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Title:Misliti skozi gib in ples: ustvarjalni gib kot učni pristop
Authors:ID Geršak, Vesna (Author)
Files:URL http://www.zrs.upr.si/monografije/single/aktivnosti-ucencev-v-ucnem-procesu-1953
 
Language:Slovenian
Work type:Not categorized
Typology:1.16 - Independent Scientific Component Part or a Chapter in a Monograph
Organization:PEF - Faculty of Education
Abstract:Uporaba ustvarjalnega giba kot učnega pristopa pri pouku je primer celostnega učenja, ki združuje kinestetične, plesne, neverbalne in verbalne dejavnosti. Koff (2000, 27) meni, da se otroci učijo uporabljati neverbalno izražanje, da sporočajo, kako se počutijo in mislijo. Telesno-gibalna inteligenca je znana kot ena od mnogoterih (Gardner 1995), vendar je med najbolj podcenjenimi v naših šolah. Znati opazovati gibanje otrokovega telesa v razredu zahteva pomemben preskok v našem dojemanju znanja, šolske tradicije in besednjaka. Nujno bi bilo, da bi se vsak učenec imel možnost učiti na različne načine in da bi mu bila dana možnost raznovrstnih učnih pristopov (Blumenfeld-Jones 2004, 120). V prispevku je poudarjen pomen ustvarjalnega giba kot učnega pristopa v otrokovem razvoju. Predstavljeni so nekatere teorije, pristopi in prakse, ki poudarjajo uporabo telesa v učnem procesu. Navedene so tudi nekatere raziskave o možganih, ki poudarjajo uporabo kinestetičnega poučevanja in aktivnega učenja skozi ustvarjalni gib v razredu. Predstavljena je kvalitativna raziskava o uporabi ustvarjalnega giba kot učnega pristopa, v kateri je sodelovalo 148 osnovnošolskih učiteljev. Udeleženci raziskave so odgovarjali na vprašalnik o prepričanjih, stališčih in zaznanih učinkih ustvarjalnega giba kot učnega pristopa. Prikazani so odgovori učiteljev na odprto vprašanje, kakšne spremembe zaznavajo v razredu pri uporabi ustvarjalnega giba. Rezultati so pokazali pozitivne učinke učnega pristopa v procesu vzgoje in izobraževanja ter na vseh področjih otrokovega razvoja: čustveno-socialnem, kognitivnem in psihomotoričnem. Najizrazitejši vplivi uporabe ustvarjalnega giba pri pouku se izražajo na kognitivnem področju. Na podlagi rezultatov lahko sklepamo, da uporaba ustvarjalnega giba kot učnega pristopa v razredu omogoča izvedbo oprijemljivega, dostopnega, aktivnega in čustveno obarvanega kurikuluma za učence.
Keywords:ustvarjalni gib kot učni pristop, ples, kinestetično učenje, aktivno učenje, utelešena kognicija
Year of publishing:2015
Number of pages:Str. 529-545, 648-649
PID:20.500.12556/RUP-6710 This link opens in a new window
UDC:37.091.3:793
COBISS.SI-ID:1537777860 This link opens in a new window
Publication date in RUP:14.10.2015
Views:9184
Downloads:347
Metadata:XML DC-XML DC-RDF
:
GERŠAK, Vesna, 2015, Misliti skozi gib in ples: ustvarjalni gib kot učni pristop. In : [online]. p. 529–545, 648–649. P. 529–545, 648–649. [Accessed 5 April 2025]. Retrieved from: http://www.zrs.upr.si/monografije/single/aktivnosti-ucencev-v-ucnem-procesu-1953
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Secondary language

Language:English
Title:Thinking through mevement and dance: kinaesthetic learning approach
Abstract:The use of creative movement as a teaching/learning approach in school settings is an example of holistic teaching that integrates kinaesthetic, dance, non-verbal and verbal activities. Koff (2000, 27) believes that children learn to use this non- verbal expression to communicate how they feel and think. Bodily-kinaesthetic intelligence is recognized as one of our multiple intelligences (Gardner 1995), but is one of the most undervalued at our schools. Learning to see the student's body (which is moving) in our classroom requires making a significant shift in our conception of knowledge, academic traditions and vocabularies. It would be imperative that everyone have the capacity or potential to learn in different or multiple ways and for that reason have access to multivariate approaches (Blumenfeld-Jones 2004, 120). The paper highlights the importance of creative movement teaching approach in child development. An overview of some theories, approaches and practices, which emphasize the use of body in learning process, is presented. The paper presents also some new findings within research of the human brain which highlights the use of kinaesthetic lessons and active learning through creative movement in the classroom. A qualitative research made among 148 Slovenian primary school teachers about using creative movement approach in primary school is presented. Teachers responded to questionnaire on attitudes, beliefs and effects of creative movement learning approach. The paper presents teachers' responses what changes they observe in the classroom, when using creative movement as a teaching approach. The results showed positive effects in the process of education and in all areas of child development: the social-emotional, cognitive and psychomotorical. The results highlight the greatest impact of creative movement on cognition. We conclude that creative movement as a teaching/learning approach can make the curriculum more tangible, accessible, memorable and affective for children.
Keywords:creative movement approach, dance, kinaesthetic learning, active learning, embodied cognition


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