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Native extracurricular teaching in Martinska Posavina
No full textU ovom se radu na primjeru Martinske Posavine raspravlja o izvanučioničkoj nastavi u zavičaju. Martinska Posavina poslužila je kao primjer užeg zavičajnog područja učenika koje je smješteno u nizinskom području uz rijeku Savu i dio je Sisačke Posavine kao nešto šire prostorne cjeline. U ovom kraju djeluje jedna osnovna škola (OŠ „Braća Radić“ Martinska Ves) koju pohađa 103 učenika. Cilj je rada istražiti potencijale Martinske Posavine za ostvarivanje zavičajne izvanučioničke nastave različitih predmeta u razrednoj nastavi. Prvi dio rada je teorijskog karaktera te se u njemu navode osnovna geografska obilježja Martinske Posavine i tematiziraju pojmovi izvanučioničke nastave i načela zavičajnosti. Daje se i kraći prikaz zastupljenosti načela zavičajnosti u aktualnim kurikulumima pojedinih nastavnih predmeta razredne nastave. Drugi dio rada je empirijskog karaktera i u njemu se prezentiraju rezultati intervjua provedenog u travnju 2023. godine s učiteljicama razredne nastave u Osnovnoj školi „Braća Radić“ Martinska Ves. Nastojala su se dobiti mišljenja učiteljica u vezi učinkovitosti izvanučioničke nastave, zadovoljstva učenika, ali i prepreka za njezino učestalije ostvarivanje. Od učiteljica se, nadalje, tražilo da navedu lokalitete u Martinskoj Posavini na kojima je moguće ostvariti neke od ishoda učenja pojedinih nastavnih predmeta. Uz svaki imenovani lokalitet trebalo je navesti jednu ili više nastavnih aktivnosti koje bi se ondje potencijalno mogle realizirati. Učiteljice smatraju kako nastava izvan učionice, u zavičaju učenika, pridonosi lakšem, jednostavnijem i bržem usvajanju nastavnih sadržaja. Kao prepreke učestalijem provođenju ovakvog oblika nastave uglavnom se navode financijske mogućnosti roditelja, pisane suglasnosti za izlazak iz školske zgrade te nedovoljna podrška uprave škole.In this work the example of Martinska Posavina is used as a basis for extracurricular teaching in the homeland. Martinska Posavina is presented as an example of the student inner native area which is located in the lowland area along the Sava river and is part of Sisačka Posavina as a slightly wider spatial unit. There is one elementary school in this area (The Radić Brothers elementary school, Martinska Ves) attended by 103 students. The aim of the work is to explore the potentials of Martinska Posavina for the realisation of native extracurricular classes of different school subjects in the lower elementary teaching. The first part of this work is theoretical and there are mentioned the basic geographical features of Martinska Posavina and the concepts of extracurricular teaching and the principles of nativeness. A shorter description of the representation of the principle of nativeness in the current curriculum of individual school subjects in the lower elementary teaching is also given. The second part of this work has an empirical character and it presents the results of the interview which is done in April 2023 with class-teachers at the Radić Brothers elementary school, Martinska Ves. I tried to get the teachers` opinions regarding the effectiveness of extracurricular teaching, student satisfaction but also the obstacles to its more frequent realisation. The teachers were also asked to name the localities in Martinska Posavina from which it is possible to achieve some of the learning outcomes of some school subjects. One or more teaching activities had to be listed next to the each named locality which could potentially be realised there. Teachers believe that teaching outside the classroom, in the students` homeland, contributes to easier, simpler and faster acquisition of teaching contents. As obstacles to the more frequent implementation of this form of teaching are mostly mentioned – parents` financial capabilities, written consents to leave the school building and insufficient support from the school superiors
Sculptural techniques in classroom teaching
No full textKiparstvo, kao jedna od klasičnih grana likovne umjetnosti, svoje početke bilježi u dalekoj prošlosti. Oblikovanje materijala modeliranjem i klesanjem već se primjenjivalo u prapovijesti, a danas je razvoj novih materijala omogućio brojne tehnike kiparskog izražavanja. No, kiparske tehnike u razrednoj nastavi osnovne škole moraju biti osmišljene i ostvarene u skladu s njihovim psihofizičkim i motoričkim mogućnostima. Nastavni plan i program za osnovnu školu prati razvojne faze učenikova likovnoga izražavanja i stvaranja, pa su i kiparske tehnike usklađene s tim.
U teorijskom dijelu ovog rada prikazan je povijesni razvoj kiparstva kao i njegove osnovne značajke. Ukratko su predstavljene sve kiparske tehnike s posebnim naglaskom na one koje su primjerene razrednoj nastavi. U praktičnom dijelu je provedeno istraživanje putem anketnog upitnika na uzorku od 107 učitelja razredne nastave u Republici Hrvatskoj. Cilj istraživanja je bio ispitati učestalost uporabe kiparskih tehnika u nastavi likovne kulture te koliko su upoznati s kiparskih tehnikama.Sculpture, as one of the classic branches of fine art, has its beginnings in the distant past. The shaping of materials by modeling and carving was already applied in prehistoric times, and today the development of new materials has enabled numerous techniques of sculptural expression. However, sculpting techniques in elementary school classrooms must be designed and implemented in accordance with their psychophysical and motor capabilities. The curriculum for elementary school follows the developmental stages of students' artistic expression and creation, so sculpting techniques are aligned with that.
The theoretical part of this paper presents the historical development of sculpture as well as its basic features. All sculpting techniques are briefly presented, with a special emphasis on those that are suitable for classroom teaching. In the practical part, the research was conducted using a questionnaire on a sample of 107 classroom teachers in the Republic of Croatia. The aim of the research was to examine the frequency of use of sculptural techniques in art classes and how familiar they are with sculptural techniques
EFL teaching methods and techniques in early childhood and prrschool age - children's attitude
No full textU ovom su radu prikazane neke od metoda i tehnika poučavanja engleskoga jezika za koje se smatra da imaju najpovoljniji utjecaj na usvajanje engleskoga jezika u ranoj i predškolskoj dobi.
U teorijskome dijelu ovoga rada prikazan je jezični razvoj djece te različite teorije govorno-jezičnoga razvoja. Brojni su istraživači pokušali objasniti usvajanje jezika i, iako postoje određene razlike u njihovim opisima, vrlo često dolaze do sličnih zaključaka. Utvrđeno je da djeca koja su bila izložena engleskom jeziku u ranoj dobi, u pravilu ostvaruju bolje rezultate kasnije u životu jer brže i lakše usvajaju sadržaje i imaju pozitivan stav prema engleskom jeziku. U radu se stoga daje opis kako djeca rane i predškolske dobi općenito usvajaju jezik te koji sve čimbenici utječu na usvajanje stranoga jezika. Pored navedenoga, detaljno su opisane četiri suvremene metode poučavanja stranoga jezika primjerene za rad s djecom rane i predškolske dobi. U radu se naglašava važnost predškolskih ustanova i uloga odgojitelja u učenju i usvajanju engleskoga jezika kod djece rane i predškolske dobi.
Okosnicu rada čini prikaz rezultata istraživanja provedenog s ciljem da se dobije jasniji uvid u stavove djece vezane uz aktivnosti koje se provode u ranom učenju engleskoga jezika u odabranoj predškolskoj ustanovi. Sudionici istraživanja bila su djeca u dobi od četiri do sedam godina, ukupno njih dvadeset. Na temelju dječjih odgovora, može se zaključiti da su metoda potpunog tjelesnog odgovora (engl. TPR) i situacijsko učenje (engl. SLL) najbolji izbor u poučavanju engleskoga jezika u ranoj i predškolskoj dobi.This thesis presents some of the methods and techniques implemented in teaching the English language that have been found to have the most favourable impact on English as a foreign language (EFL) acquisition in the early childhood and preschool-aged groups.
In the theoretical part of this paper, language development of children and different theories on speech and language development are presented. Numerous researchers have attempted to explain language acquisition in their own way, and even though there are some differences in their descriptions very often they have reached similar conclusions. Children who have been exposed to the English language at an early age, as a rule have been found to achieve better results later in life because they acquire the content faster and more easily, and they have a positive attitude towards the English language. Therefore, this thesis provides a description of how early childhood and preschool-aged children generally acquire language and which factors influence their acquisition. In addition, four contemporary foreign language teaching methods suitable for working with children of early childhood and preschool age are described in detail. This paper emphasizes the importance of early childhood and preschool institutions and the role of preschool teachers in EFL learning and acquisition in early childhood and preschool age.
The main part of this thesis focuses on the results of the research conducted with the aim of gaining a clearer insight into children’s attitudes related to the activities implemented in the early learning of English in the target early childhood and preschool institution. The research participants were twenty children between the ages of four and seven. Based on the children’s responses, it may be proposed that the Total Physical Response (TPR) and Situational Language Teaching (SLL) methods are the best choice for teaching English in this age group
Sound and musical sensibility of twins at an early age
No full textGlazbeni razvoj djece započinje u prenatalnom razdoblju te se nastavlja nakon rođenja. On uvelike ovisi o djetetovom nasljeđu, osobnosti, želji, motivaciji, njegovom obiteljskom okruženju te formalnom i neformalnom obrazovanju. Važno je omogućiti djeci rane dobi poticajno glazbeno okruženje kako bi ona slobodno istraživala, otkrivala svoje potencijale te napredovala u razvoju glazbenih sposobnosti. Provođenjem glazbenih aktivnosti u odgojnoobrazovnim ustanovama može se ostvariti napredak u socijalno-emocionalnom, kognitivnom i psihomotornom razvoju djece.
Cilj ovoga rada je opisati glazbene i ritamske sposobnosti kod djece rane dobi te prikazati njihov prenatalni razvoj. Uz to, u radu su prikazani podaci i rezultati studije slučaja temeljeni na promatranju zvukovnih, odnosno glazbenih interesa i reakcija dvojajčanih blizanaca T. i M. u dobi od 10 do 14 mjeseci. Uz promatranje i analizu provedenih aktivnosti u okviru studije slučaja, proveden je intervju s majkom prije i nakon provođenja istraživanja. Majka B. navodi da je od samog početka primijetila urođenu razliku u interesu i osjetljivosti na zvuk. Također, ona ističe da obojica vole slušati glazbu jer ih ona umiruje. U intervjuu nakon provedenog istraživanja, majka B. navodi da obojica puno bolje reagiraju na zvukove, ali da je M. i dalje osjetljiviji na njih. Također, naglašava da T. i M. jako dobro reagiraju na ritam jer kada im se ritmički otpjeva neka pjesma, tada je njihova pažnja potpuno usmjerena prema osobi koja pjeva.
Promatranjem zvukovnih i glazbenih interesa i reakcija blizanaca tijekom 5 mjeseci utvrđeno je da su prilikom izloženosti zvukovnim podražajima te provođenjem igre i glazbenih aktivnosti, blizanci T. i M. imali različite interese i reakcije, ali i da su im one tijekom određenih mjeseci bile i dosta slične. Dobiveni rezultati odgovaraju rezultatima istraživanja Richardsona i Norgatea (2005) koji su utvrdili da dvojajčani blizanci mogu različito percipirati svoju okolinu te da imaju različite interese i metode usvajanja znanja i vještina.Children's musical development begins in the prenatal period and continues after birth. It largely depends on the child's heritage, personality, desire, motivation, his family environment, and formal and informal education. It is important to provide children with a stimulating musical environment at an early age so that they can explore freely, discover their potential, and advance in the development of musical abilities. By conducting musical activities in educational institutions, progress can be made in the social-emotional, cognitive, and psychomotor development of children.
The aim of this paper is to describe the musical and rhythmic abilities of children born early and to show their prenatal development. In addition, the paper presents the data and results of a case study based on the observation of sound and musical interests and reactions of fraternal twins T. and M. at the age of 10 to 14 months. In addition to the observation and analysis of the conducted activities within the framework of the case study, an interview with the mother was conducted before and after conducting the research. Mother B. states that from the very beginning she noticed an innate difference in interest and sensitivity to sound. Also, she points out that female fans like to listen to music because it soothes them. In an interview after the research, mother B. states that they both react much better to sounds, but that M. is still more sensitive to them. Also, he emphasizes that T. and M. react very well to the rhythm because when a song is sung to them rhythmically, then their attention is completely focused on the person singing.
By observing the sound and musical interests and reactions of the twins over a period of 5 months, it was determined that when exposed to sound stimuli and performing games and musical activities, the twins T. and M. had different interests and reactions, but also that they but also that they were quite similar during certain months. The obtained results correspond to the research results of Richardson and Norgate (2005), who found that fraternal twins can perceive their environment differently and have different interests and methods of acquiring knowledge and skills
ADHD kod djece predškolske dobi
No full textADHD je poremećaj paţnje s hiperaktivnošću koji je vrlo često pojavljuje kod predškolske djece. To je poremećaj kojeg karakteriziraju hiperaktivnost, deficit pažnje te impulzivnost. Ovaj poremećaj se češće dijagnosticira dječacima nego djevojčicama. Zbog svojih simptoma, ova djeca se mogu lako primijetit u društvu, međutim dijagnoza se moţe postaviti oko sedme godine, kada dijete krene u školu. Djeca s ADHD-om često budu izolirana od strane vršnjaka jer oni ne razumiju njihovo ponašanje odnosno njihove simptome. Takva djeca ometaju drugu djecu u igri, nemirna su, stalno se kreću te se neprimjereno ponašaju. Zbog takvih ponašanja ih se miče od društva te djeca bivaju usamljena te mogu razviti druge poremećaje. Kako bi se izbjeglo izoliranje djeteta iz društva potrebno je pravilno postaviti dijagnozu. Za to je zaduženi multidisciplinirani tim uz pomoć ljudi iz djetetovog svakodnevnog života odnosno roditelja i odgojitelja. Kada se dijagnoza postavi, možemo razmišljati o pravilnoj terapiji koja bi poboljšala djetetove simptome. Kako bi terapija bila uspješna, najprije je potrebno da se roditelji i odgojitelji dovoljno educirani o samom poremećaju te pristupu tom djetetu. Uz pravilno liječenje i okolinu punu razumijevanja i podrške simptomi će zasigurno smanjiti svoj intenzitet te omogućiti djetetu normalnije funkcioniranje. Ako se simptomi stave pod kontrolu dijete će moći živjeti uspješan život pun uspjeha i prilika, a društvo će ga prihvatiti.ADHD is an attention deficit hyperactivity disorder that occurs very often in preschool children. It is a disorder characterized by hyperactivity, attention deficit and impulsivity. This disorder is diagnosed more often in boys than in girls. Due to their symptoms, these children can be easily noticed in society, however, the diagnosis can be made around seven years, when the child starts school. Children with ADHD are often isolated by their peers because they do not understand their behavior or their symptoms. These children disturb other children in the game, they are restless, constantly moving and behaving inappropriately. Due to such behaviors, they are removed from society and children become lonely and may develop other disorders. In order to avoid isolating the child from society, it is necessary to make a correct diagnosis. A multidisciplinary team is responsible for this with the help of people from the child's daily life, parents and teachers. Once the diagnosis is made, we can think about the proper therapy that would improve the child's symptoms. In order for therapy to be successful, it is first necessary for parents and educators to be sufficiently educated about the disorder itself and the approach to that child. With proper treatment and an environment full of understanding and support, the symptoms will certainly reduce their intensity and allow the child to function normally. If the symptoms are brought under control, the child will be able to live a successful life full of success and opportunities, society will accept him
Drama activities before and after watching a theater play
No full textOdgojitelji u svojem odgojno-obrazovnom radu trebaju biti svjesni važnosti kuturnog obrazovanja djece kako bi se razvili u pojedince koji imaju stav i osjećaje prema umjetnosti. Kazalište oplemenjuje čovjekov život i tako treba pronaći mjesto u vrtiću kao odgojno-obrazovnoj ustanovi koja holistički pristupa svakom djetetu. Dramski odgoj djeteta obavijen je elementom stvaralačke mašte, koja je ključni element kreativnosti, jer iz nje proizlaze procesi dječjeg doživljaja svijeta koji ga okružuje i sebe kao dijela tog svijeta (Ladika, 1970).
Dobrobiti dramskog odgoja uvelike utječu na dijete sada, no velik utjecaj imaju na izgradnju djetetova kasnijeg života. Odlazak u kazalište na predstavu koja je primjerena dobi djeteta i njegovim interesima te uključivanje dramskih metoda u svakodnevni rad s djecom, utječe na socio-emocionalni razvoj, stvaralaštvo, spoznajni razvoj, suradničko djelovanje, razvija komunikacijske i govorne vještine te pomaže djetetu razumijeti okolinu i sebe (Aćin Thelander i sur., 2015).
Stoga se u teorijskom dijelu rada osvrćem na pojam kazališta za djecu, potom na dobrobiti takvog kazališta na razvoj djeteta, a velik naglasak stavljam na dječju kazališnu publiku kao segment kazališta koji ne smije biti zanemaren, zatim na profile publika ovisno o dobi i važnost odlaska u kazalište. Bavim se i dramskim odgojem, dramskom igrom, klasifikacijom dramskih pojmova te dramskim tehnikama i metodama u radu s djecom rane i predškolske dobi.
Istraživanje je provedeno u dvije odgojno-obrazovne skupine koje su posjetile dvije različite kazališne predstave. Prije odlaska u kazalište provedna je dramska radionica koja je djecu pripremila za odlazak na predstavu uz pomoć dramskih aktivnosti, a radionica poslije gledanja predstve djeci je pružila priliku izraziti se na dramski način nakon odgledane predstave. S djecom i odgojiteljima su provedeni intervjui te su radionice detaljno objašnjene (od cilja svake aktivnosti do provedbe svake aktivnosti), a nakon sve radionice napisana je samorefleksija. U zaključku se osvrćem na važnost dramskog odgoja i kako ga primjeniti u odgojno-obrazovnom procesu.Educators in their educational work need to be aware of the importance of cultural education for children in order to develop individuals who have an attitude and feelings towards art. Theatre enriches a person's life and, as such, should find its place in kindergarten as an educational institution that holistically approaches each child. The dramatic education of a child is enveloped in the element of creative imagination, which is a key element of creativity because it gives rise to processes of a child's experience of the world that surrounds them and themselves as a part of that world (Ladika, 1970).
The benefits of drama education greatly impact a child's present, but they also have a significant influence on shaping the child's later life. Attending age-appropriate theatre performances that align with a child's interests and incorporating dramatic methods into everyday work with children affects socio-emotional development, creativity, cognitive development, collaborative action, communication and speech skills, and helps the child understand their environment and themselves (Aćin Thelander i sur., 2015).
Therefore, in the theoretical part of this work, I focus on the concept of theatre for children, followed by the benefits of such theatre on a child's development, with a major emphasis on the child theatre audience as a segment that must not be overlooked. I also delve into audience profiles based on age and the importance of attending theatre. I explore drama education, dramatic play, the classification of dramatic concepts, as well as drama techniques and methods in working
with children of early and preschool age.
The research was conducted in two educational groups that attended two different theatre performances. Prior to going to the theatre, a drama workshop was conducted, which prepared the children for the performance through various dramatic activities, and after watching the performance, another workshop allowed the children to express themselves in a dramatic way. Interviews were conducted with the children and educators, and the workshops were explained in detail (from the objectives of each activity to the execution of each activity). Following each workshop, a self-reflection was written. In conclusion, I emphasize the importance of drama education and how to implement it in the educational process
Developmental stages of children's artistic expression
No full textSvako se dijete likovno izražava od najranije dobi. Svoju potrebu za likovnim izražavanjem počinje ispunjavati već u drugoj godini života, kada prvi put uzima olovku u ruku. Dječji je crtež prije svega dječji, a potom i likovni izričaj kroz koji dijete prikazuje svoje osjećaje, spoznaje te doživljaj svoje okoline. On je prozor u dječju psihu koji omogućuje odraslima lakše i bolje razumiju svoju djecu. Dječji se crtež po mnogočemu razlikuje od crteža odrasle osobe. Dug je put od ostavljanja prvih tragova na papiru do svjesne primjene likovnoga jezika zbog shvaćanja likovnih vrijednosti i sustava te pravaca u umjetnosti i njihovih razlika. Na tom putu djeca prolaze kroz određene razvojne faze,redoslijed kojih je programiran i jednak za svu djecu. Prirodan je i postupan. Mnogi su stručnjaci još od 19. stoljeća promatrali dječje likovno izražavanje u svrhu otkrivanja razvojnih faza, njihovih obilježja i dobnih granica. U njihovoj distinkciji postoje mnoge sličnosti, ali i razlike,najvidljivije u određivanju vremenskoga trajanja određene faze. Međutim, kroz njihovo se uspoređivanje može doći do zaključka da ih je većina dječji likovni razvoj podijelila na četiri razvojne faze. U ovom završnom radu opisuju se razvojne faze dječjega likovnoga izraza prema nekima od brojnih stručnjaka koji su utjecali na određivanje razvojnih faza kakve danas znamo. Zatim ih se uspoređuje prema njihovim sličnostima i razlikama,uz naglašavanje važnosti dječjega likovnoga izražavanja. Prvi dio ovoga završnoga rada općenito opisuje početke likovnoga stvaralaštva kod djece te naglašava njegovu važnost. Zatim se svaka od četiriju razvojnih faza detaljnije objašnjava kroz primjere. Treći dio obuhvaća razvojne faze prema određenim stručnjacima koje opisuje te potom uspoređuje. U posljednjem dijelu rada govori se o kreativnosti, njezinim stupnjevima i utjecaju na razvoj dječjega likovnoga izražavanja.Every child expresses himself artistically from an early age. He begins to fulfill his need for artistic expression in the second year of life when he first picks up a pencil. A child's drawing is first of all a child's expression, and then an artistic expression through which the child shows his feelings, knowledge, and experience of his environment. It is a window into the child's psyche that allows adults to understand their children more easily and better. A child's drawing differs from an adult's drawing in many ways. It is a long way from leaving the first traces on paper to the conscious application of artistic language due to the understanding of artistic values and systems as well as trends in art and their differences. Along the way, children go through certain developmental stages. The sequence of these developmental stages is programmed and equal for all children. It is natural and gradual. Since the 19th century, many experts have observed children's artistic expression in order to discover developmental stages, their characteristics, and age limits. In their distinction, there are many similarities, but also differences that are most visible in determining the time duration of a certain phase. However, by comparing them, one can come to the conclusion that the majority divided children's artistic development into four developmental stages. This final paper describes the developmental stages of children's artistic expression according to some of the numerous experts who had an influence in determining the developmental stages as we know them today. Then he compares them according to their similarities and differences, and in addition, emphasizes the importance of children's artistic expression. The first part of this final paper generally describes the beginnings of artistic creativity in children and emphasizes its importance. Then he explains each of the four development stages in a little more detail through examples. The third part covers the development stages according to certain experts, which it describes and then compares. And the last part of this final paper talks about creativity, its degrees, and its influence on the development of children's artistic expression
The influence of Frida Kahlo's artworks on preschool children
No full textLikovnost se može pronaći u svemu i nalazi se svuda oko nas. Kod djece potreba za likovnim izražavanjem dolazi spontano i prirodno kroz istraživanje te igru koja je najprirodnije stanje djeteta. Za ljubav prema likovnom stvaralaštvu ključno je od najranijih dana djecu uključiti u likovni odgoj i obrazovanje, a jedan od bitnih dijelova likovnog obrazovanja je upravo upoznavanje s umjetničkim djelima raznih autora. Interakcija djece s umjetničkim djelom drugog umjetnika posebna je komunikacija u kojoj odgojitelj igra ključnu ulogu. Djeca će svoju interpretaciju umjetničkog djela kvalitetno izraziti u slučaju da je djelo korišteno kao poticaj, a ne kao šablona koju će pokušavati replicirati. Važan je odabir djela koja su pogodna za dob djece, kao i odabir tematike i tehnike. Prije samog likovnog izražavanja važne su i predaktivnosti u obliku razgovora, igara, literarnih djela, plesa, pjevanja ili muziciranja.
Ciljevi ovoga rada bili su dokazati kako se svakog umjetnika unatoč njegovoj eksplicitnosti koja se može učiniti kao neprihvatljiva za dječje oči, može djeci prikazati zanimljivim ukoliko se pomno proberu djela koja će djeci biti ponuđena, kao i dokazati važnost
otvorenog razgovora s djecom o motivima poput boli, patnje i tuge i suočavanjem s takvim emocijama kroz likovni izraz. U prvoj cjelini rada teorijski se obrađuje umjetnica Frida Kahlo, kao i njena autorska djela koja su djeci ponuđena. Obrađuju se i teme usko vezane uz dječje likovno stvaralaštvo, poput četiri faze likovnog stvaralaštva te pravilna podrška odgojitelja kroz likovno izražavanje. Sinteza autorskih djela poznatih umjetnika i dječjeg likovnog stvaralaštva je metoda estetskog transfera obzirom da je razvojem te metode shvaćen pravilan način prenošenja estetskih ideja umjetnika djeci predškolske dobi. U drugoj cjelini rada prikazani su dječji likovni izrazi kao i njihove misli, osjećaji i strepnje kroz proces likovnog stvaralaštva. Uspješno su prikazane specifičnosti umjetnice Fride Kahlo koja je unatoč teškim emocijama koje kroz svoja djela prenosi vrlo interesantna djeci zbog svog neobičnog stila, živopisnih motiva koji stapaju čovjeka, životinju i prirodu u jednu cjelinu, kao i zbog intenzivnih boja i kontrastne palete boja koju upotrebljava. Rezultati ovog rada pokazali su kako su djeca vrlo motivirana i zainteresirana za djela navedene umjetnice i da im je najbitnije bilo smisleno ući u aktivnost kroz motivacijske aktivnosti te da su tijekom procesa slikanja tražili podršku odrasle osobe koja ih je potakla na daljnje stvaranje.Art can be found in everything and is everywhere around us. The need for artistic expression in children comes spontaneously and naturally through exploration and play, which is the most natural state of a child. For the love of art creation, it is crucial to include children in art education from their earliest days and one of the essential parts of art education is proper introduction to the artworks of various authors. Children's interaction with another artist's work of art is a special communication in which the preschool teacher plays a key role. Children will express their interpretation of a work of art well if the work is used as a stimulus and not as a template that they will try to replicate. It is important to choose works that are suitable for the age of the children, as well as the choice of subject matter and technique. Before artistic expression itself, pre-activities in the form of conversations, games, literary works, dancing, singing or playing music are important.
The purpose of this paper was to prove that any artist, despite his explicitness, which can be seen as unacceptable for children's eyes, can be shown as interesting to children if the works that are offered to children are carefully examined, as well as to prove the importance of open discussion with children about motives such as pain , suffering and sadness and dealing with such emotions through artistic expression. In the first part of the work, the artist Frida Kahlo is examined theoretically, as well as her artworks that are offered to children. Topics closely related to children's artistic creation are also covered, such as the four stages of artistic creation and the proper support of preschool teacher through artistic expression. The synthesis of the original works of famous artists and children's artistic creation is a method of aesthetic transfer, given that with development of this method the proper way of transferring the aesthetic ideas of artists to children of preschool age was understood. In the second part of the work, children's artistic expressions are shown, as well as their thoughts, feelings and fears through the process of artistic creation. The specifics of Frida Kahlo are successfully presented who despite the difficult emotions she conveys through her works, is very interesting to children because of her unusual style, vivid motifs that merge man, animal and nature into one whole, as well as the intense colors and contrasting color palette she uses The results of this work showed that the children are very motivated and interested in artworks of the mentioned artist and that it was most important for them to enter the activity meaningfully through motivational activities and that during the painting process they sought the support of an adult which encouraged them to continue creating
Attitudes of Kindergarten Teachers About the Spatial and Material Kindergarten Environment
No full textKvaliteta prostornog i materijalnog okruženja usko je povezana s kvalitetom odgojnoobrazovnog procesa (Nacionalni kurikulum za rani i predškolski odgoj i obrazovanje, 2014). Kako bi pridonijeli cjelokupnom razvoju djece, odgojitelji trebaju znati način kako djeca uče i kako teče razvoj djece od najranije dobi. Uloga odgojitelja je prepoznati interese djece, a prostorno i materijalno okruženje mijenjati i nadopunjavati ovisno o dobi, interesima i stupnju razvoja djece s kojom rade. Na uzorku od 71 ispitanika provelo se kvantitativno istraživanje s ciljem dobivanja uvida u stavove odgojitelja o prostornom i materijalnom okruženju u dječjem vrtiću, odnosno sobi dnevnog boravka u kojoj rade. Anketa je ispitanicima ponuđena u obliku online obrasca. Iz dobivenih rezultata zaključuje se da odgojitelji, bez obzira na godine radnog staža, prostorno i materijalno okruženje smatraju važnim i mijenjaju ga ovisno o interesima djece, odnosno više puta godišnje. Istraživanjem je uočeno kako edukacije na temu prostornomaterijalnog okruženja već dulje vremena nisu dostupne, posljednja edukacija vezana uz prostorno okruženje prema AZOO održana je u veljači 2019. godine pod temom „Organizacija prostora i vremena kao bitnih čimbenika zdravoga razvoja djece u dječjem vrtiću“. Obzirom na iskazani interes ispitanika u ovom istraživanju, u praksi je vidljiva potreba za seminarima i radionicama na temu prostornog i materijalnog okruženja.The quality of spatial and material environment is closely connected with the quality of educational process (National curriculum for early and preschool education, 2014). To contribute to the overall development of children, preschool teachers should be familiar with the learning and development processes of children since early childhood. The role of preschool teachers is to recognise the interests of children and to adapt and modify the spatial and material environment depending on the age, interests and development stage of children they work with. A quantitative study was performed on a sample of 71 subjects in order to gain insight into the standpoints of preschool teachers regarding the spatial and material environment in kindergartens, i.e. kindergarten classrooms. The questionnaire was submitted to the study subjects in the form of an online template. The obtained results indicated that the preschool teachers, regardless of the duration of their professional experience, were of the opinion that the spatial and material environment was of great significance and that it should be adapted to the interests of children on several occasions annually. The results of the study showed that the training programmes on the topic of spatial/material environment had not been available for some time. According to the information obtained from the Education and Teacher Training Agency (AZOO), the last such training programme called “Organisation of Space and Time as Significant Factors in Healthy Development of Children in Kindergartens” took place in February 2019. Considering the expressed interest of the study subjects, the conclusion was that there existed a high need for seminars and workshops on the topic of spatial/material environment in the professional context
Encouraging the creativity of preschool children
No full textPoticanje kreativnosti u ranom odgoju i obrazovanju ima veliku ulogu u daljnjem dječjem razvijanju kao i stvaranju pozitivne slike o samome sebi. Djeca se likovno izražavaju od najranije dobi i pritom odgojitelji trebaju poznavati kako i na koji način poticati djetetovo stvaralašto ovisno o dobi djeteta.
Stoga se u teorijskom dijelu ovoga rada nalaze pojašnjenja što se smatra kreativnošću, koji su razvojni stupnjevi kreativnosti i kako ju poticati. Također velika se važnost pridodaje i samoj motivaciji za likovno stvaralaštvo.
Uključen je i opis likovnih materijala i same likovnosti kao takve. Likovni materijali također se moraju voditi prema dobi djeteta i pristupačnosti korištenja određenog materijala.
Uz teorijski uključen je i praktični dio. U praktičnom djelu je provedena aktivnost „Priča iz vrećice“ na temelju koje su djeca oslikavala neki motiv, scenu ili lika. Djeca su se koristila olovkom za postavljanje crteža te tempere za oslikavanje.
Nastala su dva rada koja su potom dodatno oslikana, ali ovaj put ih nije oslikavalo dijete već odrasla osoba.
Cilj rada je bio usporediti dječju kreativnosti s kreativnošću odrasle osobe.
U zaključku, vodeći se prema dječjom kreativnošću, način rada djeteta i odrasle osobe znatno se razlikuje. Djeci nije bila potrebna neka velika aktivnost kako bi kreirali nešto novo. U suprotnosti odrasloj osobi bi trebalo znatno više poticaja i promišljanja kako bi se dobio jednak finalni produkt.
Stoga, ne smijemo zanemarivati konstantno poticanje kreativnosti kroz odrastanje jer bi se tada kreativnost svakog pojedinca uvelike smanjila i društvo kao takvo bi zaboravilo kako je to stvarati kao dijete.Encouraging creativity in early education plays a big role in children's further development as well as creating a positive self-image. Children express themselves artistically from an early age, and educators should know how and in what way to encourage the child's creativity, depending on the child's age.
Therefore, in the theoretical part of this work, we find what is considered creativity, what are the developmental stages of creativity and how to encourage it. Great importance is also attached to the very motivation for crerativity.
A description of art materials and art itself as such is also included. Art materials must also be guided by the age of the child and the accessibility of using certain materials.
This paper also includes a practical part. In the practical part, the activity "Story from a bag" was carried out, on the basis of which the children depicted a motif, scene or character. The children used pencils for drawing and tempera for painting.
Two works were created which were then additionally painted, but this time they were not painted by a child but by an adult.
The aim of the paper is to compare children's creativity with the creativity of adults.
In conclusion, based on children's creativity, the way a child and an adult work is significantly different. Children didn't need any big activity to create something new. In contrast, an adult would need much more encouragement and thought in order to get the same final product.
Therefore, we must not neglect the constant stimulation of creativity through growing up, because then the creativity of each individual would be greatly reduced and society as such would forget what it is like to create as a child