Suchergebnisse

Vocational training of future teachers of primary and pre-primary education strives to prepare future teachers to succeed in pedagogical practice as best they can. That is why they should have the opportunity to connect theory and reflected practical experience, not only within pedagogical practices. One of the possibilities is intermediate artistic projects offered to students of the Faculty of Education, Masaryk University, Brno, within didactic preparation and independent disciplines. They provide students with additional knowledge, help to gain experience, and emotional experience. Implemented intermediate projects are also a source of valuable research data. Their analysis revealed essential conclusions that can improve the training of future teachers.

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education.
Keywords: children's creativity, dance, performing skills, didactic requirements, teaching methods.

PURPOSE OF THE STUDY Primary education in Europe, as in the United States and other conti­ nents, is passing through a period of profound change, affecting some of the fundamental educational aims at primary school level and teaching structure, content and methods. The purpose of this study is to sketch a broad picture of the Euro­ pean educational scene which may be brought about by the impact of innovation in industrialised countries. We are only too aware of the difficulties inherent in our task. Even when projections and forecasts are firmly rooted in an analysis of existing data, they are liable to be contradicted by the facts. We shall attempt to allow for those alternative situations which may provide the context for the organisation and functioning of primary education. We make no claim to portray the European primary school at the end of the twentieth or at the beginning of the twenty-first century. We shall do no more than analyse existing achievements and experiments based on research in the associated fields of education, psychology and sociology and from this analysis extrapolate a series of forecasts based on objective factors of a social and intellectual nature, offering realistic hypotheses for the future. Our aim is to provide sound guidelines for those who are to build a better future for our children.

The contribution addresses the writing of the history of education as a history of the present. The history of the present is seen as a style of reason conceived, both, as a methodological and theoretical gesture. It seeks, through a questioning of blind zones in the present, to trace its origins. It is not simply a question of returning to the past in search of truth. On the contrary, what Michel Foucault's work allows us is to perceive the contingencies, arbitrariness, fragilities and, so often, violence enclosed in a set of presuppositions, ways of saying, seeing and thinking that we do act in the educational field. In a more concrete way, I will focus on the basic arts education curriculum in Portugal, to show how these are constructed not from a relationship with the arts, but through successive historical layers in which representations of the child, of the methods and processes of learning feed on the psychopedagogical languages with the aim of governing who the child should be and also who should not be that child. Thomas Popkewitz refers to these curricular alchemies as the translation process that transforms a given knowledge into a curricular subject, according to grids of rationality coming from psychology. Arts education is not about the arts but is a translation of psychological principles of the child into schooling. With this alchemical process there also come the rules of how children are supposed to learn, which stages of development they are supposed to go through, how knowledge should be divided and provided, and how the arts mirror the child's inner life. The production of psychopedagogical knowledge about the child would produce images about what the child is and about what it should become.The government of childhood finds its genealogical lines in the process of governing the social body, in which to the power of governing would always correspond a meticulous gesture of knowledge production about those to be governed. Thus, a look at the curricula from this theoretical approach allows us to analyze not only the structure of the school, but also the grammars that put it into operation, and to problematize the ahistorical child of the arts education curriculum as a larger project that has in the government of the child (and simultaneously the teacher, parents, families, society) their purpose. Today, languages acquire different nuances, the categories multiply, but the rationality presented in the arts education curricula remains the same. ; Esta contribución aborda la escritura de la historia de la educación como una historia del presente. La historia del presente es vista como un estilo de razón concebido, a la vez, como un gesto metodológico y teórico. Busca, a través de un cuestionamiento de las zonas ciegas del presente, rastrear sus orígenes. No se trata simplemente de volver al pasado en busca de la verdad. Por el contrario, lo que la obra de Michel Foucault nos permite es percibir las contingencias, las arbitrariedades, las fragilidades y, tantas veces, la violencia que encierra un conjunto de presupuestos, de formas de decir, de ver y de pensar que utilizamos en el ámbito educativo. De forma más concreta, me centraré en el currículo de la educación artística básica en Portugal, para mostrar cómo se construye no a partir de una relación con las artes, sino a través de sucesivas capas históricas en las que las representaciones del niño, de los métodos y de los procesos de aprendizaje se alimentan de los lenguajes psicopedagógicos con el objetivo de gobernar quién debe ser el niño y también quién no debe ser ese niño. Thomas Popkewitz se refiere a estas alquimias curriculares como el proceso de traducción que transforma un determinado conocimiento en una materia curricular, según las retículas de racionalidad procedentes de la psicología. La educación artística no tiene que ver con las artes, sino que es una traducción de los principios psicológicos del niño a la escuela. Con este proceso alquímico vienen también las reglas de cómo se supone que los niños aprenden, qué etapas del desarrollo deben atravesar, cómo se debe dividir y proporcionar el conocimiento y cómo las artes reflejan la vida interior del niño. La producción de conocimiento psicopedagógico sobre el niño produciría imágenes sobre lo que el niño es y sobre lo que debería llegar a ser.El gobierno de la infancia encuentra sus líneas genealógicas en el proceso de gobierno del cuerpo social, en el que al poder de gobernar correspondería siempre un gesto minucioso de producción de conocimiento sobre los gobernados. Así, una mirada a los currículos desde este enfoque teórico nos permite analizar no solo la estructura de la escuela, sino también las gramáticas que la ponen en funcionamiento, y problematizar el niño ahistórico del currículo de educación artística como un proyecto mayor que tiene en el gobierno del niño (y simultáneamente del maestro, de los padres, de las familias, de la sociedad) su finalidad. Hoy, los lenguajes adquieren diferentes matices, las categorías se multiplican, pero la racionalidad presentada en los currículos de educación artística sigue siendo la misma.

Arts are integrated into education either as autonomous subjects or for the teaching of other school disciplines in an interdisciplinary and cross-curricular context. The integration of the arts in education has special value as students are allowed to be engaged aesthetically, emotionally, cognitively, and socially. Activities that connect music with other arts and school disciplines arouse pupils' interest, urge them to become more involved in the learning process, create and produce new products, collaborate with their classmates, socialize, and express themselves. In such a context, preschool and general primary teachers have more alternative and creative ways to organize their lessons through arts inclusion. This paper places emphasis on the integration of music in education through its connection with other arts and school disciplines in an interdisciplinary and cross-curricular context. It proposes connections and presents indicative activities for preschool and early primary education students, aiming at engaging them in aesthetic experiences through the activation of their critical thinking.