The magnifying of the document notion and the transformations in its proper one conception had reached the pedagogical work directly. In the practical one of the classroom, the problematic one concerning a study object can be constructed from the questions placed for the historians or of whom they are part of the representations of the pupils, of form such that they find meant in the content whom they learn. In this way an active attitude in the construction of knowing and the resolution of the learning problems can be obtained of the educandos. It is necessary that if light in consideration the fact of that History excites questions that proper it does not obtain to answer and of that has innumerable possible interpretations of the historical facts. In this in case that, the problematizao is a basic procedure for the historical education.

Another point to be considered is the fact of the classroom to be an environment of diversity, a time that a heterogeneous universe shelters, plural and in constant movement, where each pupil is singular, with an identity originated of its social group, established for values, beliefs, habits, to know, peculiar standards of behaviors, trajectories and diverse cognitivas possibilities in relation to the learning. This mosaic of resultant diversity of the complexity human being, can express greater interest and enthusiasm of the pupils for determined area of the historical knowledge, or, apathy and indifference, what in last case the learning of the pupil would be deeply harmful. Therefore, it is important that the professor is intent the receptividade and the attitudes of the pupils at the moment of study of the contents. Of this form, practical its will not be centered in descontextualizadas information, routine and reproductive answers. The causal analysis is another element to be detached. Traditional education explained History from the identification of the immediate causes longnquas and of the historical facts.

The Samba

The question of the folklore so questioned by being part anonymous demanifestaes and of the traditional popular culture, is seen as ecomo exotic inverdica. The methods of history verbal in show the memory to them of a people, many times forgotten by the society. Carlos Rodrigues Brando in its workmanship ' ' Oque is folclore' ' 6 defends the question of the tradition in the folklore, seen quesuas manifestations corresponds to the expressions making of them popular. The Samba of Coconut is a folclrica dance Brazilian, but vista in diverse regions of peculiar form. Its forms if detach of acordocom each state and reveal the joy of only form. In the workmanship of CmerCascudo ' ' Dictionary of the Brasileiro&#039 Folklore; ' , the author in accordance with detaches ahistria of the coconut samba and its 7 variations estadocorrespondente practical its. The workmanship is a manual of definitions on termospresentes in the Brazilian popular culture. In Lizard, Samba of conhecidaapenas Coconut was a trick in the agricultural zone of the city.

Typically, its estavamrestritas presentations have an only social group. Something similar is what Beatriz &#039 apresentaem its work; ' Taieiras de Sergipe: one dances folclrica' ' 8 identifying to the dynamics and the participation of the festejos atravsdos society of Laranjeiras of the city. The author identifies that in century XIX divisode was visible classrooms in the parties of the city. The rich ones participated in the streets with a' ' Cavalhada' ' or in the great closed halls, they pobresestavam while them limited in lowermost spaces, in the assays of ' ' Reisado and bailespastoris' '. The existing cultural diversity in the Brazilian society reflexo of the mixture of races since the formation of Brazil. The cultural process decade individual established marks in diverse social fields. In the workmanship deSodr, ' ' Synthesis of the history of the culture brasileira' ' the author justifies acultura as a transplantada civilization 9, therefore all the influence foiimposta for the European of brusque form through the settling.