Ustvarjalni gib pri učenju in poučevanju tujega jezika v osnovni šoli

Abstract

Keywords

Data

Language:	Slovenian
Year of publishing:	2011
Source:	Ljubljana
Typology:	2.11 - Undergraduate Thesis
Organization:	UL PEF - Faculty of Education
Publisher:	[A. Ržišnik]
UDC:	373.32.016:811.112.2(043,2)
COBISS:	9022281
Views:	1338
Downloads:	184
Average score:	0 (0 votes)
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Secondary language:	English
Secondary title:	Creative movement in foreign language teaching and learning in primary school
Secondary abstract:	Children feel a natural urge to move, especially in their early years, when they are discovering the world around them. In kindergarten, children often do motor activities in order to achieve different educational goals. Later in school children and adolescents rarer express themselves with movement and they sit most of the time while learning. This is also true for foreign-language classes. The consequence is that students become cognitively very active, but physically very passive. However, the latest research in neuroscience proves that physical activity even supports cognitive processes. Furthermore, body and language (speech) are highly connected and used daily together in interaction with other people. Creative movement is a holistic approach to teaching and learning that combines the mind and the body and supports creative thinking. This approach is about solving problems verbally and kinaesthetically in all types of learning forms and at any age. Kinaesthetic learning is, however, gaining in importance also within the holistic approaches to teaching and learning foreign languages, where teachers should use teaching methods that foster multi-sensory learning and where the target language predominates. In such cases teachers often use creative movement to explain a situation in a foreign language as clearly as possible to the students. Beside that, beginners who do not yet react in the target language, find their participation in a conversation often easier or answer in a foreign language with their bodies. Creative movement is also an approach to teaching that can be applied in any teaching situation and in developing of the four language skills in a foreign language, for example with dramatisation, writing in the air with a finger, children`s massages or visualisation. However, the research in the application of creative movement in Slovenian schools shows that it is a rather unknown field for many teachers. In the case study I have looked at the influence of the creative movement on some factors of learning German in two course groups (10 students, aged 9 to 15). I found out that students have fun and feel comfortable while learning with creative movement. Moreover, they are motivated for further learning with this approach. Furthermore, the tests showed that creative movement was the most effective in developing listening and speaking skills. Overall, in the final test the students got better results in the tasks that tested content, which was taught using creative movement approach compared with other tasks which had interestingly been perceived easier by the students. Moreover, I found out that students believe that creative movement helps them to memorise and recall German words.
Secondary keywords:	language teaching;teaching method;primary school;jezikovni pouk;didaktična metoda;osnovna šola;
File type:	application/pdf
Type (COBISS):	Undergraduate thesis
Thesis comment:	Univ. Ljubljana, Pedagoška fak., Razredni pouk
Pages:	73 str., XXIV str. pril.
Type (ePrints):	thesis
Title (ePrints):	Creative movement in foreign language teaching and learning in primary school
Keywords (ePrints):	ustvarjalni gib
Keywords (ePrints, secondary language):	creative movement
Abstract (ePrints):	Otroci čutijo naravno potrebo po gibanju in še posebej v prvih letih življenja z njim raziskujejo svet okoli sebe. V vrtcu se pogosto izvajajo gibalne aktivnosti, ki so namenjene dosegi različnih ciljev. Kasneje v šoli pa se otroci in mladostniki vedno redkeje gibalno izražajo in večino učne snovi predelajo kar sede, tudi pri pouku tujega jezika. Tako pogosto pride do pojava, da so učenci miselno zelo aktivni, telesno pa postajajo vedno bolj pasivni. Najnovejše raziskave nevroznanosti dokazujejo, da gibanje spodbuja tudi spoznavne procese. Poleg tega sta jezik in telo tesno povezana in ju vsakodnevno uporabljamo v interakciji z ostalimi ljudmi. Ustvarjalni gib je zato celostni učni pristop, ki to povezavo združuje in obenem spodbuja ustvarjalno mišljenje. Pri tem učnem pristopu gre za to, da učenci vseh starosti verbalno-kinestetično rešujejo probleme v različnih učnih oblikah. Kinestetično učenje pa je vedno pomembnejše tudi pri sodobnih celostnih konceptih učenja in poučevanja tujih jezikov, pri katerih naj bi uporabljali učne metode, ki nagovarjajo čim več čutil in pri katerih naj bi govorili pretežno v ciljnem jeziku. V takem primeru učitelji pogosto posežejo po ustvarjalnih gibih, da bi učencem čim bolj nazorno prikazali situacijo. Prav tako je učencem, ki so začetniki in v obdobju, ko se še ne odzivajo v tujem jeziku, veliko lažje prikazati odgovor ali sodelovati v pogovoru v tujem jeziku s telesom. Ustvarjalni gib je tudi učni pristop, ki ga lahko uporabimo v vseh učnih situacijah in pri urjenju vseh jezikovnih spretnosti v tujem jeziku, to je od dramatizacije, pisanja po zraku, do masaž za otroke in vizualizacije. Kljub vsem pozitivnim učinkom tega pristopa pa raziskave kažejo, da je za mnoge slovenske učitelje to še vedno neznano področje. V svoji študiji primera sem ugotavljala vpliv ustvarjalnega giba na nekatere vidike učenja nemščine v dveh tečajnih skupinah (10 učencev, starih 9–15 let). Ugotovila sem, da se učenci ob gibalnih dejavnostih počutijo prijetno, se zabavajo in so motivirani za nadaljnje delo s tem pristopom. Poleg tega sem na podlagi sprotnih preverjanj znanja ugotovila, da je ustvarjalni gib najbolj učinkovito sredstvo pri urjenju poslušanja in govorjenja v tujem jeziku. Nasploh pa so se učenci na končnem preverjanju znanja bolje odrezali pri nalogah, ki so preverjale snov, ki so se jo učili z ustvarjalnim gibom, kot tudi pri ostalih nalogah, čeprav so slednje pri anketnem vprašalniku večkrat označili kot »lažje«. Prav tako sem ugotovila, da so učenci mnenja, da jim ustvarjalni gib pomaga pri pomnjenju in priklicu besed v nemščini.
Abstract (ePrints, secondary language):	Children feel a natural urge to move, especially in their early years, when they are discovering the world around them. In kindergarten, children often do motor activities in order to achieve different educational goals. Later in school children and adolescents rarer express themselves with movement and they sit most of the time while learning. This is also true for foreign-language classes. The consequence is that students become cognitively very active, but physically very passive. However, the latest research in neuroscience proves that physical activity even supports cognitive processes. Furthermore, body and language (speech) are highly connected and used daily together in interaction with other people. Creative movement is a holistic approach to teaching and learning that combines the mind and the body and supports creative thinking. This approach is about solving problems verbally and kinaesthetically in all types of learning forms and at any age. Kinaesthetic learning is, however, gaining in importance also within the holistic approaches to teaching and learning foreign languages, where teachers should use teaching methods that foster multi-sensory learning and where the target language predominates. In such cases teachers often use creative movement to explain a situation in a foreign language as clearly as possible to the students. Beside that, beginners who do not yet react in the target language, find their participation in a conversation often easier or answer in a foreign language with their bodies. Creative movement is also an approach to teaching that can be applied in any teaching situation and in developing of the four language skills in a foreign language, for example with dramatisation, writing in the air with a finger, children`s massages or visualisation. However, the research in the application of creative movement in Slovenian schools shows that it is a rather unknown field for many teachers. In the case study I have looked at the influence of the creative movement on some factors of learning German in two course groups (10 students, aged 9 to 15). I found out that students have fun and feel comfortable while learning with creative movement. Moreover, they are motivated for further learning with this approach. Furthermore, the tests showed that creative movement was the most effective in developing listening and speaking skills. Overall, in the final test the students got better results in the tasks that tested content, which was taught using creative movement approach compared with other tasks which had interestingly been perceived easier by the students. Moreover, I found out that students believe that creative movement helps them to memorise and recall German words.
Keywords (ePrints, secondary language):	creative movement
ID:	8308596