CC BY
913. Шакирова Н.М. Психология творческой уникальности человека.-М., 1996-204с.
14. Иманбекова Б.И. Мектептеп гылыми-эдютемелш жумыс.-Алматы: Алишер, 2003.-1366.
15. Левко А.И. Педагогическое творчество и его социально-культурные основания //Образование и воспитание. 2004. -№9.с.33-44.
REALIZATION OF EMOTIONAL COMPONENT AT EURHYTHMIC'S LESSONS IN SPECIAL SCHOOLS
Denisova I.
Kazakhstan, Almaty,
Candidate of Pedagogical Sciences Kazakh National pedagogical university named after Abai
Abstract. Speech and behavioural negativism, verbal communication issues, lack of emotionality - all these are possible reasons of social misadaptation of children with special education needs ( SEN). New subject called "Correctional Eurhythmies" was implemented in Republic of Kazakhstan learning plan template for special schools. It mostly consists of movement activities combined with verbal activity and music. Rhythmical exercises facilitate articulation, cognitive, motional and sensory abilities development and correction among children. It is the way primary defect is pulled through. But Correctional Eurhythmics also pursues another goal, which is development of will and emotional aspect of children.
This article is about lesson organization in schools for children with SEN. We hope that the material will be helpful for special groups teachers of this subject.
Keywords: music, eurythmics art, emotional component, children with SEN
One of eurythmical education goals is aesthetical development: providing knowledge of art, contribution to the development of a good taste. All of this can be done with help of music and emotions. Teacher's emotions encourage achievement of these goals. Teacher has to become creation leader. Teacher himself should crave creativity, be eager to move forward. And moving forward is only possible if the teacher is astonished by surrounding world and develops himself. Children are priceless gifts, sources of emotions and feelings. SEN children are no different from others in this way.
Eurythmics classes are devoted to the direct communication with art. But it's conducted only once a week. And knowledge and impressions should be memorable and be both useful and pleasant. How is it possible? It can be done only in one case: if originative teacher makes creative studio out of his cabinet. Unfortunately, according to our observations, creative tasks form less than 10% of study time. In majority of cases eurythmics classes are approached as a "craft". Creative classes are an antithesis to a routine one. Thereby a problem of "inner" and "outer" occurs. Eurythmics classes can be organized in two ways. The first variant is viewing lesson as an opportunity to create children's listening and motor experience. Second option is viewing and maintaining lesson as unique and unrepeatable adventure into the world of beauty and creativity. The "outer-inner" problem is actually the relation between the art of teaching eurythmics and perception of eurythmics as an art itself. Modern teaching experience in SEN school shows us that teacher can become real artisan only if he is constantly linking things that were singed, danced or played with his own experience and his inner world.
When planning the lesson, teacher should be inspired by himself, should use himself as a "material". Any kind of art/teaching task, idea of a lesson has to be organic for the teacher. The task should be deeply inside the teacher and linked to his own "I". No doubt that just psychological, correctional, cognitive, professional preparations are not enough for eurythmics lesson. The last essential preparation component is emotion. The right 'tone' is also extremely important. According to correctional eurythmics curriculum, SEN - children develop their emotional perception and empathy through the musical-rhythmical content [1]. Emotional feedback is one of basic communication skills that are acquired at school. Through listening of musical segments and whole compositions that is followed by discussion of tempo, rhythm, dynamics, mood SEN children are linked to the world of thinking and feeling, world of human interaction. Any kind of education influences several areas of child's psychology:
- Cognitive
- Mental
- Behavioural
To form the right behavior, cultural habits we need to find our way into the soul and the mind of a child. We also have to mind restriction in child's abstract thinking. Teacher's speech has to be bright, imaginative but extremely accurate. Eurythmics lesson can be seen as a limitless source for child's mental development. And there exist several conditions and tools for that: bright and spacious room, mirrors, special uniform for accenting the beauty of precise and accurate movement. It is essential to stick to the ball etiquette when practicing dance elements: sensuality, rhythmical music, interesting and original exercises that unite music, movement and speech into single rhythm.
Teacher's acting skills has rich potential. It's important to have deeper insight on K. Stanislavsky methodology and implement it in forming pedagogical experience. Famous 'method of self identification' might be useful. This method is built on unity of 'I' with image, thought that needs to be unfolded. This method isn't only implemented by preliminary selection of music and dancing, but also by an effort to 'live' in these impressions and emotions. In this case the genuine communication between teacher and his students is born. Being expressive and discovering the right form of expression are both essential skills for rhythmics teacher. It is the reason for teacher to have an ideal and precise moves and expressive, sensual mimical skills. You have to learn how to be an artist! But keep it reasonable and tasteful. S. Volkonsky thinks that just having a feeling isn't enough you also need to analyze rhythmical material. "If there's no material, there is no place for the feeling" [2]. Emotional origin should be organically linked to defectological abilities and rhythmists's mastery. "The basis of any creative process is enthusiasm, which, of course, does not exclude a big share of cognitive work. Isn't it possible to be not cold nor hot?" (K. Stanislavsky) [2].
According to the Programme of correctional rhythmics for children with severe speech disorder, approximately half of lesson's material should be connected with music. It is the basic principle of rhythmical therapy. Speech rhythm is the most affected part of speech disordered child's rhythmical system. And musical rhythm perception is much more effective than any other. If lesson is well-organized, inadequate feeling of a speech rhythm 'follows up' with more intact musical-rhythmical perception, tuning and developing. So, to keep the expediency of rhythmics as correctional subject we need to form children's listening ability towards music. Music is primary in correctional rhythmics. The very first lesson has to teach children not to talk when music plays. Children should be learning how to listen to music and understand its rhythm during every part of the lesson: singing
playing musical instruments psychogymnastical exercises.
Considering the question of developing children's musical perception, the teacher has to encourage children's careful listening. It is their way to cultural development.
Children's creativity is based on bright musical impressions. While listening to music, child always hears not only its motive but also his own feelings. SEN children's imagination is often bright and lively. They listen to 'musical images' with great joy. To keep children focused, teacher should propose them listening with their eyes closed, to see the music in their mind.
Music in learning plan is a big discussion. Children are more comfortable with adopting programme title, not programme music. In these cases programme doesn't activate children's musical perception but often even paralyses it. For creative development of children it is important not to inform them about song's name. Let them distinguish music's mood, rhythm and tempo for themselves. And let them name the song for themselves too. Of course, it will be hard for SEN children to express their emotions verbally.
For better implementation of lesson's emotional and creative part, teacher should ideally organize its essential technical components according to programme. Mostly it is verbal exercises.
Children can't wish to express their emotions if they don't have interest in lesson and rhythm in general. Teacher has to create trustful and kind atmosphere - children only will start discussing something during lesson if they have the desire to speak and communicate with teacher.
How to avoid boredom during lesson? How to make children enthusiastic towards creativity? It is the lesson's atmosphere. The main part is not technical skills - singing, dancing or declamation. Main part is the ability to get on with children, respect their creative personality, help them in finding themselves, even in saying "hello" and "goodbye" to them every lesson. Means of emotion appeal might differ. The main part is encouraging children's attention and imagination, contributing to their love for music and rhythms. Means of emotion appeal: singing
dancing etudes improvisation
WORLD SCIENCE
№ 10(14), Vol.5, October 2016 65
voice games
playing musical instruments plastical intonation walking, marching, etc original repertoire choice
All forms of correctional-rhythmical exercises at school should encourage children's creativity growth, e.g. teach them to think for themselves, to take the initiative, to create something new, something better. Teacher's speech about music has to be bright and imaginative but yet very accurate, dedicated to the child's creative imagination.[3] Music is listened, question is asked - but there's no answer. Don't hurry with hinting. Using children's musical and life experience, seek links between the music and art or life in their imagination. Children will feel it, understand it and give you an answer. Don't just use traditional communication, mind also "thinking speech", "problem speech", "relation speech". Some children are hard to drag into common discussion. Sometimes they have psychological trauma on the ground of their disorder, they are shy because they are afraid of appearing clumsy and droll. Do care for them exceptionally carefully and be patient, encourage their attempts of saying something about music, rhythm and their feelings.
Intonation is just as important as content when child speaks. Intonation in deeply bonded with child's inner world and it gives us a chance to hear lots of interesting things. It is very important to observe imagery and intonational development of a child. Another form of free creative way of expressing child's personality is keeping "impressions journal" which is used by children for expressing their thoughts, describe their feelings and emotions. This process is to be controlled by their mentor. This journal starts in the third grade.
Creativity is formed actively when child is active for himself. It is important that SEN child "spills" his emotional state during playing musical instruments, dancing, etc. Wisdom of art is that there is no need to rush the feeling with a thought, you just need to trust the child's subconscious. Gradually accumulating and analyzing his impressions he suddenly blossoms as a flower, because "child that has experienced happiness of even smallest creation differs from a child that imitates others actions." [4].
REFERENCES
1. Типовые специальные образовательные учебные программы для детей с тяжелыми нарушениями речи Астана-Алматы 2015 г/ Утверждены приказом Министра образования и науки Республики Казахстан от «3 » апреля 2013 г. № 115 . Приложения 145, 146,147 http://edu.gov.kz/ru/documents/tipovaya-uchebnaya-programma
2. К.С.Станиславский. Этика. М.-1947.- http://tululu.org/read14266/
3. Irina Denissova .Modern means of organization of correctional-rhythmic upraising of children with SEN (special educational needs) . \\Вестник \Хабаршы КазНПУ имени Абая .- №2 2014.-С.64-67
4. Лубовский В.В. Общие закономерности психического дизонтогенеза .в кн. Хрестоматия. Дети с нарушениями в развитии. Сост. В.М.Астапов. М., 1995.
GLOBALIZATION AND INTEGRATION AS THE TOPICAL PROBLEMS OF MODERN EDUCATION. INTERNATIONAL COMMUNICATION - THE GLOBAL AIM IN FOREIGN LANGUAGE TEACHING METHODS
Barinova Kristina Vadimovna
Moscow, Russian Federation, Postgraduate at the department of "Theory and Methods of Education (English language) 13.00.02"
Abstract. Concerning the problem of integration, globalization and development in modern science, the author shows how these changes reflect the sphere of education. In accordance with relevant tendencies the author researches theory and practice of education, showing the importance of
