študija primera
Mojca Kasjak (Avtor), Alenka Vidrih (Mentor), Andreja Kopač (Komentor)

Povzetek

Magistrsko delo raziskuje preplet umetniško-kreativnega procesa in pristopov pomoči z umetnostjo skozi študijo primera plesno-gledališke predstave Neke noči neke deklice nekje umirajo (2020). Zaradi občutljivosti teme in izjemno težkega avtorskega besedila poezije, ki temelji na temi travme, in zaradi starosti udeleženk so bili uporabljeni elementi umetnostno- terapevtskega procesa, s poudarkom na varnem prostoru za izražanje. V procesu so sodelovale mlade plesalke, stare med 14 in 16 let, ki so skozi uporabo umetnostno terapevtskih pristopov, kot so plesno-gibalna terapija (plesna improvizacija, kreativni gib, kinestetična empatija, avtentičnost gibalnega samoizražanja, koreoterapevtski model) in dramska terapija (performativni model AV), soustvarjale predstavo, temelječo na poeziji s tematiko travme. Želeli smo ugotoviti, kako so se udeleženke, deklice, stare med 14 in 16 let, odzivale na umetniški kreativni proces s pomočjo kreativnega giba, brez lastne izkušnje travme. Kaj je umetniško ustvarjanje pomenilo dekletom, kako so doživljale izolacijo (fizično in socialno distanco, negativna čustva, strahove, povečano tesnobo) v času epidemije covida-19 v Sloveniji in kakšen je doprinos te izkušnje tri leta kasneje? Kvalitativna raziskava, ki je potekala v času epidemije covida-19 in v treh letih po uprizoritvi, v prvem delu kaže na pozitivne učinke kreativnega procesa pri udeleženkah: zmanjšanje tesnobe, krepitev povezanosti in možnost samoizražanja. V drugem delu raziskave (2023) pa je prepoznan dolgoročni doprinos, ki se kaže kot pridobitev v globlji samozavesti, postavljanju mej, v spremembah ponotranjenosti in ozaveščanju občutkov, zavedanju, novih spoznanjih, pridobljenih orodij za umetniško in osebno delovanje, lastnem samospoznavanju in transformaciji. Raziskava izpostavlja pomen povezovanja in prepletanja umetniško-kreativnega in umetnostno-terapevtskega procesa pri ustvarjanju z mladimi, zlasti kadar gre za vsebine, ki zahtevajo občutljivo obravnavo. Pomemben doprinos se kaže tudi v pomenu in vlogi umetnostnega terapevta. Strokovne sodelavke, ki so umetnice z izkušnjami tako na umetniškem področju kot tudi na področju umetnostno-terapevtskega dela pomoči z umetnostjo, so imele ključno vlogo v procesu. Prav tako pa so bile izjemno pomembne tudi udeleženke in njihove kreativne izkušnje iz preteklosti ter njihov potencial nadarjenosti.

Ključne besede

mladostništvo;umetniško-kreativni proces;covid-19;pomoč z umetnostjo;plesno-gibalna terapija;dramska terapija;utelešenje;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.09 - Magistrsko delo
Organizacija: UL PEF - Pedagoška fakulteta
Založnik: [M. Kasjak]
UDK: 615.851:7(043.2)
COBISS: 247964163 Povezava se bo odprla v novem oknu
Št. ogledov: 86
Št. prenosov: 6
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni naslov: Experiencing the creative process and performance
Sekundarni povzetek: The master's thesis explores the intersection of the artistic-creative process and arts-based approaches to support and healing, through a case study of the dance-theatre performance Some Night, Some Girls Are Dying Somewhere (2020). Due to the sensitivity of the theme and the highly challenging poetic text addressing trauma, as well as the age of the participants, elements of an arts therapy process were employed, with a strong emphasis on creating a safe space for expression. The process involved young dancers aged 14 to 16 who, through the use of arts therapy approaches such as dance movement therapy (including dance improvisation, creative movement, kinesthetic empathy, authentic movement expression, and choreotherapeutic models) and drama therapy (using the performative AV model), co-created a performance based on poetry centered on the theme of trauma. We aimed to explore how the participants girls, aged 14 to 16, responded to the artistic creative process through creative movement, despite not having personal experiences of trauma. What did artistic creation mean to them? How did they experience isolation (physical and social distancing, negative emotions, fears, increased anxiety) during the COVID-19 pandemic in Slovenia, and what is the impact of this experience three years later? The qualitative study, conducted during the COVID-19 pandemic and in the three years following the performance, initially shows positive effects of the creative process on the participants: reduced anxiety, strengthened sense of connection, and opportunities for self-expression. The second part of the research (2023) highlights its long-term contribution, manifested in increased self-confidence, ability to set personal boundaries, enhanced awareness and internalization of emotions, new insights, and the acquisition of tools for both artistic and personal growth, including self-awareness and transformation. The study emphasizes the importance of intertwining the artistic-creative process with arts therapy, particularly when working with young people on topics that require sensitive handling. A significant contribution also lies in the role of the arts therapist. The professional collaborators, who were artists with experience in both the artistic domain and in arts-based therapeutic work, played a key role in the process. Equally important were the participants themselves, along with their previous creative experiences and their artistic potential.
Sekundarne ključne besede: adolescence;artistic-creative;COVID-19;art-based support;dance-movement therapy;drama therapy;embodiment;Umetnostna terapija;Umetnostna terapija za mladostnike;Univerzitetna in visokošolska dela;
Vrsta dela (COBISS): Magistrsko delo/naloga
Študijski program: 0
Komentar na gradivo: Univ. v Ljubljani, Pedagoška fak., Pomoč z umetnostjo
Strani: 1 spletni vir (1 datoteka PDF (185 str.))
ID: 27338313