diplomsko delo
Bernarda Tušar (Author), Uršula Podobnik (Mentor)

Abstract

»Izkušnje na področju umetnosti so zaradi celovitosti doživljanja in ustvarjanja pomemben dejavnik uravnoteženega otrokovega razvoja in duševnega zdravja« (Bahovec, 1999, str. 38). Namen in cilj likovnih dejavnosti na predšolski stopnji nikoli ni likovni izdelek sam po sebi, pomembnejši od izdelka je ustvarjalni proces, ki vpliva na otrokov razvoj in ki je hkrati odvisen od razvoja. Risba, slika, kip, grafika, pri likovnem delu lahko nastanejo (Vrlič, 2008), ni pa nujno. Spoznavni procesi, ki so del mišljenja in so nastali preko vizualnega mišljenja, se razvijajo ob aktivni udeleženosti otroka na področju vizualnega in likovnega (Marjanovič Umek idr., 2001), ob tem pa je pomembna tudi »vloga likovnega izražanja pri omogočanju razvoja ustvarjalne osebnosti« (Podobnik, Bračun Sova, 2010, str. 258). Sredi devetdesetih let dvajsetega stoletja, ko je Rinaldijeva objavila poglavje o pedagogiki poslušanja, se je dodatno izčistila dialoška narava vzgojne paradigme v pristopu Reggio Emilia (v Kroflič, 2011). Poslušanje od odraslega zahteva, da otroku damo glas in mu prisluhnemo, da torej otroka razumemo kot kompetentno bitje in spoštujemo njegovo subjektivnost. Obenem t. i. odnosna pedagogika omogoča izražanje lastnih idej o stvarnosti, ki ga obdaja, artikulacijo misli, deljenje idej z vrstniki in ustvarjanje skupnega znanja, s čimer se krepijo otrokove spoznavne možnosti, pa tudi pripravljenost sodelovati v skupini in izpolnjevanje lastnih socialnih potreb, saj poslušanje zadovoljuje potrebo po komunikaciji z drugimi osebami (prav tam). »O participaciji otrok lahko govorimo šele, ko otroci vedo, v kaj in zakaj so vključeni, lahko vplivajo na potek dogajanja, sledijo procesu dogajanja in prejemajo povratne informacije o svojih vplivih na dogajanje« (Rutar, 2013, str. 96). Prostor in čas sta določeni komponenti, ki sta nujni za izražanje. Temeljni prostor, kjer otrok ustvarja, pa je v osnovi naprej določen bodisi s strani organizacije predšolske vzgoje (npr. igralnica) bodisi s strani strokovne delavke, ki pripravlja material za dejavnosti v skupini (npr. temeljna ploskev, določen format). Otroci redko sami izbirajo oz. se odločajo, na kakšen nosilec želijo ustvarjati, s čim in na kakšen način. Po izkušnjah, ki jih imam z delom v različnih formalnih izobraževalnih inštitucijah (osnovne šole, vrtci) ali v neformalnih ustanovah (Zveza prijateljev mladine, kolonije RK), aktivnih na področju vzgoje in izobraževanja, menim, da je v vodenih in tudi v nevodenih likovnih dejavnostih otrokom zelo redko prepuščena izbira formata. V diplomskem delu bo zato prav temu področju namenjena največja pozornost. Osredinila sem se na pomen in različne oblike formata, na pogostost izbire in uporabe formata, na vpliv, ki ga ima izbrani format v določeni likovni dejavnosti, na postavitev formata. Motorične sposobnosti mlajših predšolskih otrok po navadi že same po sebi govorijo v prid (vsaj občasni) uporabi večjih risarskih formatov (Tomšič Čerkez in Podobnik, 2015). Avtorici prav tam omenjata tudi pomembnost izbire velikih formatov za omogočanje priložnosti za likovno gibalno igro in likovno eksperimentiranje otrok. Empirični del diplomskega dela je zasnovan tako, da je vloga (s)likovnega formata izpostavljena ob sodelovanju s tremi likovnimi ustvarjalci, ki temeljno slikovno površino vsak razume in uporablja na svoj način. V empiričnem delu sem opisala in analizirala sodelovanje z omenjenimi likovnimi ustvarjalci, ki so bili neposredno vključeni v izvedbo izkustvenega (praktičnega) dela naloge v vrtcu, v skupini otrok, starih od tri do štiri leta. Sodobni pedagoški trendi so naklonjeni likovnim dejavnostim, ki otrokom v likovno avtentičnih okoljih (galerijah, muzejih) in ob umetnikih različnih področij omogočajo bolj neposredno srečevanje z likovno umetnostjo (ali umetnostjo na sploh) (Podobnik in Bračun Sova, 2010). V raziskavi o nekaterih elementih likovno-pedagoške prakse v slovenskih vrtcih, ki je bila izvedena v okviru prvega sklopa Profesionalnega usposabljanja strokovnih delavcev za izvajanje elementov posebnih pedagoških načel koncepta Reggio Emilia na področju predšolske vzgoje 2008–2013, je bilo ugotovljeno, da se omenjenih oblik likovnega prakticiranja ne poslužuje prav veliko slovenskih vzgojiteljev (Podobnik in Bračun Sova, 2010). Nasprotno, več kot tri četrtine (80,7 %) jih likovne dejavnosti ob pomoči gostujočega sodelavca, npr. likovnega umetnika, izvaja redko ali zelo redko. Ta podatek me je spodbudil k organiziranju likovne dejavnosti ob povezovanju lokalnih likovnih ustvarjalcev z vzgojiteljicami in otroki v vrtcu. V vrtcih Reggio Emilia na nek način to vlogo udejanja ateljerist, tj. stalno zaposleni sodelavec in nepogrešljivi del strokovnega tima. Ateljerist po izobrazbi ni nujno likovnik, lahko gre namreč tudi za glasbenika, plesalca, fotografa ipd. V vsakem primeru pa naj bi obvladal različne izrazne spretnosti, imel pretanjen občutek za otroško (likovno) govorico in znal iz otrok izvabiti ustvarjalen (likovni) odziv (Podobnik in Bračun Sova, 2010). Ker v našem sistemu tovrstnega profesionalnega kadra nimamo, sem se odločila za sodelovanje s tremi likovnimi ustvarjalci, ki izhajajo iz okolja, v katerem sem izvajala raziskavo. Vpliv sodelovanja z likovnimi ustvarjalci sem analizirala s pomočjo avtorsko izdelanega instrumentarija (opazovalni list). Ker so bile likovne vsebine med umetniki zelo različne, sem analizo naredila ločeno, na podlagi likovnih rezultatov otrok. Ob tem sem imela s pomočjo opazovalnih listov zbrane podatke o konkretnem delu umetnika z otroki, kar je omogočilo primerjavo, kaj jim je skupno, po čem se razlikujejo, kako način ustvarjanja in način dela z otroki vpliva na odziv otrok in njihovo ustvarjanje.

Keywords

likovne dejavnosti;formati;likovni ustvarjalci v vrtcu;likovno izražanje otrok;

Data

Language: Slovenian
Year of publishing:
Typology: 2.11 - Undergraduate Thesis
Organization: UL PEF - Faculty of Education
Publisher: [B. Tušar]
UDC: 373.2:74(043.2)
COBISS: 90800387 Link will open in a new window
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Downloads: 15
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Other data

Secondary language: English
Secondary title: Drawing, painting and graphic activities in kindergarten with the participation of various visual artists
Secondary abstract: “Experience in the field of the arts is due to the integrity of experiencing and creating an important factor of a balanced child development and mental health.” (Bahovec, 1999, p. 38) The purpose and goal of art activities at the preschool level is never an art product in and of itself; more important is the creative process, which has an impact on the child development and at the same time depends on that development. A drawing, painting, sculpture or graphic can be the result of art activities (Vrlič, 2008), but not necessarily. Cognitive processes, which are part of thinking and are created via visual thinking, develop when children actively participate in visual and art activities (Marjanovič Umek et al, 2001), with “the role of artistic expression in the enablement of the development of a creative personality” also playing an important part. (Podobnik, Bračun Sova, 2010, p. 258) Since the mid-1990s, when Carlina Rinaldi published a chapter on the pedagogy of listening, the dialogical nature of the educational paradigm of the Reggio Emilia approach has been additionally refined. (Kroflič, 2011) Listening demands from adults that we give children an opportunity to express themselves and to really listen to them, that we treat them as competent beings and respect their subjectivity. At the same time, the so-called relational pedagogy enables the articulation of their own ideas about reality around them and of their thoughts, the sharing of ideas with their peers and the creation of common knowledge that broadens their mind, their willingness for group participation and the fulfillment of their social needs; listening namely satisfies the need for communication with others, without which children would find themselves in a state of lack of ontological security. (ibid) “Very young children and children with special needs may have problems with verbal articulation of their view, but they can be encouraged to do that through art.” (Rutar, 2013, p.77) “We can only talk about the participation of children when they know what and why they are involved in, when they can influence the course of events, follow events and receive feedback on their influence on these events.” (ibid, p. 96) Space and time are defined components that are essential for expression. A space where children create is determined either by the organization of preschool education (for example a playroom) or by a preschool teacher assistant that prepares materials for group activities (for example the surface that children use for creating, a particular format). Children can only in rare cases choose or decide on which medium and which tools they want to use, and in what way. My experience in working with different formal educational institutions (primary schools, kindergartens) and informal institutions (Slovenian Association of Friends of Youth, Red Cross summer camps), active in the field of upbringing and education, shows that in guided as well as in unguided art activities, the choice of format is rarely left to children. This is the reason why the greatest attention in the thesis is paid to this subject. The focus is on the importance of and different types of formats, on how frequently a certain format is chosen and used, on the influence a certain format has on a particular art activity, and on the format layout. Motor skills of young preschool children themselves usually dictate (at least occasional) use of big drawing formats. (Tomšič Čerkez and Podobnik, 2015) In the same book, both authors also mention the importance of choosing big formats, which enable an opportunity for movement games and art experimentation. The empirical part of the thesis focuses on the importance of art formats and the cooperation with three Slovene visual artists, each of whom understands and uses the basic surface for creating in a different way. The empirical part of the thesis describes and analyses a cooperation with three visual artists – Danilo Jereb, Staš Kleindienst and Nande Rupnik – who were directly involved in the practical part of the thesis by being present in the kindergarten and working with a group of children between 3 and 4 years of age. Modern trends in pedagogical practices are in favor of art activities; they enable children a more direct contact with the visual arts (and art in general) in artistically-authentic environments (galleries, museums) and in the company of artists from different fields (Podobnik and Bračun Sova, 2010). Findings of a research into some elements of art and teaching praxis in Slovene kindergartens, which was conducted under the first assembly of the first Professional training of preschool teacher assistants for the implementation of elements of special pedagogical principles of the Reggio Emilia concept in preschool education 2008–2013, showed that not many Slovene preschool teachers make use of the above-mentioned art practices. (Podobnik and Bračun Sova, 2010). Just the opposite – more than three out of four (80.7 %) perform art activities together with a visiting associate, for example a visual artist, rarely or very rarely. This piece of data encouraged me to organize art activities with local visual artists, preschool teachers and children. In Reggio Emilia kindergartens, this role is played by an atelierista, i.e. a regularly employed member of staff and an indispensable part of the professional team. Atelieristas are not necessarily visual artists by profession; they can also be musicians, dancers, photographers etc. Atelieristas should have different expressive skills, a subtle feeling for children’s (artistic) language and the knowledge of how to elicit a creative (artistic) response from children. (Podobnik and Bračun Sova, 2010) Because the Slovene system does not have such professional staff members, I made the decision to cooperate with three visual artists from the environment where I conducted the research. The influence of the cooperation with visual artists was analyzed with the help of instruments (observation sheet). As art content differed greatly from artist to artist, I made analysis separately, based on children’s artistic results. Observation sheets enabled the collection of data on specific work of a particular visual artist with children and a comparison of what they had in common, how they differed, and how their way of creating and working with children affected children’s responses and creative process.
Secondary keywords: Predšolski otroci;Likovna vzgoja in izobraževanje;Univerzitetna in visokošolska dela;
File type: application/pdf
Type (COBISS): Bachelor thesis/paper
Thesis comment: Univ. v Ljubljani, Pedagoška fak., Predšolska vzgoja
Pages: VIII, 80 str.
ID: 14066510