Por Uma Educação Democrática, Pública E Da Decisão: Entrevista Com Licínio C. Lima

Abstract

Educação em Revista | Belo Horizonte|v.36|e219832|2020 councils and coordination centers at University of Minho. Ruth Pavan: In the book Educação ao longo da vida: entre a mão direita e a mão esquerda de Miró [Lifelong Education: between Miro's right hand and left hand, in a free translation], both in the introduction and along the book, you have suggested that we could follow Miro's example, poetically addressed by Joao Cabral de Melo Neto in the poem Yes against Yes (LIMA, 2007). Besides the irreproachable approximation between education and poetry, I would emphasize that it is a Brazilian poem. How has the presence of Brazil become so frequent and pertinent in your writings-in this case, with Brazilian poetry-and how can poetry contribute to education in times of technicist views of education that are "as dominant as exhausted" (LIMA, 2007, p. 34), as you have written in you book? Licínio C. Lima: The title of the book is Educação ao longo da vida: entre a mão direita e a mão esquerda de Miró; it is a metaphor that drew my attention and even made things difficult, but it filled me with enthusiasm to do research. I have a reasonable knowledge of Brazilian literature; I know the whole work by Joao Cabral. We just read and interpret things, in a way, in accordance with the moment while we are working. Probably, I would not have paid attention to that poem if I were not working with that theme at that moment. Joao Cabral says that Miro came to a deadlock, since he painted so well, his right hand was so precise, so knowledgeable, so competent, so able, and so skillful, that he could not invent anything. He had reached the highest level of competence. Then the writer, poetically regarding Miro's situation, says that the painter experienced a deadlock, a crisis, because in order to conceive new things, to keep painting new things, he would have to relearn the new, hence, he had to give up, to give up that skill, that mastering, that dexterity, that competence. He tried to do that by cutting off his left hand and putting it in his right arm. He made several attempts and, in the end, he found out he had to paint with his left hand. His left hand is unskillful, incompetent, it is not precise, it has huge difficulties, but that hand is actually willing to learn, and relearn at each line, as the poem says, and this metaphor served me well. It seems to me that the right hand has prevailed. The right hand in lifelong education is the skillful hand to compete in the work market, in economy, in employability, in entrepreneurship, in economically valuable skills. It is just part of lifelong education, just part