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Traditional dances in primary education - example of Ksaver Šandor Gjalski School, Zabok
No full textFolklor predstavlja stvaralaštvo utemeljeno na tradiciji neke kulturne zajednice, izražavajući
kulturni i socijalni identitet te zajednice. Tradicijski plesovi su autentični, originalni i estetski
vrijedni izrazi kulture, prenošeni usmenom predajom. Oni čine dio običaja, obreda i života
zajednice, te simboliziraju zajednički život naroda. Svaki kraj ima svoje specifične plesove koji
odražavaju stil života i identitet te regije. Iznimno su važni u dječjim životima, te su sve više
poželjni u odgoju i obrazovanju djece, iako je njihova zastupljenost u obrazovanju još uvijek
jako niska. No, tradicijski plesovi imaju zaista puno prednosti i pozitivnih učinaka na razvoj
djeteta, oni oblikuju pokrete tijela, potiču kreativnost, razvijaju samopouzdanje i osjećaj
pripadnosti grupi. Autentični su, originalni i estetski vrijedni, predstavljajući oblik
komunikacije, stil života i nacionalnog identiteta. Učenje tradicijskih plesova omogućuje djeci
da se povežu s kulturom i identitetom te očuvaju kulturno naslijeđe za buduće generacije, a
ujedno nosi pozitivno djelovanje na cjelokupni dječji organizam. U radu se naglašava važnost
dječjeg folklornog stvaralaštva kao i sve sastavnice istog. Tradicionalna dječje igre, brojalice i
dječje pjesme važan su faktor jer potiču glazbeno-govornu komunikaciju, razvijaju glazbene
sposobnosti, socijalizaciju i kreativnost djece. Uz to, izražavaju dječji način percipiranja
stvarnosti i duboko ukorijenjenu tradiciju. Naravno, u radu s djecom, sam odabir primjerenih
plesova, prilagođavanje intenziteta rada i postupno uvježbavanje koraka veoma su važni. Djeca
trebaju započeti s lokalnim tradicijskim plesovima kako bi razvijala vlastiti plesni stil i
autentično interpretirala plesnu tradiciju. Upravo zbog toga, svi primjeri dječjeg stvaralaštva
porijeklom su iz Zagorja, baš kao i primjer projekta kojim se tradicijski plesovi i dječje
folklorno stvaralaštvo implementiraju u odgoj i obrazovanje. Navedeni projekt pokazatelj je
kako se tradicijski plesovi bez problema mogu uključiti u obrazovanje, ali i kako donose pregršt
pozitivnih učinaka na djecu. Iako je zasad još uvijek manjak takvih primjera, nadam da će u
budućnosti broj istih porasti te da će nekolicina postojećih potaknuti učitelje na aktivno
njegovanje tradicijskih plesova i kulture u školstvu, što je upravo i cilj ovog rada.Folklore represents creative expressions rooted in the tradition of a cultural community,
expressing the cultural and social identity of that community. Traditional dances are authentic,
original, and aesthetically valuable forms of cultural expression, transmitted orally. They are
part of customs, rituals, and community life, symbolizing the collective life of a nation. Each
region has its specific dances that reflect the lifestyle and identity of the area. They play a
significant role in children's lives and are increasingly desired in their education, although their
presence in education is still low. However, traditional dances have many benefits and positive
effects on child development. They shape body movements, foster creativity, develop selfconfidence, and a sense of belonging to a group. They are authentic, original, and aesthetically
valuable, representing a form of communication, lifestyle, and national identity. Learning
traditional dances allows children to connect with culture and identity and preserve cultural
heritage for future generations while positively impacting the overall well-being of children.
The importance of children's folklore creation and its components are emphasized. Traditional
children's games, rhymes, and songs are essential as they promote musical-linguistic
communication, develop musical abilities, socialization, and children's creativity. They express
children's way of perceiving reality and deeply rooted tradition. Of course, in working with
children, the selection of appropriate dances, adjusting the intensity of work, and gradually
mastering the steps are crucial. Children should start with local traditional dances to develop
their unique dance style and authentically interpret dance traditions. Therefore, all examples of
children's creation come from the Zagorje region, just like the project example that implements
traditional dances and children's folklore creation in education. This project serves as an
indication of how traditional dances can easily be integrated into education and the multitude
of positive effects they bring to children. Although there is currently a lack of such examples,
it is hoped that their number will increase in the future and that existing examples will
encourage teachers to actively cultivate traditional dances and culture in education, which is
precisely the goal of this work
Traditional dances in primary education - example of Ksaver Šandor Gjalski School, Zabok
No full textFolklor predstavlja stvaralaštvo utemeljeno na tradiciji neke kulturne zajednice, izražavajući
kulturni i socijalni identitet te zajednice. Tradicijski plesovi su autentični, originalni i estetski
vrijedni izrazi kulture, prenošeni usmenom predajom. Oni čine dio običaja, obreda i života
zajednice, te simboliziraju zajednički život naroda. Svaki kraj ima svoje specifične plesove koji
odražavaju stil života i identitet te regije. Iznimno su važni u dječjim životima, te su sve više
poželjni u odgoju i obrazovanju djece, iako je njihova zastupljenost u obrazovanju još uvijek
jako niska. No, tradicijski plesovi imaju zaista puno prednosti i pozitivnih učinaka na razvoj
djeteta, oni oblikuju pokrete tijela, potiču kreativnost, razvijaju samopouzdanje i osjećaj
pripadnosti grupi. Autentični su, originalni i estetski vrijedni, predstavljajući oblik
komunikacije, stil života i nacionalnog identiteta. Učenje tradicijskih plesova omogućuje djeci
da se povežu s kulturom i identitetom te očuvaju kulturno naslijeđe za buduće generacije, a
ujedno nosi pozitivno djelovanje na cjelokupni dječji organizam. U radu se naglašava važnost
dječjeg folklornog stvaralaštva kao i sve sastavnice istog. Tradicionalna dječje igre, brojalice i
dječje pjesme važan su faktor jer potiču glazbeno-govornu komunikaciju, razvijaju glazbene
sposobnosti, socijalizaciju i kreativnost djece. Uz to, izražavaju dječji način percipiranja
stvarnosti i duboko ukorijenjenu tradiciju. Naravno, u radu s djecom, sam odabir primjerenih
plesova, prilagođavanje intenziteta rada i postupno uvježbavanje koraka veoma su važni. Djeca
trebaju započeti s lokalnim tradicijskim plesovima kako bi razvijala vlastiti plesni stil i
autentično interpretirala plesnu tradiciju. Upravo zbog toga, svi primjeri dječjeg stvaralaštva
porijeklom su iz Zagorja, baš kao i primjer projekta kojim se tradicijski plesovi i dječje
folklorno stvaralaštvo implementiraju u odgoj i obrazovanje. Navedeni projekt pokazatelj je
kako se tradicijski plesovi bez problema mogu uključiti u obrazovanje, ali i kako donose pregršt
pozitivnih učinaka na djecu. Iako je zasad još uvijek manjak takvih primjera, nadam da će u
budućnosti broj istih porasti te da će nekolicina postojećih potaknuti učitelje na aktivno
njegovanje tradicijskih plesova i kulture u školstvu, što je upravo i cilj ovog rada.Folklore represents creative expressions rooted in the tradition of a cultural community,
expressing the cultural and social identity of that community. Traditional dances are authentic,
original, and aesthetically valuable forms of cultural expression, transmitted orally. They are
part of customs, rituals, and community life, symbolizing the collective life of a nation. Each
region has its specific dances that reflect the lifestyle and identity of the area. They play a
significant role in children's lives and are increasingly desired in their education, although their
presence in education is still low. However, traditional dances have many benefits and positive
effects on child development. They shape body movements, foster creativity, develop selfconfidence, and a sense of belonging to a group. They are authentic, original, and aesthetically
valuable, representing a form of communication, lifestyle, and national identity. Learning
traditional dances allows children to connect with culture and identity and preserve cultural
heritage for future generations while positively impacting the overall well-being of children.
The importance of children's folklore creation and its components are emphasized. Traditional
children's games, rhymes, and songs are essential as they promote musical-linguistic
communication, develop musical abilities, socialization, and children's creativity. They express
children's way of perceiving reality and deeply rooted tradition. Of course, in working with
children, the selection of appropriate dances, adjusting the intensity of work, and gradually
mastering the steps are crucial. Children should start with local traditional dances to develop
their unique dance style and authentically interpret dance traditions. Therefore, all examples of
children's creation come from the Zagorje region, just like the project example that implements
traditional dances and children's folklore creation in education. This project serves as an
indication of how traditional dances can easily be integrated into education and the multitude
of positive effects they bring to children. Although there is currently a lack of such examples,
it is hoped that their number will increase in the future and that existing examples will
encourage teachers to actively cultivate traditional dances and culture in education, which is
precisely the goal of this work
Traditional dances in primary education - example of Ksaver Šandor Gjalski School, Zabok
No full textFolklor predstavlja stvaralaštvo utemeljeno na tradiciji neke kulturne zajednice, izražavajući
kulturni i socijalni identitet te zajednice. Tradicijski plesovi su autentični, originalni i estetski
vrijedni izrazi kulture, prenošeni usmenom predajom. Oni čine dio običaja, obreda i života
zajednice, te simboliziraju zajednički život naroda. Svaki kraj ima svoje specifične plesove koji
odražavaju stil života i identitet te regije. Iznimno su važni u dječjim životima, te su sve više
poželjni u odgoju i obrazovanju djece, iako je njihova zastupljenost u obrazovanju još uvijek
jako niska. No, tradicijski plesovi imaju zaista puno prednosti i pozitivnih učinaka na razvoj
djeteta, oni oblikuju pokrete tijela, potiču kreativnost, razvijaju samopouzdanje i osjećaj
pripadnosti grupi. Autentični su, originalni i estetski vrijedni, predstavljajući oblik
komunikacije, stil života i nacionalnog identiteta. Učenje tradicijskih plesova omogućuje djeci
da se povežu s kulturom i identitetom te očuvaju kulturno naslijeđe za buduće generacije, a
ujedno nosi pozitivno djelovanje na cjelokupni dječji organizam. U radu se naglašava važnost
dječjeg folklornog stvaralaštva kao i sve sastavnice istog. Tradicionalna dječje igre, brojalice i
dječje pjesme važan su faktor jer potiču glazbeno-govornu komunikaciju, razvijaju glazbene
sposobnosti, socijalizaciju i kreativnost djece. Uz to, izražavaju dječji način percipiranja
stvarnosti i duboko ukorijenjenu tradiciju. Naravno, u radu s djecom, sam odabir primjerenih
plesova, prilagođavanje intenziteta rada i postupno uvježbavanje koraka veoma su važni. Djeca
trebaju započeti s lokalnim tradicijskim plesovima kako bi razvijala vlastiti plesni stil i
autentično interpretirala plesnu tradiciju. Upravo zbog toga, svi primjeri dječjeg stvaralaštva
porijeklom su iz Zagorja, baš kao i primjer projekta kojim se tradicijski plesovi i dječje
folklorno stvaralaštvo implementiraju u odgoj i obrazovanje. Navedeni projekt pokazatelj je
kako se tradicijski plesovi bez problema mogu uključiti u obrazovanje, ali i kako donose pregršt
pozitivnih učinaka na djecu. Iako je zasad još uvijek manjak takvih primjera, nadam da će u
budućnosti broj istih porasti te da će nekolicina postojećih potaknuti učitelje na aktivno
njegovanje tradicijskih plesova i kulture u školstvu, što je upravo i cilj ovog rada.Folklore represents creative expressions rooted in the tradition of a cultural community,
expressing the cultural and social identity of that community. Traditional dances are authentic,
original, and aesthetically valuable forms of cultural expression, transmitted orally. They are
part of customs, rituals, and community life, symbolizing the collective life of a nation. Each
region has its specific dances that reflect the lifestyle and identity of the area. They play a
significant role in children's lives and are increasingly desired in their education, although their
presence in education is still low. However, traditional dances have many benefits and positive
effects on child development. They shape body movements, foster creativity, develop selfconfidence, and a sense of belonging to a group. They are authentic, original, and aesthetically
valuable, representing a form of communication, lifestyle, and national identity. Learning
traditional dances allows children to connect with culture and identity and preserve cultural
heritage for future generations while positively impacting the overall well-being of children.
The importance of children's folklore creation and its components are emphasized. Traditional
children's games, rhymes, and songs are essential as they promote musical-linguistic
communication, develop musical abilities, socialization, and children's creativity. They express
children's way of perceiving reality and deeply rooted tradition. Of course, in working with
children, the selection of appropriate dances, adjusting the intensity of work, and gradually
mastering the steps are crucial. Children should start with local traditional dances to develop
their unique dance style and authentically interpret dance traditions. Therefore, all examples of
children's creation come from the Zagorje region, just like the project example that implements
traditional dances and children's folklore creation in education. This project serves as an
indication of how traditional dances can easily be integrated into education and the multitude
of positive effects they bring to children. Although there is currently a lack of such examples,
it is hoped that their number will increase in the future and that existing examples will
encourage teachers to actively cultivate traditional dances and culture in education, which is
precisely the goal of this work
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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