Abstract

As the shaping of the new social landscape founded on audiovisual massification brought significant changes, evidencing historical development and the capacity to configure and reconfigure narratives, places, and objects, thus influencing the human imagination, the way of appreciating, learning, and teaching Art to children has also transformed. Therefore, integrating the fields of audiovisual and Art/Education, this present summary aims to qualify them by focusing on the animated production Naruto, and taking it as an experience that inscribes memories in the child’s body and becomes inherent in its construction as well as in the artistic propositions that the child creates in the classroom, articulating them among performances, videos, drawings, and photographs. The interterritorialities resulting from this process engage with socio/historical contexts and issues, both proposed by the animation itself and by the students, who frequently incorporate the universe of Naruto into the classroom. Thus, it is believed that such a character as an audiovisual narrative should be considered an opportunity to promote actions beyond mere imagination and, in its essence, encompasses themes that problematize and enhance an experience of creation in performative construction whose structure deviates from stereotypes. The phenomenon of reception and conscious consumption of animations transcends children’s imaginary escapades, constituting part of the crossing of the body when learning Art and interacting within and outside the historical-educational system, besides the rigid sculptures imposed by some control systems. The research, of bibliographic and field nature, was conducted at a public school in the south zone of São Paulo/Brazil (EMEF Paulo Setúbal).