diplomsko delo
Irena Štebe (Author), Metoda Kemperl (Mentor)

Abstract

Likovna umetnost je področje, ki se ga je včasih v vzgojno-izobraževalnem sistemu zelo zanemarjalo. V 19. stoletju je bilo obiskovanje muzejev in galerij ter opazovanje umetnin za otroke strogo prepovedano. Likovna umetnost se je uporabljala le za potrebe obrtniških poklicev. Premik se je zgodil v Angliji in Nemčiji, ko so ustanovili »Gibanje za umetniško vzgojo«. Cilj gibanja je bil, da otrok razvije občutek za lepo ter dojame lepoto narave. Umetnosti so dajali velik pomen za otrokovo samostojnost in individualnost. Pri nas je bila najbolj aktivna Lidija Tavčar, ki je razvijala muzejsko pedagogiko v naših muzejih in predvsem v Narodni galeriji. Proti koncu 20. stoletja so izobraževalno delo v Narodni galeriji organizirali tudi za predšolske otroke. Ko pa se predstavljanja likovnih umetnin otrokom lotimo sami, je zelo pomembno, da za otroke izberemo pravo umetnino. Paziti moramo na naslednje tri dejavnike: tematika, stilne značilnosti in kakovost. Pri tematiki ni omejitev, le najti moramo način, da otroke privabimo in motiviramo. Odličen priročnik za motiviranje otrok je Gal v galeriji, ki s smešnimi vstavki za otroke naredi zanimivo tudi krajino. Stilne značilnosti, ki najbolj privabljajo otroke, so jasni obrisi, intenzivne barve in nepoudarjena globina. Tretji in najbolj pomemben dejavnik je kakovost slike. Ni vsaka umetnina primerna, treba je upoštevati le kakovostne slike, sploh pri otrocih, ki ne znajo sami ločiti med kakovostjo in kičem. Pomembno je tudi, da upoštevamo likovno-vzgojna načela ter kulturno-umetnostne cilje. Likovno-vzgojna načela so: načelo ustvarjalnosti, aktivnosti, zanimanja, individualizacije, nazornosti, življenjske in psihične bližine, postopnosti in sistematičnosti ter načelo kakovosti. Kulturno-umetnosti cilji pa so: uresničevanje temeljne človekove pravice do izobraževanja in sodelovanja na kulturnem področju, razvijanje ustvarjalnosti, razvijanje individualnih sposobnosti, izboljšanje kakovosti izobraževanja, razvijanje estetske občutljivosti in kritičnega odnosa do kulture in umetnosti, izražanje kulturnih raznolikosti, dviganje ravni kulturne zavesti ter zavedanje pomena nacionalne dediščine. Ko želimo otrokom predstaviti likovno umetnino, pa je treba narediti skrben didaktični model. Pri tem nam pomagajo različne metode dela. Pomembno je, da ne upoštevamo le ene metode, temveč naredimo preplet različnih metod, in sicer odvisno od starosti in značajskih lastnosti otrok. Metode, ki so najbolj primerne za delo z otroki, so sledeče: metoda demonstracije umetniških del, metoda komparacije, metoda pripovedovanja, metoda razgovora, eksperimentalno-praktična metoda, metoda igranja vlog ter metoda estetskega transferja. Med pisanjem diplomskega dela sem raziskovala tudi pomen likovnega izražanja ter doživljanja in razumevanja likovnih umetnin za otrokov razvoj. Najbolj pomembna so se mi zdela predvsem štiri področja. Otrok ob likovnih umetninah razvija ustvarjalnost, vizualno mišljenje in občutek za lepo, jezik, ter najpomembneje, spoznava samega sebe in razvija lastno teorijo uma. V empiričnem delu diplomskega dela sem raziskovala, v kolikšni meri in na kakšen način se v vrtce vključuje likovna umetnost ter kako se s tem povezujeta odnos vzgojiteljev in okolica vrtca. Raziskavo sem opravila s pomočjo anket. Osebno sem 100 anket raznosila po vrtcih in dobila 63 vrnjenih. Raziskavo sem opravljala v maju 2015. Rezultati so pokazali, da se odnos vzgojiteljev do likovne umetnosti povezuje z vključevanjem spoznavanja in doživljanja likovne umetnosti v vrtce. Pri okolici vrtca sem opazila minimalne povezave. Več vrtcev v mestu vključuje reprodukcije v vrtčevske dejavnosti kot pa na vasi in v primestju. Vendar pa to počnejo redkeje kot pa na vasi in v primestju. Rečemo lahko torej, da je količina vključevanja reprodukcij približno enaka v vasi, primestju in mestu. Tudi pri obiskih galerij ni bilo tako velike razlike. Nekaj več vrtcev v mestu in primestju obiskuje galerije kot pa vrtcev iz vasi. Nekoliko pogosteje pa to počnejo v mestnih vrtcih. Rezultati so pokazali, da likovno umetnost v vrtce vključuje več kot polovica anketirancev. Pri vključevanju reprodukcij in delu po obisku galerij pa se večina poslužuje bolj standardnih metod, kot so pogovor, opazovanje, ustvarjanje.

Keywords

likovna umetnost v vrtcu;odnos vzgojitelja;

Data

Language: Slovenian
Year of publishing:
Typology: 2.11 - Undergraduate Thesis
Organization: UL PEF - Faculty of Education
Publisher: [I. Štebe]
UDC: 373.2.016:74(043.2)
COBISS: 10718537 Link will open in a new window
Views: 1113
Downloads: 147
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Other data

Secondary language: English
Secondary title: Integrating appreciation of fine arts in early childhood education
Secondary abstract: Fine art is an area of study which used to be hugely overlooked in the educational process. In the 19th century museum and gallery visits and the overall observation of art was for children strictly prohibited. Fine art was only used for the needs of the trade professions. The change happened in England and Germany when they established “The Movement for the Artistic Education”. The goal of the movement was to make a child evolve their sense of beauty and to realise the beauty of nature. The arts were of grave importance for the child’s independence and individuality. In our country Lidija Tavčar was the one who was the most active and the one who developed museum pedagogy in our museums, especially in the National Gallery of Slovenia. Towards the end of the 20th century, the education in the National Gallery of Slovenia was also organized for the preschool children. When we decide to introduce the works of art ourselves, it is very important to choose a suitable work of art for a child. We have to be careful to choose the right field: theme, stylistic characteristics and quality. There is no limitation when theme is concerned. We just have to find the appropriate way to attract and motivate children. An excellent manual that shows how to motivate children is “Gal in a Gallery”, which by using humorous insertions makes even landscapes interesting. The stylistic characteristics which attract children the most are clear silhouettes, intensive colours and unstressed depth. The third and most significant factor is the quality of the painting itself. Not every work of art is appropriate. The only thing we have to take into account is the quality of the painting, especially with children who cannot separate quality and kitsch. It is also important that we consider the principles of fine art and its cultural goals. The fine art principles are: the principle of creativity, activity, interest, individualisation, illustrative examples, vital and psychological presence, gradualness, the principle of behaving systematically and the principle of quality. The cultural goals are: realisation of fundamental human rights to education and cooperation on a cultural field, the development of creativity and individual capabilities, advancement of the quality of education, development of aesthetic sensitivity and building a critical relationship towards culture and art, expression of cultural differences, improvement of cultural consciousness and awareness of the meaning of national heritage. When we want to introduce children to fine art, we have to create an attentive didactic model. In the process we are aided by various methods of work. It is important to not take into account just one methods, but create an intertwinement of various methods, depending on the age and behavioural characteristics of children. The methods which are the most suitable while working with children are: method of demonstration, comparison, narration, discussion, and experimentally-practical method, method of role play and method of aesthetic transfer. While writing this thesis, I have also researched the meaning of artistic expression, the experience art brings and understanding the influence the works of art have on children. I found four fields that are, in my opinion, especially important. Children can develop creativity, visual perception and a sense of beauty, language and most importantly, they get to know themselves and can develop their own way of thinking by being exposed to various works of art. In the empirical part of the thesis, I have researched to which extent and the way fine art is included in kindergartens. In addition to that, I looked at how the teacher’s relationship with art and the kindergarten’s surroundings are intertwined with art. The research was carried out with the help of a survey. I personally delivered 100 questionnaires among different kindergartens and got 63 back. I carried out the research in May 2015. The results of the research indicated that the teacher’s relationship with art is interconnected with the involvement of art in kindergartens and the way art is recognised and experienced. I noticed minimal connections with the kindergarten’s surroundings. There is a larger number of kindergartens in the city that use reproductions in their curriculum, than those in villages or the suburbs, but these use art more frequently than those in the city. Therefore, we can say that the quantity of involvement of reproductions is approximately the same in villages, the suburbs and in the city. There also wasn’t much difference when gallery visits are concerned. A few more kindergartens in the city and the suburbs visit galleries, than those in the villages, but those in the cities visit the galleries more frequently. The results showed that art is included in more than half of the questioned kindergartens. While including the reproductions and the work that is put into the visits of the galleries, most of them still use the traditional methods, which are discussion, observation and production.
Secondary keywords: art education;pre-school child;nursery school;likovna vzgoja;predšolski otrok;vrtec;
File type: application/pdf
Type (COBISS): Bachelor thesis/paper
Thesis comment: Univ. Ljubljana, Pedagoška fak., Predšolska vzgoja
Pages: 36 str., [4] str. pril.
ID: 9055576