity terms for besides the limits of the intelligence.
BIBLIOGRAPHICAL REFERENCES
DERDYK, E. Form of thinking the drawing: the development of infantile graphic. São Paulo: Scipione, 1989.
DUARTE JR., J. F. Why art-education? Campinas: Papirus, 1991.
DUARTE JR., J. F. Aesthetic foundations of the education. Campinas: Papirus, 998.
HOSOUME,E.;LIMA, I. R.; HOSOUME, S. M.; GOES, V. M.; COSTA, M.P.R. Importance of the experiences for the deficient mental in its production creator.In: Annals of III Ibero-American Congress of Special Education, Vol. 2, p. 332-333, 1998.
PEREIRA, J.L.; Costa, M. P. R. Education and visual deficiency: the contribution of the Arts in the formation. In Annals of III Ibero-American Congress of Special Education, Vol. 3, p. 320-322, 1998.
SANS, P. T. The child and the artist: foundations for the teaching of the plastic arts. Campinas: Papirus, 1998.
TELFORD, C.; SAWREY, J. M. The Exceptional. Rio de Janeiro: Zahar, 1878.
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