Gibalna ustvarjalnost pri učencih drugega razreda ob integraciji ustvarjalnega giba v učne ure

Tomažin, Sara (avtor), Smrtnik Vitulić, Helena (mentor), Geršak, Vesna (komentor)

Ustvarjalnost opredelimo kot sposobnost reševanja problemov na nov, izviren, različnosten način. Gibalna ustvarjalnost je eden izmed možnih načinov izražanja ustvarjalnosti in bo osrednja tema našega magistrskega dela. Omenjen način ugotavljanja ustvarjalnosti uporabljamo predvsem pri delu z mlajšimi otroki, ki se lažje izražajo s pomočjo giba kot pa s pomočjo govora. V magistrskem delu bomo raziskovali povezanost med ustvarjalnim gibom kot aktivno metodo poučevanja z gibanjem in gibalno ustvarjalnostjo otrok. Raziskava je potekala pri pouku matematike (geometrije). Obravnavali smo tri teme: 1. geometrijske like in telesa, 2. simetrijo in 3. črte in točke. V enem od razredov (eksperimentalna skupina ali ES) je poučevanje potekalo z metodo ustvarjalnega giba, v drugem (kontrolna skupina ali KS) je potekalo na brez te metode. V empiričnem delu magistrske naloge smo najprej analizirali učne priprave z vidika vključenih dejavnosti, ki spodbujajo otrokovo gibalno izražanje. Iz analiz učnih priprav je bilo razvidno, da so imeli učenci ES v učnih pripravah malokdaj predvideno frontalno učno obliko, učencem je bilo večkrat omogočeno samostojno delo in delo v paru in iskanje različnih poti učenja, prav tako pa je bilo za učence predvidenega več rokovanja s pripomočki in ustvarjanja z lastnim telesom. Tudi v učnih pripravah KS so se pojavljale raznolike učne oblike. Največkrat so bile prisotne frontalna učna oblika, delo v paru in skupinsko delo. Učenci so imeli nekaj priložnosti za iskanje različnih poti učenja. Obe skupini, ES in KS, sta imeli veliko možnosti uporabe različnih pripomočkov. V raziskavi smo primerjali tudi splošno matematično znanje učencev ES in KS pred izvedbo učnih ur in znanje iz geometrije po izvedbi učnih ur. Ugotovili smo, da so imeli učenci iz KS pred izvedbo učnih ur boljše splošno znanje od učencev iz ES, prav tako pa je znanje iz geometrije pri učencih iz KS boljše od učencev iz ES po samem izvajanju učnih ur. V raziskavi nas je prav tako zanimalo, ali se učenci iz ES in KS pred izvajanjem načrtovanih učnih ur in po njihovem izvajanju pomembno razlikujejo v gibalni ustvarjalnosti (fluentnost in originalnost odgovorov), ki smo jo ugotavljali s Torrancovim (1981) preizkusom »Mislimo ustvarjalno v gibanju«. Rezultati so pokazali, da so bili učenci ES in KS pred izvedbo učnih ur izenačeni v gibalni ustvarjalnosti, prav tako pa se statistično pomembne razlike v gibalni ustvarjalnosti med učenci ES in KS niso pokazale po izvedbi učnih ur.

• Jezik: Slovenski jezik
• Ključne besede: gibalna ustvarjalnost
• Vrsta gradiva: Magistrsko delo/naloga
• Tipologija: 2.09 - Magistrsko delo
• Organizacija: PEF - Pedagoška fakulteta
• Leto izida: 2018
• PID: 20.500.12556/RUL-105500
• COBISS.SI-ID: 12206409
• Datum objave v RUL: 10.12.2018

TOMAŽIN, Sara, 2018, Gibalna ustvarjalnost pri učencih drugega razreda ob integraciji ustvarjalnega giba v učne ure [na spletu]. Magistrsko delo. [Dostopano 3 april 2025]. Pridobljeno s: http://pefprints.pef.uni-lj.si/5474/

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Effects of a creative movement programme on motor creativity in Elementary second graders

Izvleček

Creativity is defined as an ability to solve problems in a new, original and versatile way. Motor creativity is one of the possible ways to express creativity and is the main topic of this master’s degree thesis. The mentioned way of establishing creativity is used mainly when working with younger children who can better express themselves by a movement than by speaking. In this master’s degree thesis we research the connection between a creative movement as an active teaching method and motor creativity of children. The research was conducted during a mathematics class at the lesson in geometry. We focused on three topics: 1. Geometric shapes in solids, 2. Symmetry and 3. Lines and points. Creative movement was used as a teaching method in one of the selected classes (experimental group or EG). In the second class (control group or CG), no such method of teaching was used. In the practical part of the thesis we first analysed lesson plans by searching for activities which encourage the children’s motor expression. By analysing the lesson plans, we discovered that children in the EG received very little teacher-centred approach, they were able to do things individually and in pairs and find different ways of learning. Furthermore, the children were encouraged to use accessories and their own bodies for movement. The lesson plans for children in the CG were mostly based on the teacher-centred approach, the children had very few chances for using different ways of learning and there were fewer encouragements for learning through creative movement. In the research, we also compared the children’s general mathematical knowledge in the EG and CG, before teaching the lessons and their knowledge of geometry after the lessons. We found out that the children in the CG had better knowledge of the abovementioned subjects before attending our lessons than the children in the EG. Additionally, the children’s knowledge of geometry in the CG was better than their peers’ in the EG, after the lessons. Another point of interest in the research was to learn whether there were any significant differences in motor creativity (fluency and originality of answers) between the children in the EG and CG, before and after the lessons, which we established with Torrance’s (1981) test »Thinking creatively in movement«. The results showed that there were no differences in motor creativity between the children from the EG and CG before the lessons, nor were there any signs of statistically important differences in physical creativity between children in the EG and CG after the lessons.

• Ključne besede: motor creativity