Vključevanje slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces v osnovni šoli : doktorska disertacija

Knific, Metka (avtor), Sicherl-Kafol, Barbara (mentor), Kordeš, Urban (komentor)

V doktorski disertaciji obravnavam slovensko ljudsko plesno dediščino v vzgojno-izobraževalnem procesu celotnega osnovnošolskega izobraževanja (od prvega do devetega razreda). V teoretičnem delu predstavljam slovensko ljudsko plesno dediščino, njeno funkcijo in oblike ter njene ostale etnokoreološke značilnosti. Teoretične podlage nadgrajujem z umeščanjem slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces in razvijam didaktiko poučevanja slovenske ljudske plesne dediščine. Z vključevanjem slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces gradimo odnos do slovenske ljudske plesne dediščine in uvajamo otroke v plesno izročilo ter hkrati razvijamo etnično in drugo na prostor vezano identiteto, ki jo v povezavi s folkloriziranjem izročila obravnavajo številni slovenski in tuji avtorji. Poustvarjanje slovenske ljudske plesne dediščine omogoča, da učenci razvijajo lastno zavest o pripadnosti etniji kot ljudi z etnično identiteto kot tiste, ki imajo svoje posebnosti in ki se ločijo od drugih. Razvijanje zavesti o državni pripadnosti in narodni identiteti ter vedenja o zgodovini Slovencev in njihovi kulturi ter razvijanje in ohranjanje lastne kulturne tradicije bi lahko dojemali kot pomembne segmente, ki naj bi jih učitelji v vzgojno-izobraževalnem procesu razvijali. Da bi zagotovili kakovostno poučevanje, se je treba nanj dobro pripraviti, saj je vzgojno-izobraževalna dejavnost načrtovana in stremi k uresničitvi različnih ciljev. Pri tem je pomembna posebna didaktika, ki do svojih spoznanj prihaja po induktivni in deduktivni poti in jo razumemo kot samostojno, izrazito interdisciplinarno znanost. Proučuje in pojasnjuje naloge, vsebino pouka, učne metode, učne oblike, učila, učne pripomočke na primeru vključevanja slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces, predvsem metode vzgoje in izobraževanja, ki temeljijo na plesih, podedovanih iz izročila. Skladno z obravnavano problematiko in cilji raziskave sem ugotavljala, kakšni sta teoretično in didaktično znanje učiteljev o slovenski ljudski plesni dediščini, kako jo vključujejo v vzgojno-izobraževalni proces, kakšen pomen dajejo učitelji slovenski ljudski plesni dediščini kot sooblikovalcu identitete in kako učitelji uporabljajo zapise o slovenski ljudski plesni dediščini. Poleg tega me je zanimalo, kakšen je učinek in kakšne so izkušnje učiteljev pri implementaciji modela izobraževanja učiteljev za vključevanje slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces. Ugotovila sem, da ima le slaba petina učiteljev dobro teoretično znanje o slovenskem plesnem izročilu in da so si učitelji morali večino svojega znanja o slovenskem plesnem izročilu pridobiti izven rednega izobraževanja, kjer pa je bil večji poudarek na praktičnih kot na teoretičnih vsebinah. Zapise plesov, kinetograme, s katerimi je mogoče opisati plese, izvirajoče iz izročila, sta prepoznala le dva odstotka anketiranih učiteljev. Večina učiteljev se običajno nauči plesov, ki izvirajo iz izročila, preko videoposnetka, na izobraževanju ali si preberejo besedni opis v knjigi. Čeprav prepoznajo težje elemente plesov, teh ustrezno ne prilagajajo otrokom različnih starosti in plesnih sposobnosti. Več kot polovica učiteljev si pred učenjem zavrti le glasbo ali pa si zapojejo melodijo in zraven zaplešejo. Učitelji na splošno, ko učence naučijo plesov, občutijo osebno zadovoljstvo oziroma čutijo, da razvijajo pozitiven odnos do lokalne dediščine. Velika večina se jih strinja, da se tako razvija etnična oziroma nacionalna identiteta. Učitelji tudi v drugih vidikih vidijo pozitivno vlogo spoznavanja slovenskega plesnega izročila. Še posebej se strinjajo, da z učenjem plesov spodbujajo pozitiven odnos do slovenske kulture in tradicije. Na podlagi ugotovljenega stanja sem izdelala model izobraževanja učiteljev, po katerem bi učitelji vsebine slovenske ljudske plesne dediščine vključevali v vzgojno-izobraževalni proces. Model zajema vaje za razvijanje ritmičnega posluha in glasbenega spomina, osnovne korake (hoja, tek, skoki, poskoki, bočni koraki, trokoraki). Vključene so vaje za obvladovanje prostora, plesne formacije in plesne drže, ob tem pa vaje za opazovanje, razvijanje spomina in spodbujanje ustvarjalnosti. V nadaljevanju empiričnega dela sem z izpeljavo treh fokusnih skupin raziskovala učinek in izkušnje učiteljev pri seznanjanju z modelom vključevanja slovenske ljudske plesne dediščine v vzgojno-izobraževalni proces. Rezultati kažejo, da bodo učitelji, ki so spoznali nov model, jasneje vedeli, kako se lotiti učenja posameznih plesov, saj po njihovem mnenju dobro razumevanje strukture plesa omogoča postopno vključevanje prvin slovenske ljudske plesne dediščine v pouk. Ključne pomanjkljivosti, ki so jih pri modelu izpostavili, so glasbena spremljava in multimedijski posnetki, ki bi morali biti vključeni v sam model. Izpostavljajo tudi težavo razumevanja vseh figur, saj to od učitelja zahteva nekaj predznanja in/ali dodatnega usposabljanja. V prihodnosti pa bi bilo treba rešiti tudi dilemo, ali bi bilo treba posamezne elemente/vaje v modelu določiti za posamezen razred. Pričujoči raziskavi sta na podlagi izbire ustreznih metod raziskovanja pokazali, da je bil izdelan model na podlagi ugotovljene analize stanja koristen, prav tako koristne so bile obravnava, raziskava in analiza njegove implementacije v prakso.

• Jezik: Slovenski jezik
• Ključne besede: plesno izročilo, plesna didaktika, slovenska ljudska plesna dediščina
• Vrsta gradiva: Doktorsko delo/naloga
• Tipologija: 2.08 - Doktorska disertacija
• Organizacija: PEF - Pedagoška fakulteta
• Založnik: [M. Knific]
• Leto izida: 2015
• Št. strani: 313 str.
• PID: 20.500.12556/RUL-73028
• UDK: 394.3(497.4):373.3
• COBISS.SI-ID: 10738761
• Datum objave v RUL: 07.10.2015

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: The integration of Slovenian folk dance heritage into educational process in the primary school

Izvleček

In my PhD thesis the Slovene folk dance heritage in the educational process of all nine classes of primary school is discussed. In the theoretical part of the thesis the Slovene folk dance heritage, its function and forms and other ethnochoreological features are presented. Theoretical standings are upgraded by placing the Slovene folk dance heritage in the educational process and developing the didactics of teaching the Slovene folk dance heritage. By integrating the Slovene folk dance heritage in the educational process the relation towards the Slovene folk dance heritage is being built. The children are being taught the dance tradition while developing their ethnic and other place-related identity dealt with by numerous Slovene and foreign authors who discuss the heritage's folklorizing. Reproducing the Slovene folk dance heritage enables the students to develop their own perception of belonging to the nation, as being people with ethnic identity, as being the ones with their peculiarities, as being different from others. Developing the perception of state and national identity and knowledge about history of the Slovenes and their culture as well as developing and preserving one's cultural tradition could be perceived as the important segments to be developed in the educational process by the teachers. Quality teaching needs good preparation since education is a planned activity and strives to fulfill different objectives. An important element is special didactics which comes to its findings through inductive and deductive methods and can be understood as an individual, distinctively interdisciplinary science. It researches and explains the tasks, the teaching contents, teaching methods, teaching forms, teaching aids, teaching accessories on the example of integrating the Slovene folk dance heritage in the educational process, with the emphasis on educational methods based on traditional dances. According to the subject in question and the research objectives I was establishing the theoretical and didactic knowledge of the teachers about the Slovene folk dance heritage, how it is incorporated in the educational process, what empahasis the teachers place on the Slovene folk dance heritage as a co-former of the identity and how the teachers use the records of the Slovene folk dance heritage. Besides I was interested in the effect and the experience of the teachers with the implementation of the educational model for incorporating the Slovene folk dance heritage in the educational process. I established that only one fifth of the teachers has a good theoretical knowledge about the Slovene folk dance heritage and that the teachers had to gain most of their knowledge about the subject outside their regular training where greater emphasis was placed on practical contents than theoretical ones. Records of dances, which describe the traditional dances were identified by only two percent of the teachers interviewed. Most of the teachers usually learn the traditional dances by watching video recordings, training or reading descriptions in books. Despite recognizing more difficult elements of the dances they do not adjust them to the needs of children of different ages and dance abilities. More than half of the teachers only play music before they start teaching or sing the tune and dance. When the students are taught the dances the teachers in general are personaly pleased and feel they are developing a positive relationship with the local heritage. A great majority of them agrees that is the way the ethnic and national identity is being developed. They also see a positive role in recognizing the Slovene folk dance tradition in other aspects. They certainly agree that a positive relationship to Slovene culture and tradition is being encouraged by learning traditional dances. Based on the established state I developed a teacher training model which would integrate the contents of the Slovene folk dance heritage in the educational process. The model includes exercises for developing the rhythmic pitch and music memory, basic steps (walking, running, jumping, sideward steps, triple steps). Exercises for command of space, dance formations and dance posture are included together with exercises for observation, memory development and encouragement of creativity. In continuation of the empirical part the effect and experience of the teachers with becoming familiar with the model of incorporating the Slovene folk dance heritage in the educational process was being researced through three focus groups. The results show that the teachers who became familiar with the new model will clearly know how to tackle the teaching of individual dances. According to their opinion a good understanding of the structure of the dance enables gradual integration of the Slovene folk dance heritage elements in school. They pointed out some key imperfections of the model such as music accompaniment and multimedia recordings that should have been part of the model. They also stress the difficulty of understanding all the figures because this requires some prior understanding and/ or extra training from the part of the teacher. In the future a dilemma of selecting individual elements/ exercises of the model for specific grades should be resolved. The existent researches, based on the appropriate research methods, showed that the produced model was useful as was the discussion, the research and the analysis of its implementation into practice.

• Ključne besede: dance tradition