Tunnetatud sidusus tervise kontekstis

Tunnetatud sidusus on Aaron Antonovsky esitatud salutogeneetilise tervisekäsitluse keskne mõiste, mis tähistab üldist vastupanuressurssi, isiksuslikku eelsoodumust kogeda sündmusi mõistetavate, juhitavate ja mõtestatutena. Tunnetatud sidususe kujunemises on oluline osa lapsepõlve kogemustel, määravaks on järjepidevus, adekvaatne koormus, väärtustatud sotsiaalne aktiivsus. Samas ei ole ühest seisukohta tunnetatud sidususe stabiilsuse ja muutumise osas täiskasvanueas: teatud elusündmuste ja stressi mõjul võib tunnetatud sidusus kahaneda ja potentsiaalsed muutused ei ole ilmselt nii harvad, kui eeldas Antonovsky. Eesti Arst 2003; 82 (8): 550–55

Loovteraapia kontseptsioonist, rakendamisest ja tõenduspõhisusest

Artikkel on ajendatud professionaalse loovteraapia väljakujunemisest ning loovterapeutide rakendamise suurenemisest Eestis. Loovterapeutilistel meetoditel on mitmeid variante ning sellest tingituna esineb nii teenuse osutajatel kui ka kasutajatel sellest erinevaid arusaamu. Seetõttu on artiklis esitatud loovteraapia üldised kriteeriumid, selgitatud teraapia mitmetasandilisust, lähtudes eesmärkidest, ning tehtud ülevaade loovteraapia uurimustest ja ravitulemustest

Music Lessons as a Source for Well-Being and Lifelong Involvement with Music

This paper presentation is based on outcomes of two studies which were carried out in 2008 and 2010. The objectives of the first study were to analyse the experiences and memories gained in general music lessons at school in relation to the current musical activity of the person and his or her attitude towards music; how music lessons have influenced the musical behaviour of a person after graduating from general school and what is the role of the music teacher in that process. I would like to present some results from that study where the following themes were discussed ((1) the most vivid memory from music lessons; (2) an emotion from music lessons; (3) the purpose of music lessons; (4) personality of the music teacher; (5) the importance of music; (6) involvement or lack of involvement with music at present) in the light of outcomes from the second study.The second study explored connections between creative lessons (music, arts and crafts and physical education) at general education school and 13-14 year-old pupils’ leisure activities, creativity and well-being. The idea of this study was to search for links between active participation in creative activity, creativity and well-being. In this presentation I will particularly focus on relations between music lessons and well-being. Could we draw lines between feelings felt before entering a music lesson and general absence from school? Or how is the school\u27s environment connected with that before mentioned entering feeling of a lesson? Are there any differences between boys and girls? Why some pupils stay distant from music and possibilities to change it? How could music teachers encourage pupils in their lessons to start a life-long involvement with music? In this presentation I would like to discuss the idea of music lessons as a source and a resource of well-being in the present and life-long involvement in the future. And what seem to be those difficulties which keep music lessons from being that source at the moment

Visuaalsete märkmete kasutamine õppetöös: 6. klassi õpilaste kogemused kunstipõhiste märkmete tegemisest ajalootunnis

Visuaalseid märkmeid (sketchnotes, visual notes) on kirjeldatud kui rikkalikke märkmeid, kus kombineeritakse käsikirjalist teksti, joonistusi, käsitsi tehtud tüpograafiat, kujundeid ja visuaalseid elemente nagu nooled, kastid ja jooned (Rohde, 2013). Visuaalsetest märkmetest on täheldatud olulist kasu õppimisele, eeskätt info mälus talletamisele ja meenutamisele. Märkmete tegemist joonistustena saab käsitleda kunste lõimiva õppe komponendina. Uuringu eesmärk on kirjeldada õpilaste kogemust joonistatud märkmete tegemisest 6. klassi ajalootunnis, et teha järeldusi selle meetodi rakendatavuse kohta. Õpilased tegid üheteistkümnes ajalootunnis visuaalseid kokkuvõtteid käsitletust. Peale ajalookursuse lõppu täitsid 77 osalejat küsimustiku ja 8 osalejaga viidi läbi intervjuu. Õpilaste hinnangud lubavad järeldada, et selline kunstipõhiste märkmete tegemise viis võib sobida ajalookursuse osaks, kuna sel on potentsiaali toetada õppematerjali meeldejätmist, loomingulist eneseväljendust ja eneseregulatsiooni. Artiklis käsitletakse visuaalseid märkmeid ühe võimalusena lõimida kunste koolitundi. Summar

Rahvatantsuharrastus paguluseestlaste hulgas ja selle roll eestluse säilimisel

The current article is based on the research carried out among expatriate Estonians living in Germany. The aim of the research was to obtain an general understanding of the evolution and development of Estonian folk dance groups and the inception of these groups in the Federal Republic of Germany after the Second World War. The first target group was the Estonian expatriates in Germany, since German war refugee camps were the first stop for many refugees on their journey. Interviews were conducted with 13 expatriate Estonians in Bocholt, Bonn and Hamburg in 2007. The study attempts to answer the following questions: What gave rise to such active hobby activities, including the establishment of folk dance groups, in German refugee camps? Why were these groups formed also in different places in Germany later, after people had left the refugee camps? What could be the main reasons for and the general context of such a phenomenon?The article describes the motives for practicing folk dancing as a hobby, the everyday activities of folk dance groups – repertoire, practicing, music, folk costumes and performances, what has become of the folk dance groups since their establishment and the role of folk dance in the life of expatriate Estonians. Aside from the previous aspects, the functions which describe the role of folk dance – preservation of continuity; organisation of community; social interaction and welfare; preservation of Estonian language; self-determination – also stood out in the analysis of the interviews. Cultural pursuits formed a positive link between the past and the present, taking on a balancing role in the tragic understanding that seeking temporary asylum had become a constant state in exile and this prevented people from being trapped in the disconsolate condition of a refugee. Folk dance was not purely a hobby but a place where the Estonian language was spoken and learned; it helped people to stick together in difficult times, define themselves in the wind of changes and introduce Estonia in a foreign country by means of dance and folk costumes

Learning how to learn: The role of music and other expressive arts in responding to Early Leaving from Education and Training (ELET) in the STALWARTS project

This project report describes policy, practice and theory related to a cross-sectoral international project funded by the European Union’s Erasmus+ programme. STALWARTS – Sustaining Teachers and Learners with the Arts: Relational Health in European Schools – aimed to promote relational health in schools through engagement with the arts. The project was developed in five European countries: Estonia, Italy, Norway, Portugal, and the UK. The local partnerships between five universities and community-based schools are diverse in terms of their locations in the European region and the populations they serve, in terms of age, social status and learning conditions.In this article we focus on the link between ELET policies in each country and local contexts. We ask: How can identified ELET policy drives in the five partner countries relate to the achievements of the STALWARTS partner schools when working with the expressive arts? Some related theoretical background underpinning the practical aspects of the project brings this report to a conclusion

Rahvatantsuharrastusega seotud kultuuri- ja suurpeod väljaspool Eestit

This article is primarily focused on the Estonians and how they have preserved their culture while living in both their home land and in foreign communities abroad. Estonian folklore is at the heart of Estonian culture. In the 20th century, it was used to maintain a sense of identity. One of the most powerful symbols of self-expression in Estonian history was folk songs and dance festivals. Particularly impressive, maintaining the folk tradition, are the National Song and Dance festivals, held both in Estonia and by Estonians living abroad. The early 20th century decades created the traditional culture that has been built upon over the years to result in what is today’s folk dance tradition. Even after the destruction of World War II, the people of Estonia, both geographically and living abroad remained a coherent whole, ensuring the continuity of the Estonian folk culture. Many dimensions and representations of the folk tradition are evidenced in the majorfestivals conducted in both Estonia and abroad

Arts therapies for different client/patient groups

This collection of articles is created and published by the Erasmus Lifelong Learning Intensive programme project “Arts Therapies for different client/patient groups” (2011/2012) in Rīga Stradiņš University, Faculty of Rehabilitation, Professional Master’s study programme “Arts Therapies” in collaboration with project partners. The articles are based on the content of theoretical presentations and workshops from the authors during Intensive programme activities. The collection of articles describes theoretical and practical work with health care discipline – arts therapies specialisations ? art therapy, dance movement therapy, music therapy possibilities with different client/patient groups in health care, social care and educational settings. The collection of articles includes different arts therapists from Estonia, Latvia, Lithuania, Germany and Great Britain, and their practical experience summary. The case studies are results of recent research in the field of arts therapies. The articles emphasise and characterise the specifics of arts therapies specialisations, and offer the possibilities in work with different client/patient groups. Multidimensional views to practical part of arts therapies work are offered in the collection. It also demonstrates various therapeutic frameworks, integration of medical, psychological theories used as basis of the applicability of arts therapies, offers some aspects of art-based assessment, and shares useful experience. The authors offer contemporary approaches in arts therapies work. The main goals of the project were to provide exchange of experiences through activities among project partners; to acquire and develop new knowledge and skills; to create guidance materials for arts therapies work for different client/patient groups; and to encourage further arts therapies development in the project participating countries.Project no. 2011-1-LV1-ERA 10-0226