Teacher education students’ self-reflection on their performance during the visual arts teaching experience

Sposobnost samorefleksije smatra se jednim od važnih područja za uvođenje pozitivnih promjena u učiteljskoj praksi te profesionalnom razvoju učitelja. Razmatrati pitanje sposobnosti samorefleksije studenata o njihovoj praktičnoj izvedbi nastave likovne kulture značajan je aspekt unapređivanja kvalitete nastavnog procesa i inicijalnog obrazovanja učitelja. Radi toga na Učiteljskom fakultetu Sveučilišta u Zagrebu provedeno je kvalitativno istraživanje u kojem se samorefleksijom nastojalo istražiti što studenti misle o vlastitoj izvedbi javnoga sata iz likovne kulture. U istraživanju su sudjelovali studenti četvrte godine razredne nastave, a provedeno je anonimnim anketnim upitnikom u ljetnom semestru ak. god. 2016./2017. U ovom radu izneseni su podaci koji su dobiveni odgovorima na otvorena pitanja, a razvrstani su u šest kategorija: 1. strahovi prije izvedbe javnoga sata, 2. poteškoće za vrijeme pisanja pripreme, 3. poteškoće tijekom rada s učenicima, 4. samoprocjena uspješnosti izvedbe javnoga sata, 5. kako poboljšati izvedbu javnoga sata i 6. što bi mijenjali u izvedbi javnoga sata. Rezultati su pokazali da kod studenata nedostatak vremena za realizaciju nastavnoga sata najčešće izaziva strah, a ujedno se ističe i problem integracije teorijskoga znanja u učiteljskoj praksi, primjerice, problemi u pisanju pripreme, komunikacija s učenicima i korištenje likovnoga jezika u objašnjavanju likovnih problema i pojmova. Dobiveni rezultati pružaju uvid u mišljenja studenata koja su proizašla iz njihove samorefleksije o izvedbi javnoga sata iz metodike likovne kulture i važnost samorefleksije za inicijalno obrazovanje i razvoj budućih učitelja.Self-reflection is one of the most important practices both in teaching and in the professional development of teachers. Examining the students’ ability to self-reflect on their teaching practice is a significant aspect of improving the quality of their teaching, as well as the quality of their initial education. To this end, a qualitative phenomenological study was conducted at the Faculty of Teacher Education, University of Zagreb, during the second semester of the academic year 2016/17. The study attempted to examine the students’ reflections on their teaching experiences in a Visual Arts class. The sample consisted of Primary Education students in their fourth year of study. The participants filled in an anonymous questionnaire with open-ended questions. This paper presents the data received during the analysis of the participants’ answers, grouped in six categories: fears experienced before the lesson, difficulties associated with writing the lesson plan, difficulties experienced while working with the pupils, self-assessment of the efficacy of their teaching performance, potential areas for performance improvement, and parts of the performance the students wanted to change. The most common fear was that there would not be enough time to cover all content and activities. The participants also reported encountering difficulties with integrating theoretical knowledge with teaching practice, e.g. during planning and preparation for the lesson, communicating with the pupils, and using art-specific language in teaching visual arts problems and terms. The obtained data provides insight into the outcomes of students’ self-reflections on their visual arts teaching experiences and the importance of self-reflection for the initial education and professional development of future teachers

Connection between the satisfaction with art methodology teaching and some aspects of students’ obligations and organisation of teaching

U radu je istražena povezanost između zadovoljstva nastavom iz metodike likovne kulture (MLK) s organizacijom nastave i obvezama studenata. Izdvojeni su samo neki od aspekata organizacije nastave koji u kontekstu ovog istraživanja podrazumijevaju broj studenata na predavanjima i vježbama, a obveze studenata vezane uz studij mjere se brojem izostanaka i njihovim završnim ocjenama. Istraživanje je provedeno na sedam učiteljskih fakulteta u Republici Hrvatskoj na uzorku od 220 studenata treće godine Ranog i predškolskog odgoja i obrazovanja. Korelacije su provedene na nezavisnim varijablama završna ocjena, broj izostanaka, broj studenata na predavanjima i vježbama iz MLK i tvrdnji vezanih uz skupne zavisne varijable, od kojih su u statistički značajnoj korelaciji: nastavno posredovanje, praćenje i ocjenjivanje studenata i organizacija nastave MLK. Zadovoljstvo studenata nastavom iz MLK u ovom istraživanju najviše je izraženo putem korelacija nezavisnih varijabli s nastavnim posredovanjem koje podrazumijeva kvalitetnu nastavnikovu izvedbu nastave i suradnički odnos sa studentima. Kao i kod prethodnih istraživanja, veće zadovoljstvo studenata povezano je s radom u manjim skupinama, a i s manjim brojem izostanaka s nastave.The paper deals with the connection between the satisfaction with Art Methodology Teaching (AMT) and the organisation of teaching and students’ obligations. Only some of the aspects of the organisation of teaching were singled out, which in the context of this research imply the number of students at lectures and exercises, while students’ obligations regarding the study were measured by the number of absences and their final grades. The research was carried out at seven Faculties of Teacher Education in the Republic of Croatia, at the sample of 220 third year students of Early childhood and preschool education. Correlations were carried out between independent variables final grade, number of absences, number of students at AMT lectures and exercises and statements connected with group dependent variables, among which they are in a statistically significant correlation: teaching mediation, monitoring and evaluation of students and the organisation of Art Methodology teaching. The satisfaction of students with Art Methodology Teaching in this research has been mostly expressed through correlations of independent variables with the teaching mediation which implies quality teaching process and collaborative relationship teacher-students. Like in previous studies, both students’ satisfaction and smaller absenteeism were connected with the work in smaller groups

The Artistic Dramaturgy of the Zlatko Bourek›s Figure Theatre, that Wonderful World of Freaks Theatre

Umjetnost ili bolje rečeno univerzum Zlatka Boureka satkan je od njegove iznimne stvaralačke, istraživalačke, zaigrane, duhovite i nadasve osebujne energije koja promatrača ostavlja bez daha jer što god da je dotakla oblikovala je povijest, kako lutkarstva, tako i svih drugih medija kojima se izražavao. Njegov umjetnički izričaj čine izrazita predanost, umijeće i nadasve istinska i jedinstvena poetika kojom spaja elemente nadrealizma i folklora te ih upotpunjuje grotesknim humorom, stvarajući tako poseban ambijent unutar kojeg oživljavaju njegove groteskne figure, nakaze. Okosnica ovog rada je likovna dramaturgija kazališta figura Zlatka Boureka koja podrazumijeva niz različitih, međusobno isprepletenih simultanih vizualnih sustava koji djeluju na kazališno iskustvo publike. Nastoje se istaknuti likovne komponente ove vrste lutkarskog kazališta koje se ne zaustavljaju samo na kreaciji lutke kao protagonista već se osvrće na cjelokupnu sliku same lutkarske inscenacije i njezin doživljaj. Jedna od mogućih perspektiva promatranja likovne dramaturgije prema Posner (2014) može se promišljati s nekoliko polazišta: slike koja podržava, tumači, kontrastira ili na neki drugi način izravno komunicira s tekstom, zatim kao svojevrsna vizualna gramatika koju umjetnik koristi kao autorefleksivni kazališni dijalog s publikom, te kao emocionalni odgovor publike o likovnim elementima predstave, a koji postoji neovisno o radnji koja se zbiva na pozornici ili pak izgovorenom tekstu. U svrhu ovog rada provedeno je istraživanje među studentima kojim se ispituje na temelju odabira nekoliko fotografija lutaka Zlatka Boureka doživljaj likovnog izričaja umjetnika te koje emocije pobuđuje u ispitanicima sam pogled na lutku. Likovna dramaturgija kazališta figura promatra se pritom kao svojevrsna vizualna meta-pripovijest i emocionalni odgovor promatrača na izdvojen aspekt likovnosti, lutku kao nositelja radnje.The art, or even better, the Bourek’s universe is made up of his extraordinary, creative, exploratory, playful, funny, and especially distinctive energy which leaves the observer breathless because whatever it has touched has shaped the history of both puppetry and all other media in which he expressed himself. His artistic expression consists of a distinct devotion, art and, above all, true and unique poetics which combines elements of surrealism and folklore, and complements them with grotesque humour, thus creating a special environment within, which his grotesque figures, freaks come to life. The backbone of this work is the artistic dramaturgy of the theatre of figures by Zlatko Bourek, which includes a number of different, intertwined simultaneous visual systems that affect the theatrical experience of the audience. We try to highlight the artistic components of this type of puppet theatre that do not stop only at the creation of the puppet as the protagonist, but that looks back at the overall picture of the puppets coming to life on stage. One of the possible perspectives of observing visual dramaturgy according to Posner (2014) can be considered from several starting points: images that support, interpret, contrast or otherwise directly communicate with the text, then as a kind of visual grammar used by the artist as an autoreflective theatrical dialogue with audiences, and as an emotional response of the audience about the artistic elements of the play, which exists regardless of the action that takes place on stage or the spoken text. For this paper, a study was conducted among students which examines the experience of the artist’s artistic expression based on the selection of several photographs of Zlatko Bourek’s puppets and which emotions the view of the puppet arouses in the respondents. The artistic dramaturgy of the theatre of figures is viewed as a kind of visual meta-narrative and the emotional response of the observer to a separate aspect of art, the puppet as the bearer of the action

Teacher competences in the arts curriculum

Suvremena stremljenja u obrazovanju, s obzirom na globalizaciju u izravnoj su vezi s potrebama znanstveno-tehnološkog napretka, gospodarskim, političkim i socijalnim čimbenicima te određenim sustavom vrijednosti iz kojeg proizlaze odgojno-obrazovni ciljevi u vidu humanističkog pristupa odgoju i obrazovanju. Unapređenje kvalitete odgoja i obrazovanja moguće je jedino uz razvijanje profesionalnih kompetencija učitelja potrebnih za implementaciju humanističkog pristupa u odgoju i obrazovanju. Uloga učitelja iz tradicijskog pristupa kulturi učenja koja se temeljila na prijenosu sadržaja, mijenja se i prilagođava novoj kulturi učenja, usklađenoj s potrebama suvremenog društva, u kojoj se naglašava poticanje aktivnog učenja, odnosno stjecanja i razvoja kompetencija učenika. U umjetničkom području ovaj pristup nastavi omogućava holistički razvoj učeničkih kompetencija, kao što su stvaralaštvo, kreativnost, emocionalna inteligencija, kritičko mišljenje i sposobnosti interpretacije. Kao relevantan teorijski okvir za analizu profesionalnih kompetencija učitelja izabran je Jurčićev (2014) model profesionalnih kompetencija koje obuhvaćaju pedagoške i didaktičke dimenzije profesionalnog djelovanja učitelja. U teorijskom dijelu rada osim detaljna opisa profesionalnih kompetencija učitelja, njegovih pedagoških i didaktičkih dimenzija, objašnjavaju se i analiziraju kurikulumski teorijski okviri, didaktičke i metodičke komponente predmetnog kurikuluma likovne kulture te nacionalni kurikulum umjetničkog područja, uključujući i komparativnu analizu nacionalnih kurikuluma sedam zemalja za nastavni predmet likovna kultura. Glavni cilj empirijskog istraživanja bio je utvrditi primjenjuju li učitelji razredne nastave i nastavnici likovne kulture u osnovnoškolskom obrazovanju odgovarajuće pedagoške i didaktičke kompetencije u poučavanju likovne kulture. Tijek ostvarenja cilja prikazan je kroz teorijski i empirijski dio rada. Empirijsko istraživanje temeljilo se na kvantitativnoj metodologiji koja je obuhvaćala ispitivanje učitelja razredne nastave i nastavnika likovne kulture na području Grada Zagreba i Zagrebačke županije. Podaci dobiveni anketiranjem obrađeni su metodama deskriptivne i inferencijalne statistike, a za komparativnu analizu kurikuluma u teorijskom dijelu korištena je deskriptivno-neempirijska metoda i rad na dokumentaciji. Empirijski je utvrđeno da se profesionalne kompetencije učitelja, njihove pedagoške i didaktičke dimenzije mogu mjeriti u predmetno-specifičnom kontekstu te da su samoprocjena kompetencija i primjena kompetencija u nastavi likovne kulture u pozitivnoj korelaciji. Dobiveni rezultati empirijskog istraživanja važni su za koncepciju i razvoj modela cjeloživotnog učenja, unutar kojeg bi se trebalo uzimati u obzir praktično iskustvo učitelja kako bi se preciznije odredili pravci za daljnji razvoj profesionalnih kompetencija. Kategorijalne varijable dob i staž imaju veliku ulogu u samoprocjeni kompetencija. Mlađe generacije procjenjuju svoje kompetencije rada s informacijsko-komunikacijskom tehnologijom u nastavi likovne kulture bolje u odnosu na starije generacije, ali samoprocjena svih ostalih kompetencija raste ovisno o dobi i stažu, odnosno profesionalnom iskustvu učitelja. Očekivanje da nastavnici likovne kulture imaju razvijenije didaktičke kompetencije u nastavi likovne kulture u odnosu na učitelje razredne nastave je potvrđeno. Međutim, učitelji razredne nastave samoprocjenjuju svoje sposobnosti integracije i korelacije nastavnog sadržaja predmeta likovna kultura s ostalim predmetima više u odnosu na nastavnike likovne kulture pa se pretpostavlja da je holističko poimanje nastavnog procesa likovne kulture kroz međupredmetnu integraciju i korelaciju prisutno u razrednoj nastavi, ali se smanjuje prelaskom u predmetnu nastavu. Znanstveni je doprinos ovoga rada taj da su profesionalne kompetencije učitelja mjerljive te da se mogu i ubuduće ispitivati metodama samoprocjene u cilju unapređenja kvalitete nastave. Na području likovne kulture ovo istraživanje otvara nova pitanja i probleme za daljnja istraživanja koja bi se bavila izgradnjom profesionalnih kompetencija učitelja u kurikulumu umjetničkog područja. Jedan je od prijedloga za buduća istraživanja ispitati kompetencije učitelja u inicijalnom obrazovanju i usporediti ih s kompetencijama stečenim u praksi te na temelju novih spoznaja donijeti prijedloge za unapređenje postojećih modela inicijalnog i cjeloživotnog obrazovanja učitelja.Background: The current trends in the development of education in the globalized world are directly associated with the need for scientific and technological development, economic and political goals, social factors, and sets of values that determine desired learning outcomes and the application of the humanistic approach in education. Improving the quality of education is possible only through the development of professional teacher competences, which the teachers require to implement the humanistic approach. The professional competences are important because the role of the teacher is changing from traditional approaches, which involved a passive transfer of knowledge to the students, to the new culture of education, which encourages active learning that enables students to obtain and develop key competences they will need to function in contemporary society. In the arts, the application of the new approach to education in class allows students to develop various competences, including creativity, emotional intelligence, critical thinking, and interpretation. The model of professional competences by Jurčić (2014) was used as a theoretical framework for analyzing professional teacher competences in this doctoral dissertation. The model comprises of the pedagogical and teaching dimensions as two distinct, but intermixed components of the professional roles of teachers. The theoretical part of the dissertation includes a detailed description of the professional teacher competences of both pedagogical and teaching dimensions, as well as the discussion and analysis of curriculum theories, teaching and methodical components of the visual arts subject curriculum, national arts curriculum, and the comparative analysis of national arts curricula of seven countries for the school subject visual arts. Purpose: The purpose of the empirical research was to determine if primary school teachers and visual arts teachers in elementary education use their pedagogical and teaching competences effectively while teaching visual arts. A total of five research objectives were defined, and one or more hypotheses were developed for each research objective. The first objective of this study was to determine if there is a statistically significant difference in the teachers’ self-assessment of professional competences in teaching visual arts depending on their workplace position, status, and higher education background. The following three hypotheses were developed according to that objective: H1.1: There is a statistically significant difference in the self-assessment of professional competences in teaching visual arts depending on the workplace position of the participants. It is expected that the visual arts teachers will assess their professional competences significantly higher compared to primary school teachers. H1.2: There is a statistically significant difference in the self-assessment of professional competencies in teaching visual arts depending on the status of the participants. It is expected that subjects who are mentors in the workplace are more likely to assess their professional competences significantly higher than subjects who are interns or teachers. H1.3: There is a statistically significant difference in the self-assessment of professional competencies in teaching visual arts depending on the higher education background of the participants. It is expected that subjects with a degree in visual arts education will assess their professional competences significantly higher than subjects with a degree in teaching. The second objective was to determine if there is a statistically significant difference in the selfassessment of professional competences in teaching visual arts depending on the age and work experience of the participants. The following hypotheses were tested to achieve that objective: H2.1: There is a statistically significant difference in the self-assessment of professional competencies in teaching visual arts depending on the age of the participants. It is expected that the self-assessment of professional competences increases with the age of the participants. H2.2: There is a statistically significant difference in the self-assessment of professional competencies in teaching visual arts depending on the work experience of the participants. It is expected that the self-assessment of professional competences increases with the work experience of the participants, so participants with more working experience are more likely to report a higher level of professional competences compared to participants with less work experience. The third objective of this study was to determine if there is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the methodology of visual arts curriculum development and the application of those competences in teaching practice. The following hypotheses were tested: H3.1: There is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the methodology of visual arts curriculum development and the application of visual arts teaching methods in the classroom. H3.2: There is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the methodology of visual arts curriculum development and the use of visual arts teaching materials and aids in the classroom. H3.3: There is a statistically significant positive correlation between the self-assessment of the teachers' professional competences in the methodology of visual arts curriculum development and the use of collaborative teaching strategies in visual arts class. The fourth objective of this study was to determine if there is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the organization and control of the educational process in the visual arts and the application of those competences in teaching practice. The hypothesis for this objective was as follows: H4: There is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the organization and control of the educational process in the visual arts and the actual organization and execution of visual arts classes. The fifth and final objective was to determine if there is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the assessment of students’ achievements in visual arts and the application of those competences in teaching practice. The two hypotheses for that objective were as follows: H5.1: There is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the assessment of students’ achievements in visual arts and the evaluation of children’s artwork. H5.2: There is a statistically significant correlation between the self-assessment of the teachers’ professional competences in the assessment of students’ achievements in visual arts and the grading of students. Methods: The empirical research used quantitative methods. The data was collected by surveying primary school teachers and visual arts teachers from Grad Zagreb and Zagreb County (N = 193). One questionnaire was used as the instrument for collecting information about both independent and dependent variables. The independent variables were gender, workplace position (primary education teacher or visual arts teacher), status (intern, teacher, mentor, or associate), work experience, age, and education background (alma mater and major programs). The dependent variables were the professional competences of teachers in visual arts. The questionnaire was divided into three parts, and each part measured one dimension of teaching competences from the teacher competences model by Jurčić (2014). Those dimensions included the methodology of visual arts curriculum development, the organization and control of the educational process in the visual arts, and the assessment of students’ achievements in visual arts. The items for measuring the methodology of visual arts curriculum development were based on the survey developed by Tomljenović (2014), and the items for measuring the organization and control of the educational process in the visual arts and the assessment of students’ achievements in visual arts were based on the questionnaire developed by Lončarić and Majić (2015). The instruments from previous researchers were adapted so that they can be administered to explore teacher competences in visual arts specifically. The dimensions of professional teaching competences were measured using the Likert 5-point scale. The survey data was analyzed using descriptive and inferential statistics, whereas the comparative analysis of national arts curricula, which is presented in the theoretical part, was conducted using a descriptive non-empirical method and reviewing official documents. Results: The results showed that the pedagogical and teaching dimensions of professional competences can be measured in a subject-specific context and that the self-reported assessment of competences and the application of competences in visual arts classes are positively correlated. Those results have important implications in the conception and development of a lifelong learning model, which needs to consider the current level of professional experience teachers obtain through practice in order to identify optimal courses of further professional development of competences for each individual teacher. The categorical variables age and work experience have a significant role in the self-assessment of competences. Younger teachers are more likely to report a higher level of information and communication technology competences compared to older teachers, but the self-assessment of all other competences is positively correlated with age and professional experience, so all teacher competences increase with professional experiences. It was expected that visual arts teachers have significantly higher competences for teaching visual arts compared to primary school teachers, and the results supported that expectation. However, primary school teachers evaluate their abilities to integrate and correlate the visual arts subject contents with other subjects significantly higher compared to visual arts teachers. That result suggests that the holistic concept of the visual arts teaching process, which depends on the integration and correlation with other subjects, exists in practice during primary education, but it is lost once classroom learning becomes subject-oriented. Implications: This doctoral dissertation also has important implications for future scientific research in the field of education. The key point is that professional teacher competences can be measured and analyzed using self-assessment methods to investigate and improve the quality of education. In the context of visual arts, this study opens new research questions and problems relevant to the development of teacher competency models in the arts curriculum. One recommendation is to investigate the differences between teacher competences gained through higher education and compare them to the competences obtained through professional experience so that it would be possible to suggest improvement directions of current teacher education and lifelong learning

The Artistic Dramaturgy of the Zlatko Bourek›s Figure Theatre, that Wonderful World of Freaks Theatre

Umjetnost ili bolje rečeno univerzum Zlatka Boureka satkan je od njegove iznimne stvaralačke, istraživalačke, zaigrane, duhovite i nadasve osebujne energije koja promatrača ostavlja bez daha jer što god da je dotakla oblikovala je povijest, kako lutkarstva, tako i svih drugih medija kojima se izražavao. Njegov umjetnički izričaj čine izrazita predanost, umijeće i nadasve istinska i jedinstvena poetika kojom spaja elemente nadrealizma i folklora te ih upotpunjuje grotesknim humorom, stvarajući tako poseban ambijent unutar kojeg oživljavaju njegove groteskne figure, nakaze. Okosnica ovog rada je likovna dramaturgija kazališta figura Zlatka Boureka koja podrazumijeva niz različitih, međusobno isprepletenih simultanih vizualnih sustava koji djeluju na kazališno iskustvo publike. Nastoje se istaknuti likovne komponente ove vrste lutkarskog kazališta koje se ne zaustavljaju samo na kreaciji lutke kao protagonista već se osvrće na cjelokupnu sliku same lutkarske inscenacije i njezin doživljaj. Jedna od mogućih perspektiva promatranja likovne dramaturgije prema Posner (2014) može se promišljati s nekoliko polazišta: slike koja podržava, tumači, kontrastira ili na neki drugi način izravno komunicira s tekstom, zatim kao svojevrsna vizualna gramatika koju umjetnik koristi kao autorefleksivni kazališni dijalog s publikom, te kao emocionalni odgovor publike o likovnim elementima predstave, a koji postoji neovisno o radnji koja se zbiva na pozornici ili pak izgovorenom tekstu. U svrhu ovog rada provedeno je istraživanje među studentima kojim se ispituje na temelju odabira nekoliko fotografija lutaka Zlatka Boureka doživljaj likovnog izričaja umjetnika te koje emocije pobuđuje u ispitanicima sam pogled na lutku. Likovna dramaturgija kazališta figura promatra se pritom kao svojevrsna vizualna meta-pripovijest i emocionalni odgovor promatrača na izdvojen aspekt likovnosti, lutku kao nositelja radnje.The art, or even better, the Bourek’s universe is made up of his extraordinary, creative, exploratory, playful, funny, and especially distinctive energy which leaves the observer breathless because whatever it has touched has shaped the history of both puppetry and all other media in which he expressed himself. His artistic expression consists of a distinct devotion, art and, above all, true and unique poetics which combines elements of surrealism and folklore, and complements them with grotesque humour, thus creating a special environment within, which his grotesque figures, freaks come to life. The backbone of this work is the artistic dramaturgy of the theatre of figures by Zlatko Bourek, which includes a number of different, intertwined simultaneous visual systems that affect the theatrical experience of the audience. We try to highlight the artistic components of this type of puppet theatre that do not stop only at the creation of the puppet as the protagonist, but that looks back at the overall picture of the puppets coming to life on stage. One of the possible perspectives of observing visual dramaturgy according to Posner (2014) can be considered from several starting points: images that support, interpret, contrast or otherwise directly communicate with the text, then as a kind of visual grammar used by the artist as an autoreflective theatrical dialogue with audiences, and as an emotional response of the audience about the artistic elements of the play, which exists regardless of the action that takes place on stage or the spoken text. For this paper, a study was conducted among students which examines the experience of the artist’s artistic expression based on the selection of several photographs of Zlatko Bourek’s puppets and which emotions the view of the puppet arouses in the respondents. The artistic dramaturgy of the theatre of figures is viewed as a kind of visual meta-narrative and the emotional response of the observer to a separate aspect of art, the puppet as the bearer of the action

Mjerenje kreativnosti u metodici likovne kulture

In the contemporary society, creativity is one of the most desirable abilities which an individual can possess in all the fields of human activity. On the other hand, educational policy and national curriculums marginalize the importance of art subjects in most countries in the world, while the advantage is given to STEM disciplines (science, technology, engineering, mathematics). Although creativity, according to many educational standards, is one of the key abilities, in teaching practice routine activities are still valued more than creative ones. However, it is the art subjects which develop creativity (constructive) potential within an individual, although this also heavily depends on a teacher/professor, on his/her methodological approach and abilities within the scope of professional activity. Therefore, we conducted empirical research in Visual Arts Teaching Methodology training and non-training primary schools. We expected that we would foster students’ development of creativity through regular collaboration with university, problem-based learning of art and artistic language, inventiveness in creating art assignments and through increasing public awareness of harmfulness of stereotypical artistic expression. Among a large number of verified tests of creativity, Urban-Jellen test “The Test for Creative Thinking - Drawing Production (TCT-DP)”, which is based on the activity of drawing, was selected and used in this study. We wanted to know whether there was a statistically significant difference between training and non-training schools in students\u27 performance on the test used to examine the level of creativity. The level of statistically significant difference between the control group and the experimental group was determined by a chi-squared test. The research has been carried out in elementary schools in the area of the city of Zagreb, on the sample that included the students of fourth and eighth grade. The results of the research indicate that there is a possible influence of collaboration between the mentors and university professors and students of teacher-training college within the scope of Visual Arts Teaching Methodology course on students\u27 creativity.U suvremenom je društvu kreativnost jedna od najpoželjnijih sposobnosti koju pojedinac posjeduje u svim područjima ljudskog djelovanja. S druge strane, obrazovna politika i nacionalni kurikuli u većini zemalja svijeta umjetničke predmete marginaliziraju po važnosti, a prednost se daje STEM (engl. science, technology, engineering, mathematics) disciplinama. Iako je, prema mnogim obrazovnim standardima, kreativnost jedna od ključnih kompetencija u nastavničkoj praksi, i dalje se vrednuju rutinske više nego kreativne aktivnosti. Upravo umjetnički predmeti u obrazovanju razvijaju u pojedincu kreativni (stvaralački) potencijal, ali to uvelike ovisi i o učitelju/nastavniku, o njegovu metodičkom pristupu i kompetencijama u okviru profesionalnog djelovanja. Stoga smo proveli empirijsko istraživanje u mentorskim (za Metodiku likovne kulture) i nementorskim osnovnim školama. Očekivalo se da će se redovitom suradnjom s fakultetom, putem likovnojezične problemske nastav, inventivnosti u osmišljavanju likovnih zadataka i osvještavanjem problematike štetnosti stereotipnog likovnog izražavanja utjecati na razvoj kreativnosti kod učenika. Između većeg broja provjerenih testova kreativnosti, upotrijebljen je Urban - Jellen „The Test for Creative Thinking - Drawing Production (TCT-DP)“, koji se temelji na crtačkoj aktivnosti. Zanimalo nas je postoji li statistički značajna razlika između mentorskih i nementorskih škola u rješavanju testa kojim se ispituje stupanj kreativnosti. Stupanj značajnosti razlike između kontrolne i eksperimentalne skupine statistički je utvrđen hi-kvadrat testom. Istraživanje je provedeno u osnovnim školama na području Grada Zagreba, na uzorku koji je obuhvaćao učenike četvrtih i osmih razreda. Rezultati istraživanja ukazuju na moguć utjecaj suradnje učitelja mentora sa sveučilišnim nastavnicima i studentima učiteljskih studija u okviru Metodike likovne kulture na kreativnost učenika