Прирачник за наставата во V одделение во деветгодишното основно образование по ликовно образование

Прирачникот за наставата по ликовно образование во V одделение во деветгодишното основно образование е концепт на примери од различни дневни оперативни планови за реализација на ликовното образование во V одделение во деветгодишното основно образование

Pogled v nebo solo exhibition

Nikola Smilkov’s sculptural exhibition ‘A Gaze at the Sky’ presented at the Posavje Museum Brežice comprises thirty-three works of art. The exhibited works are small-dimension figural sculptures made of stone and bronze. The artist’s main subject is the human figure, simplified to its basic forms that are still easily recognisable. The sense of bodily movement and tension in the depictions is the result of the artist’s well-thought-out and masterful treatment of lines. The use of Prilep marble, which signifies how attached the artist is to his Macedonian roots, allows for a special softness in the way the materials are sculpted. Through special patination techniques, the works in bronze bring an element of colour to the sculptor’s oeuvre, thus setting these works apart from the black-and-white aesthetic, which is characteristic of his works in marble in particular. The artist works bronze in various ways, thus exploring the visual results of different treatments, ranging from the aforementioned patination to mechanical surface treatment and polishing. The figures in bronze are combined to form a whole with stone bases, often made of different rocks in a variety of shades and textures. The exhibited works showcase the artist’s creation between 2018 and 2023. During this period, the works were created in special circumstances caused by the global pandemic, which undeniably influenced their form and content. The experience of social isolation has seeped into the meaning of these sculptural works and is also expressed through their titles. You are kindly invited to step inside a world characterised by the exploration of space and the human figure, and learn more about the sculptor’s creative work. Maruša Erpič, Art Historian, Exhibition Coordinato

Треперење

наслов: Треперење димензии: 7 х 9,5х 4см материјал: мермер Делото е претставено на 13-то Меѓународно биенале на уметност на минијатура во Горни Милановац во Р Србија, заедно со 700 дела на уметници различни држави во светот

Ликовен јазик

Овој учебник e наменет за студентите од наставничките факултети, како корисна литература за личен и професионален развој во областа на ликовната уметност и култура. Ликовното образование се темели на ликовниот јазик, кој е основно средство за изразување во ликовната уметност. Пoзнавањето на ликовниот јазик и вклучувањето на истиот во наставата, е неопходен предуслов за успешно пренесување на ликовната култура на младите генерации. Учебникот опфаќа опис на основните сегменти на ликовниот јазик, ликовните елементи: точка, линија, насока, големина, форма градација, боја, тон, текстура и простор, кои заедно со ликовните принципи: контраст, хармонија, градација, пропорција, ритам, единство, движење и композиција учествуваат во креирањето на едно ликовно дело. Како дополнување на материјалот, даден е и ликовен речник, кој содржи некои од начјесто користените изрази во ликовната уметност. Се надевам дека овој материјал ќе обезбеди основа за градење на комплетни воспитувачи и наставници, кои активно ќе можат да се вклучат во наставниот процес од областа на ликовното воспитување и методиката, а познавањето на ликовниот јазик ќе ја олесни работата со учениците, но и ќе ја подобри способноста за критичко набљудување на ликовни дела

A Palm as a Measure – Nikola Smilkov’s Figurines

The extraordinary tactility of figurines that can almost fit into the palm of one hand, their dimensions and the subtle processing of stone in the latest cycle of Nikola Smilkov reveal the idea of something extremely subtle and fragile, preserved as something precious; but, at the same time, a very suggestive impression of monumentality has been achieved by using wide and clean surfaces. Although unusually small in size, only ten to fifteen centimeters, the figurines are pondered and shaped as monumental sculptures, without meticulous processing and redundant details that would draw attention away from the whole. Clear and skillfully defined lines of mass have achieved exceptional ease not only of the movement, but also of the shape in its entirety, although it is mostly about the stone material. The manner of material processing has achieved the state of body sensuality, without the literal representation of recognizable attributes of nudity. Everything is reduced to the masses and the state of softness of the surface itself, i.e. of the texture of the stone material. By skillfully reducing the shapes in the spirit of Cubism, but without the depersonalization which is often present in Cubist figures, the artist “transfuses” the idea of the female being’s subtlety into stone in a very sensitive way. The softness of the flesh, the warmth of touch, the gentleness of the female body – they are all preserved in figurines shaped in stone … Although there is a noticeable Cubist reduction in shape, there are no sharp edges; by the very way of processing the stone everything is softened, with soft contours and in the sign of gentleness and confluence of masses. Everything “flows” softly, both lines and masses, so the figurines have a distinct visual effect of sophistication and subtlety. *** The artist opposes the firmness, the cold luster and sharpness of the contours of the black granite to the velvetyness of the surface, the gentleness of the contours and the luminous whiteness of the marble thus emphasizing the essential properties of the gentleness and fragility of the female being. On figurines in metal (bronze) a tougher modeling is observed; shapes are stricter; the principle of cubic reduction to basic geometric shapes is present to a greater extent, especially in the treatment of the head. The emphasis is more on the relation of mass and shape, and less on the fleshliness of the naked body, which is largely conditioned by the possibilities of the material itself. Being well aware of the possibilities of expression of the material, Smilkov uses bronze as a material in which the sharpness and slimness of the shape can be most clearly achieved, as well as the “soundness” of the material itself. By placing bronze figurines on a stone base, the artist measures the ratio of bronze and stone, opposing the two states and levels of the visual effect of the surface’s luster, but also the sonorousness of bronze – to the muffledness of stone. *** Finally, it can be said that the latest cycle of Nikola Smilkov’s figurines on the theme of the human body reveals the artist’s extremely nurtured sensitivity to the material’s expression. It is precisely the respect of the nature of the material that has essentially determined the modern sculpture at the beginning of the 20th century, which enabled a crucial shift in relation to the European sculpture of the last few centuries that “suffocated” in details in the representation of figures, which frequently annulled one of the essential characteristics of sculptural work, that is, above all, the expression of the material. The significance and the radical change that brought about a new approach to the material in modern sculpture are testified by artists’ superlative works, most prominent in the tendencies of respecting nature and possibilities of expression of the material itself, specifically in stone – primarily all the works of Constantin Brâncuşi at the very beginning of the 20th century, but also by Isamu Noguchi, Vojin Bakić and others during the second half of the 20th century; and, in the domain of bronze, i.e. metal – Alberto Giacometti, Henry Moore, Julio Gonzalez and others; and today, at the beginning of the 21st century, especially the works of Richard Serra. The basic guideline in Nikola Smilkov’s works has been so far precisely on that line of seeking and finding the possibility of expressing the essential properties of materials, primarily stone, but also of bronze. By exhibiting several of the most successful works of this cycle in a public space of monumental proportions, first of all, the sculptures Awakening (2015) and Anticipation (2015), in the well-established relationship of the sculpture itself with the surrounding space, the very essence of the female being would be “immortalized” in a modern but also timeless manner, and their full expression would be realized. Rajka Boskovic PhD Art Historian and Theoreticia

A comparative review of the art education curriculum in class teaching in the Republic of North Macedonia and other countries

The need for education has always been and will continue to be essential in a society. The learning process begins at an early age and never ends. Elementary school is the main institution in which pupils acquire basic knowledge, skills, habits, abilities and a value system; it is an institution which sets the foundation for further intellectual, physical, social and moral development. Each country develops its own educational system, its educational policies, institutional and extra-institutional forms of education. In that process, we rely on tradition, as well as on styding and analysing the educational systems of specific countries, which enables us to note the similarities and differences, to use the positive and strong points of such educational systems, and to come up with new ideas, with a view to improving the quality of the educational process. The analysis is mainly focused on the curricula of specific countries, serving as a starting point for implementing numerous educational reforms aimed at improving the educational system. This paper analyses subject-based class teaching art education curricula in the Republic of North Macedonia and other countries (Serbia, Croatia, Slovenia, Bulgaria and Finland). The comparative analysis of the curricula includes several aspects concerning the perception of similarities and differences in terminology, objective setting, the number of classes, systematically and appropriately defined contents, age appropriate contents, the manner of assessing pupil academic achievement and teacher competencies. The purpose of this analysis is to contribute, by focusing on individual aspects of a curriculum, to developing modern, high-quality curricula for art education in elementary schools, which will keep pace with contemporary trends in the development of this discipline and which will be compatible with European curricula, motivating both teachers and pupils

Comparative overview of the curriculum of art education - classroom teaching in North Macedonia and other countries

The need for education has always been and will be crucial in a society. The learning process begins in the earliest years of life and never stops. One learns all one's life. The basic institution in which the process of institutional influence takes place, in which students acquire basic knowledge, skills, habits, abilities, value system, in which the basis for further intellectual, physical, social, moral development is created, is the primary school. Each country creates its own education system, creates its own educational policy, its own institutional, non-institutional forms. In that process of creation, we rely on tradition, but also on studying, analyzing the educational systems of individual countries, which in turn allows us to notice similarities and differences and use our strengths, produce new ideas, all in the direction of greater quality of the educational process. The most common subject of analysis are the curricula of individual countries as a basis for the implementation of numerous educational reforms aimed at improving the education system. The subject of analysis in this paper are the subject curricula of art education in RN Macedonia and other countries (Serbia, Croatia, Slovenia, Bulgaria, Finland). The comparative analysis of the program included several aspects related to the perception of similarities and differences in terminological terms, goal setting, number of classes, systematic and appropriate content setting, compliance with student age, method of evaluating student achievement, teacher competencies. The purpose of this analysis was, based on the analyzed individual aspects of the curriculum to contribute to the creation of modern, contemporary, quality programs in art education for primary education, that will be in step with modern trends in the development of this discipline, compatible with European curricula, motivating for both teachers and students

Состојби и перспективи на универзитетскиот спорт во Република Македонија и некои Балкански земји со осврт на Универзитетот „Гоце Делчев“ - Штип

Универзитетскиот спорт е еминовност на современото време и современиот живот. Истиот претставува логична последица во институционалниот систем на спортското воспитание на младите. Различни форми на спортот и физичкото образование имплементирани во универзитетското образование се отскочна даска за вклучување во спортот и физичката активност во тек на целиот живот. Од друга страна вклучувањето во спорт и спортски активности на универзитетот претставува последна можност за институционално делување во насока на развивање на свеста и потребата за редовна физичка активност и стекнување на навики за здрав и активен живот. Оттука, потребата од негово систематско развивање и организирање како и поголемо вклучување на сите субјекти, во насока на промоција на здравјето и активниот живот на студентите. Во трудот е направена теоретска анализа на законските одредби за поставеноста на универзитетскиот спорт во Србија, Бугарија, Словенија и Хрватска, споредено со состојбите во Република Македонија и посебен акцент на организацијата на спортот на Универзитет „Гоце Делчев“. Врз основа на оваа анализа предложени се низа мерки за унапредување и развој ан спортот на универзитетите

Intercultural sensitivity among students-future teachers

One of the priorities of every multicultural modern society is promotion and nurturing of intercultural sensitivity. Intercultural sensitivity can be established as a key competence through intercultural education. Awareness and acceptance of cultural diversity, awareness of rights and responsibilities, perception and learning of different languages, interest and curiosity for the differences, its acceptance, respect and cooperation, is established and developed within the educational process. In this process, teachers are one of the key actors. The quality and successful realization of intercultural education largely depends on its intercultural competence, intercultural sensitivity, perceived and understood as an interest in another culture, observing and understanding cultural differences and consciously changing personal behavior by respecting other cultures. Teachers should be the model for the development of intercultural sensitivity in the younger generations. Only interculturally competent, interculturally sensitive teachers can encourage the younger generations to develop and form an intercultural sense. Is intercultural sensitivity developed among young generations of future teachers? What is the current condition? What are the recommendations? The answers of these and other similar questions we got through micro research conducted on sample of future teachers, current students at Faculty of educational sciences at Goce Delcev University in Stip. The main hypothesis was that students, future teachers are interculturally competent, interculturally sensitive. The study sample was comprised of 42 students in all years of study at four different study programs. Descriptive-explicit method, the method of theoretical analysis were applied as research method. The scaling technique and the instrument Intercultural Sensitivity Scale (ISS) developed by Chen & Starotsa (2000) was implemented. Obtained results support the main hypothesis and based on that recommendations in the direction of strengthening the intercultural sense in the future teachers were presented

Соработка, партнерство помеѓу воспитно образовните институции

Позната девиза „цело е кога има сѐ“, „сѐ со сѐ е поврзано, испреплетено“, упатува на меѓусебната поврзаност на се што постои во современото, модерно општество во кое живееме. Индивидуата, институциите, иако навидум се целовити, единствени, не можат да опстојуваат независно еден од друг, делуваат заеднички, во насока на остварување на една заедничка цел, квалитетен личен, општествен развој. Во тоа општествено битисување, опстојуваат, се развиваат, даваат свој придонес и образовните институции. Образованието е темелот, клучната алка од која зависи понатамошниот општествен развој. Oбразовните институции, имплементатори ан обарзовниот процес, не можат да опстојуваат самостојно, независно едни од други. Истите се постојано упатени, на соработка, партнерство, не само во рамки на одделните потсистеми на образование, системот на образование како целина, но и на сите други институции на локално, државно, па и меѓународно ниво, чија цел е квалитетна едукација на сегашните и идни генерации. Токму таа нивна поврзаност, нивна соработка, е нитката која ги движи напред на патот кон успехот. Во трудот е елаборирано прашањето на соработката, различните форми низ кои истата се пројавува, бенефитите од неа, со посебен акцент на соработката помеу факултетите за едукација на наставен кадар и образовните институции