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Journal articles on the topic 'Folk pedagogics'
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1
Rakhmatova, Feruza Kudrat Kizi. "HISTORY OF UZBEK FOLK INSTRUMENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 98–105. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-20.
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The musical instruments reflect the national characteristics, traditions, customs and values of each nation, from which the sound is derived. Performing arts in musical instruments as a means of glorifying the spirituality of mankind is the responsibility of folk art, and from time immemorial has been formed and developed among the masses. The national instruments are constantly being perfected by skilled musicians and are distinguished by their vibrancy, musicality and melody. As musical instruments have become more and more in demand throughout history, so has the attention paid to their educational and pedagogical aspects.
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A., Yuldashev, Azizov S., and Boboyev V. "A LOOK AT THE GENRE OF UZBEK FOLK MUSIC." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 10 (2021): 226–32. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-41.
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This article tells about the Uzbek folk music culture, the diversity and style of Uzbek songs.Uzbek music culture is developing in an ancient and colorful way, while embodying modern traditions. First of all, it reflects the unique forms and styles of unique folk music, classical musical heritage, national composition, modern composition, as well as folk amateurism and vibrant popular pop art.
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Ergeshali kyzy, Aychurok, and Misilimkan Dovlatovna Aidarova. "The influences of folk pedagogics on teenagers’ multicultural education." Interactive science, no. 11 (January 30, 2017): 73–75. http://dx.doi.org/10.21661/r-115971.
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Maroziene, R. "SOCIOCULTURAL ASPECT OF TEACHING TO PLAY LITHUANIAN NATIONAL INSTRUMENTS." Arts education and science 1, no. 1 (2020): 15–23. http://dx.doi.org/10.36871/hon.202001002.
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The sociocultural aspect of teaching to play Lithuanian national music instruments is a neglected topic in terms of research. There are various folk instruments and forms of their promotion in the contemporary pedagogics and culture, therefore the author of the article conducts the research aiming at determining the most currently efficient methods of folk instruments expression, which could have a positive effect on the entire development of pedagogics in this area. The article discusses international contests, festivals and scientific conferences bringing together folk instruments performers, taken place in Lithuania and in Europe, analyzes the influence of such events on pedagogics of national instruments. The aim of the research: to analyze and to define the sociocultural peculiarities of teaching to play Lithuanian national music instruments. Tasks of the research: to describe the role and significance of the ethnic music in the contemporary music education in Lithuania; to analyze the opportunities for spreading sociocultural pedagogics of Lithuanian national music instruments and the role thereof in the contemporary global culture. Research methods: observation, comparison, interview, review of scientific and methodological papers, analysis of legislators and guiding documents on education.
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Kaxarova, G. S. "Pedagogical Bases of Forming Aesthetic Taste and Creative Ability in Children Through Folk Songs." Current Research Journal of Pedagogics 6, no. 2 (2025): 38–41. https://doi.org/10.37547/pedagogics-crjp-06-02-08.
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The article analyzes the pedagogical aspects of the formation of aesthetic taste and creative abilities in children through folk songs. Folk songs, reflecting folk culture and traditions, contribute to the development of children's musical hearing, emotional perception and creative thinking. The importance and methods ofusing folk songs in the formation of appreciation of beauty, respect for national values and creative abilities in children are revealed. The possibilities of developing children's musical taste through them are also highlighted.
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Yurdanidze, Mehrali Kholisovich. "FORMATION OF NATIONAL CONSCIOUSNESS THROUGH TEACHING UZBEK FOLK APPLIED ART TO STUDENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 110–14. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-22.
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The article gives a brief history of the development of folk arts and crafts, their stages and current significance. Besides the educational process, the students will study the folk arts and crafts, which are an integral part of our national cultural and spiritual heritage, as well as discuss the existing opportunities and shortcomings. It's done. Teaching students the applied decorative arts, their respect for the rich cultural and spiritual heritage of our people, the formation of our national identity in the minds of young people, their responsibility to preserve our increasingly forgotten values, contributes to the formation of.
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Akobirova, Madina B. "THE ROLE OF "FOLK CRAFT" SCIENCE IN IMPROVING THE LIVING CULTURE AND SPIRITUALITY OF THE PEOPLE." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 135–39. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-27.
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In this article, the role of “folk art” as one of the specialty disciplines for students in the direction of “technological education” in raising the life culture and spirituality of the people, types of Uzbek folk art, stages of history and development of Applied Art, types, history and technology of weaving, carpet weaving, decorative art are highlighted.
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Beknazarov, Khurshid. "PEDAGOGICAL CONDITIONS FOR DEVELOPING MUSICAL COMPETENCE OF FUTURE MUSIC TEACHERS USING UZBEK FOLK INSTRUMENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 04, no. 06 (2023): 101–7. http://dx.doi.org/10.37547/pedagogics-crjp-04-06-17.
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This article deals with a brief history of Uzbek folk instruments, musical instruments recorded in historical sources and treatises of great scholars, and promotion and teaching of national instruments among young people.
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Kašėtienė, Rasa. "Reflections of Folk Pedagogics in Lithuanian Proverbs, Proverbial Phrases and Situational Sayings." Tautosakos darbai 51 (June 27, 2016): 161–76. http://dx.doi.org/10.51554/td.2016.28889.
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The article discusses traditional upbringing of children in the Lithuanian countryside that extensively employed popular proverbs, proverbial phrases and situational sayings. The author also presents numerous examples of the folklore genre in question, illustrating this function and reflecting the folk pedagogics.The chief task of parents has always been raising honest and hard-working children; therefore, the little ones had to learn adhering to the norms of Christian morality: i.e. respecting their parents, abstaining from stealing or lying, getting used to work from early age. In addition, children were supposed to be well behaved, polite, and respectful to their elders, particularly to their grandparents, and refrain from interrupting the grown-ups. Much attention was paid to esthetic education of children. The child’s language, walking, movements, manners received esthetic appreciation; clothes and cleanliness were important as well. These characteristics grew particularly significant, when the young ones started participating in the life of the village community: having received their basic education at home, children subsequently knew the proper ways of behaving in public. The village community scrutinized the behavior of children and young people very closely; every case of misdemeanor or inappropriate acts received immediate reaction. For the sake of laconicism, people often used proverbs and proverbial phrases or situational sayings to describe typical situations; coarse or vulgar lexis was also popular. Usually, rather than scolding the misbehaved children or young people, the grown-ups were likely to gibe or sneer at them, particularly in public. Some of the sayings presented in the article applied not only to children.
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К., А. Юр'єва. "ЕКСПЕРИМЕНТАЛЬНА ПЕРЕВІРКА МОДЕЛІ ПРОФЕСІЙНОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ ПОЧАТКОВОЇ ШКОЛИ НА ЗАСАДАХ ПОРІВНЯЛЬНОЇ ЕТНОПЕДАГОГІКИ". Засоби навчальної та науково-дослідної роботи, № 47 (30 червня 2017): 112–35. https://doi.org/10.5281/zenodo.821343.
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There have been experimentally verified model of future primary school teachers’ professional preparation on the grounds of comparative ethnic pedagogics and pedagogical conditions of its implementation, to which there have been reffered: 1) constructing the contents of the ethnic-pedagogical preparation on the basis of comparative-contrastive acquaintance of future primary school teachers with cultures of different peoples and their realization in the process of studying the course of comparative ethnic pedagogics and integration into the program of other subjects of the curriculum for preparation of specialists in primary school education, pedagogical practices, extra-school and scientific-research activities of students; 2) selection and realization of a wide range of innovational forms, methods and techniques: interactive, training, gamificational, project, directed on to the complex formation of all readiness components of future primary school teachers for professional activity in the terms of ethnic cultural diversity of the modern society – personal-psychological, cognitive, processional-active; 3) creation of an educational environment for intercultural communication in a pedagogical university, organization of interaction of students, scientists, educationalists, public organizations of national minorities with the aim of researching of educational traditions in different cultures and creative use of folk pedagogical experience in the educational process in the modern educational establishments. The experimental research results analysis has proved efficiency of the revealed pedagogical conditions and made possible the conclusion that the most efficient one is the complex simultaneous realization of all three pedagogical conditions<em>Key words</em>: a future primary school teacher, professional preparation, comparative ethnic-pedagogical model, readiness, professional activity, ethnic cultural diversity, grounds, pedagogical conditions.
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Kadyrov, Bobirjon Botirjonovich, and Isroiljon Kadirjonovich Urinbaev. "FOLK APPLIED ART AS AN INTEGRAL PART OF UZBEK NATIONAL AND MODERN ARCHITECTURE (ON THE EXAMPLE OF ANDIJAN ARCHITECTURE)." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 90–93. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-18.
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Experts comment on the formation of four schools of architecture - Samarkand, Bukhara, Tashkent, and Fergana (Kokand Khanate), their distinctive features. We do not have a source. During the study of the architectural monuments of that period and preserved to this day, we got acquainted with the activities of several masters, original architects, and masters of architectural decoration, dynasties of masters. LI Rempel writes it developed in mystery painting and tiling.
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U, Boltaboeva. "FACTORS OF DEVELOPMENT OF UZBEK TRADITIONAL THEATER." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 11 (2021): 32–40. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-09.
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This article discusses the factors of development of traditional Uzbek theater, folk oral dramas and their performers, the role of musicians in art, the new theater under the Soviet regime, the development of cultural heritage, the formation of a new circus and a new theater in Turkestan.
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Abdullaevna, Baydjanova Iroda. "THE ROLE AND IMPORTANCE OF LABOR IN FAMILY EDUCATION." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, no. 06 (2022): 70–75. http://dx.doi.org/10.37547/pedagogics-crjp-03-06-12.
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In this article, the views on the development and upbringing of the individual in Uzbek folk pedagogy, the harmony of the active position of the individual in society and social relations, the role of different activities in the development of the child's personality, development, upbringing and formation are interrelated.
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Tursunbayevna, Botirova Khilola. "WAYS OF DEVELOPING THE SYSTEM OF SPIRITUAL AND MORAL EDUCATION OF THE STUDENT - YOUTH THROUGH PERFORMING ART OF UZBEK FOLK INSTRUMENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 04, no. 06 (2023): 61–66. http://dx.doi.org/10.37547/pedagogics-crjp-04-06-11.
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This article describes the music lessons of the general education school, the regularity and continuity of education, the connection of education with life, the activity and awareness of students in the educational process, the educational importance of education and upbringing. Information is provided about the emotional impact of music on children and the close connection of music lessons with other subjects.
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Ibragimov, Abdupatto Ahmadjonovich. "MUSICAL INSTRUMENTS (APPEARANCE, TYPES, FUNCTIONS) REFLECTED IN ARCHEOLOGICAL EXCAVATIONS AND WRITTEN SOURCES." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 82–89. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-17.
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Central Asian scholars’ treatises on music, fiction, and painting allow us to some extent restore some of the broken links in the long chain of historical development of Uzbek folk instruments that have survived to the present day. Hundreds of years have passed, and musical instruments have survived to this day, taking their place in solo, ensemble, and orchestral performance.
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Bakhadirovich, Khakimov Umedjon. "DIDACTIC OPPORTUNITIES FOR TEACHING APPLIED DECORATIVE ART IN SPECIALIZED SCHOOLS." Current Research Journal of Pedagogics 5, no. 11 (2024): 48–53. http://dx.doi.org/10.37547/pedagogics-crjp-05-11-10.
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The article discusses key aspects of teaching applied decorative art in specialized schools. Specifically, it identifies the didactic opportunities and methods for fostering students' artistic and aesthetic development through applied decorative art. The article studies the didactic conditions for teaching folk decorative art in specialized schools. Additionally, the author examines scientific research by various scholars on this topic, analyzes these works, and assesses the real conditions of the local environment.
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Hrytsiv, Tatiana, and Solomiia Hrytsiv. "EDUCATION OF THE VALUE ATTITUDE IN YOUNGER PUPILS IN THE PROJECT TECHNOLOGY “THE TREE OF LIFE - THE TREE OF GENUS”." EUREKA: Social and Humanities 2 (March 31, 2020): 43–52. http://dx.doi.org/10.21303/2504-5571.2020.001202.
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The article is devoted to the actual problem of nurturing the value attitude to the Motherland from younger students by means of folk pedagogy. The purpose of the article is to substantiate and disclose the project technology "tree of life-tree of the genus", aimed at the cultivation of value relations to the Motherland on the basis of generalized knowledge about the means of folk pedagogy of a younger student. The complex of the following diagnostic methods was used in the research: interrogation, indirect pedagogical observation, questionnaires, piloting collective and individual conversations, in order to identify the levels of understanding the essence of the value attitude to the Motherland on the basis of folk pedagogy by the cognitive-reflexive criterion. The scientific approaches (cultural, personality-oriented, competent, activity and system) were determined, the principles and methods on the basis of which the model "Trees of life – trees of the genus" and the project technology of education of value relations to the Motherland by means of folk pedagogy were developed. A general overview of the tools of folk pedagogy that take place in the project technology is given, their essence and significance are revealed, in the context of which the experience of cultural heritage of the people is transmitted through "spiritual interaction", "dialogical communication" and subject-subject relations with the purpose of upbringing the value attitude towards the Motherland On the basis of the analyzed curricula, the volume of realization of the sciences that contribute to the education of value relations in the Motherland has been identified. The main problems of upbringing of value attitudes to the Motherland are determined on the basis of folk pedagogics in the system "tree of life - tree of kind". According to the author, the introduction of the proposed project technology into the educational process will help to increase the level of national identity and national-cultural identity.
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Tatiana, Hrytsiv, and Hrytsiv Solomiia. "EDUCATION OF THE VALUE ATTITUDE IN YOUNGER PUPILS IN THE PROJECT TECHNOLOGY "THE TREE OF LIFE - THE TREE OF GENUS"." EUREKA: Social and Humanities 2 (March 31, 2020): 43–52. https://doi.org/10.21303/2504-5571.2020.001202.
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The article is devoted to the actual problem of nurturing the value attitude to the Motherland from younger students by means of folk pedagogy. The purpose of the article is to substantiate and disclose the project technology "tree of life-tree of the genus", aimed at the cultivation of value relations to the Motherland on the basis of generalized knowledge about the means of folk pedagogy of a younger student. The complex of the following diagnostic methods was used in the research: interrogation, indirect pedagogical observation, questionnaires, piloting collective and individual conversations, in order to identify the levels of understanding the essence of the value attitude to the Motherland on the basis of folk pedagogy by the cognitive-reflexive criterion. The scientific approaches (cultural, personality-oriented, competent, activity and system) were determined, the principles and methods on the basis of which the model "Trees of life – trees of the genus" and the project technology of education of value relations to the Motherland by means of folk pedagogy were developed. A general overview of the tools of folk pedagogy that take place in the project technology is given, their essence and significance are revealed, in the context of which the experience of cultural heritage of the people is transmitted through "spiritual interaction", "dialogical communication" and subject-subject relations with the purpose of upbringing the value attitude towards the Motherland On the basis of the analyzed curricula, the volume of realization of the sciences that contribute to the education of value relations in the Motherland has been identified. The main problems of upbringing of value attitudes to the Motherland are determined on the basis of folk pedagogics in the system "tree of life - tree of kind". According to the author, the introduction of the proposed project technology into the educational process will help to increase the level of national identity and national-cultural identity.
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Juraboeva, Mushtariy Jamoldin Kizi, and Gulmira Odilovna Odilova. "MUSIC TRADITIONS OF THE UZBEK PEOPLE." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (2021): 115–18. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-23.
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Opportunities and conditions for the real development of the art of folk music were achieved only after Uzbekistan gained its national independence. During this period, first of all, due to the process of understanding the national identity, the process of re-examining the national cultural heritage and returning it to its rightful owners intensified. Second, the disadvantages of the regulators were eliminated. Third, the further development of the Uzbek national music has become one of the important directions of state policy.
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Jurayev, Ijodbek. "A LOOK AT THE LIFE PATH OF FATTOKHON MAMADALIEV." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 11 (2021): 54–59. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-12.
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The article tells about the life and work of Fattokhon Mamadaliev, an Uzbek People's Artist, known for his fruitful works and performances. Folk art is a huge and enormous world . It is constantly enriched with the products of the creative people and is constantly expanding. After all, every specimen in this ocean is explained by its own mysteries, national traditions, national psyche and national values. This is the main basis for the formation and development of Uzbek national music and literature. When we look at our past, we can see that it occupies a light-scattering place, how ancient the art of music is, it is a golden treasure in the lives of our ancestors, in the lives of world-renowned scientists, thinkers and scientists, in the lives of the most advanced people of their time, in their immortal creativity, research and vision.
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Volynska, Olena. "Ethno-Design of Galicia at the Beginning of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 7, no. 2 (2024): 379–88. http://dx.doi.org/10.31866/2617-7951.7.2.2024.315475.
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The aim of the research is the factors and backgrounds formation of Galicia ethno-design at the beginning of XX century. The processes, which influenced the area of ethno-design development, have completely been spotlighted in the work. Its formation is being considered as the cultural event interrelated with the historic-economical, geographical, social-cultural changes in the region of the investigated period. Research methods: search-analytical (identification, literature analysis and origin foundation), historical (research of events and phenomena development), chronological (events consideration in the time consistency), logical-synthetic (factors, events and phenomena analysis), generalization and systematization results. Scientific novelty. In the research the backgrounds and features of regional manner-designed heritage formation have been revealed which are rooted in the unique folk art, folk art traditions, grand work of regional rules formation and stylization, ethno-pedagogics principles application in familial art upbringing, formation of private craft and art-industrial schools in the area, and so forth. Conclusions. As the result it has been concluded that the Galicia ethno-design at the beginning of the last century was characterized by the distinctive art and art-industrial traditions which influenced the unique Ukrainian style separation based on the West-European achievements. Different kinds of folk art, craft and homecraft played the important role in those processes. Through the nature forms and reasons stylization they gained their signs and colors semantics inherent of the area. The background of Galicia ethno-design development has become the esthetic tastes formation in family training of children and youth, ethno-pedagogical phenomenon of the regional art dynasties, foundation and performance of educational establishments with the national art-industrial culture of the area. It is highly important to use this experience in the professional training of Ukrainian designers.
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Henningsen, Hans. "Højskole i 150 år." Grundtvig-Studier 46, no. 1 (1995): 193–204. http://dx.doi.org/10.7146/grs.v46i1.16188.
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150 Years of the Folk High School- Books around a JubileeBy Hans HenningsenWith the book »Rødding Folk High School 1844 - 1994«, Käthe Z. S. Pedersen and John Pedersen have provided an interesting contribution to the history of the folk high school. Thanks to Chr. Flor, the man behind the initiative to establish the school, Rødding Folk High School became an attempt to realize Grundtvig’s folk high school ideas from the 1830s more than any other school in the first hundred years of the folk high school movement. Among successive principals at Rødding it was above all Sofus Høgsbro who tried to continue Flor’s socially oriented line, but came up against difficulties from several sides. After the war in 1864, the principal and teachers decided to carry on the school at Askov, north of the new border.Another publication from the jubilee year is »Knowledge and Spirit - Ask Folk High School 1869 - 1994« by Thorkild C. Lyby, Doctor of Divinity. After the national disaster in 1864 folk high schools sprang up everywhere, some of them sustained, first and foremost, by the need of the peasants for education and social and political equality, others also by the revivals and the educational ideas of Grundtvig and Kold. The schools that were named after Lars Bjømbak, Viby near Aarhus, belonged to the first category. The »Bjømbak« schools did not have the spirit of the time on their side, as the Grundtvigians had. But politically, the »Bjømbak«s were more class-conscious than the Grundtvigians.The goal was the uprising of the peasantry. As this goal was gradually being approached, the justification for this type of folk high school disappeared. The Association of Folk High Schools in Denmark celebrated the jubilee with a publication by Professor Gunhild Nissen, Doctor of Pedagogics: »Challenges to the Folk High School«. The main view is that the folk high school, which should concern itself with universal matters, was hampered by the alliance with the peasantry and allowed itself to be restricted culturally by the Christian world picture as determined by the revivals. The folk high school proved incapable of opening up towards the young people of modem urban culture, and it failed when the democratic wave of the 60s included the question of student influence, which for example showed itself in the Askov controversy around 1970, which is dealt with in detail in the book.An important post-war innovation within the folk high school was Krogerup Folk High School, established in 1946. This is the subject of the book »Hal Koch and Krogerup Folk High School«, written by the former Minister of Economic Affairs, Poul Nyboe Andersen. Krogerup was a modem attempt to create a folk high school on the immediate inspiration of Grundtvig’s folk high school model. But Krogerup turned out to be a disappointment to its founder and first principal, Professor of Theology Hal Koch.In the political associations and youth organizations that Hal Koch had appealed to, tbe belief in the importance of a national community spirit and the enthusiastic faith in dialogue as the mainstay of democracy did not for long survive the War and the Occupation.However, nothing has contributed more than Hal Koch’s Krogerup work to the transplantation of Grundtvig’s idea of the dialogue and the national community feeling to the modem democratic society.
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Ilić, Marina, and Žana Bojović. "Teachers’ folk pedagogies." Journal of Arts and Humanities 5, no. 9 (2016): 41. http://dx.doi.org/10.18533/journal.v5i9.987.
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<p>In the last few decades, a large portion of scientific literature has been dedicated to the questions of realization of teaching and its improvement. However, one question remains in the background – folk pedagogies and their influence on teaching. The main objective of this paper is to help us get acquainted with this phenomenon that exists in the teaching practice, its significance and pedagogical implications. In the first part of the paper, we deal with definitions of folk pedagogies and related concepts and their mutual relationship, in order to analyze the similarities and differences in the meaning of the concepts in use. Starting from important determinants of teachers’ folk pedagogies, we will attempt to reassess some of the proposed methods and ways to raise consciousness about teachers’ folk pedagogies, methods to analyze and change them. Based on the existing knowledge on teachers’ folk pedagogies, we will try to point out their significance and implications they have on education practice.<em> </em><em></em></p><p><em> </em>Starting from the existing findings about folk pedagogies, we have separated three important implications for educational practice: a) teachers should be viewed as creators of their own coherent theories about learning and teaching; b) changing and improving one’s teaching practice is a result of the teacher’s willingness to reflect on his or her own folk pedagogies; and c) teachers’ folk pedagogies should be seen as the starting point for teacher professional development programs. </p>
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Ilic, Marina, Zana Bojovic, and Danijela Sudzilovski. "Teachers' folk pedagogies." Zbornik radova Filozofskog fakulteta u Pristini, no. 46-4 (2016): 87–102. http://dx.doi.org/10.5937/zrffp46-12092.
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Grickevičius, Artūras. "Adelė Dirsytė’s Pedagogical Work (1939–1946)." Genocidas ir rezistencija 2, no. 46 (2024): 29–52. http://dx.doi.org/10.61903/gr.2019.202.
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The pedagogical work of Adelė Dirsytė, a teacher and resister, who is titled “God Maid” by the Lithuanian Catholic Church has not been so far analysed separately at a scientific level. The only one work (at the same time – a publicist work as well) on this subject is the book “Adelė Dirsytė: her life and work”, compiled by Dr. Mindaugas Bloznelis, Vilnius: Academy of the Catholics, 2003“. Yet, in this source, the pedagogic path of the hero of this article is described too narrowly, inaccurately, or (in any cases) misleadingly. Administrative and court documents present at the Central State Archive of Lithuania and Special Archive of Lithuania allow analysing A. Dirsytė pedagogic work more thoroughly and describing it more accurately, while the testimonies of her class students and other pupils published assist in presenting expressly her character traits and merits as a teacher. Dirsytė, within the period 1939-1946, worked in five educational institutions of different level. The first institution was Kaunas Society of the Holy Child Jesus Girls’ School of Crafts and Housework. At this school, she used to teach Lithuanian language those adolescent girls and young women that had acquired primary education. This work lasted from 26 January 1939 to 20 August 1940, i.e., until the moment of closing down the school; thus, she used to be a teacher during the times of Lithuanian Republic. The second school, where A. Dirsytė was employed as a teacher, was Vilnius Incomplete Secondary School of Adults. There, she taught German language those young adults, who had not acquired secondary education, among them there were young Poles and Jews as well, and she was a class mistress of one Lithuanian class too. There, she worked from 10 October 1940 until 1 August 1941, i.e., until the moment of closing down the school, thus, she was a teacher even during Sovietisation times. The third school, where A. Dirsytė worked as a teacher, – Vilnius State Secondary School of Crafts II, where she taught German and was a girls’ class mistress. In addition, she worked at Vilnius Institute of Adults – it was her fourth pedagogic employment place. This working period continued from 1 October 1941 to 15 June 1944, she used to work as a teacher even under conditions of the Nazi occupation regime. The fifth school, where A. Dirsytė was employed as a teacher was Vilnius Girls’ Gymnasium II, which in the autumn of 1945 was renamed and became Vilnius S. Nėris Gymnasium. There, she taught the German language and was the mistress of a Lithuanian class. In addition, he worked at Vilnius Folk University, i.e., at the reformed Vilniaus Institute of Adults, where she was an inspector or deputy director and a German language teacher. This working period covered the time from 16 September 1944 until 6 March 1946, i.e., until her arrest. At the time, she worked under conditions of the repeated Sovietization and harsh post-war conditions. Dirsytė during her seven-year pedagogic activity encountered even four political systems. The teaching environment was influenced greatly by the change in political attitude, especially during the 1st and the 2nd Stalinist periods. Nevertheless, A. Dirsytė made every effort to perform well her duties like those of a Lithuania’s pedagogue and a member of a local Catholic community. During the first Stalinist occupation period, she avoided the work, related to Sovietization of schools, and resisted actively against some. During the Nazi period, as well as during the beginning of the second Stalinist period, she disseminated human values. In addition, at the time A. Dirsytė was acting for the sake of religion education of her students. The facts available demonstrate that she, when at Folk University, limited herself to performing her daily duties and disseminating cultural values, yet, while working at Girls‘ Gymnasium II or at S. Nėris Gymnasium, her work included assignments in the field of religion education, i.e., she openly encouraged church-going, used to teach religion secretly and, perhaps, indirectly promoted joining into community groups, practicing religion. Thus, she went beyond the norms and limits of pedagogics, set by the regime. The activity of such type, when attitudes, improper in the eyes of authorities, especially unsanctioned initiatives, used to be valued as adverse ones, was distinguished and very risky. Thus, the teacher A. Dirsytė should be valued as a passive resister, acting against Sovietization of schools, where she was working, and active resister, acting against atheism formation among her students. When discussing her personal traits, it should be pointed out, that A. Dirsytė was a balanced and modest person. When valuing her pedagogical properties, it shall be necessary to note that she was a dutiful, attentive, smart, diligent, having principles and consistent teacher and educationalist, who cared not only about good knowledge of the pupils, but also about their cultural education, especially – traditional value-based education. Her official educational work deserves attention and respect, especially unofficial pedagogic activity focused on religion education after the war. A. Dirsytė was slightly naively (perhaps) hoping that this work of hers and such activity were possible under conditions of Stalinist regime, yet her activity and pedagogic path throughout the post-war period in the aspect of Christian virtues should be valued as those of a Christ follower.
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Stebljuk, Svitlana. "FORMATION OF PROFESSIONAL COMPETENCE IN FUTURE SPECIALISTS FROM ENTREPRENEURSHIP, TRADE AND EXCHANGE ACTIVITIES: MORAL-ETHICAL COMPOSITION." Continuing Professional Education: Theory and Practice, no. 2 (2019): 46–51. http://dx.doi.org/10.28925/1609-8595.2019.2.4651.
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In the article attention is focused on one of the most important problems of formation of future specialist from entrepreneurship, trade and exchange activity – presence of the formed mental and ethical values. It is marked that trade and exchange activity require a presence in the personnel of such personality qualities as: discipline, politeness, responsibility, communicational skills, tactfulness, tolerance, being collected, exactness. They are formed in the process of theoretical-practical training of future specialist and directly because of atmosphere at the job. The aim of the article is to determine the essence and ways of forming of mental and ethical qualities in future specialists from entrepreneurship, trade and exchange activity. Maintenance of the key concept «mental and ethical values» is found out and the formulation is given. It is a presence of the formed common to all mankind values and norms of moral behaviour, which is predefined by modern European direction of integration in different spheres (educational, economic, humanitarian and others like that). Separate scientific investigation services are analysed. Researchers point out the importance of formation of mental and ethical values in future professional activity. In the process of research it is found out about content of curricula and working programs from professional disciplines, complex plans of educational work, directions of activity of a group; methodology of scientific research of the problem. Experimental work required determination of scientific methodologies of research. Author is distinguishing two methodologies: diagnostics of the ways person thinks (B. Bass), questionnaire methodology «Scale of emotional review» (A. Megrabyana and N. Epstein). Results certify that systematic work is needed in the process of preparation of future specialist in establishments of higher education. The separate ways of forming of mental and ethical values are found out in students: folk pedagogics, out-of-classroom (extracurricular) work, participation in business-tournaments. We see the prospects of further researches in certain methods of extracurricular work that will influence formation of personality.
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Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.
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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.
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Slate, Nico. "“The Answers Come from The People”: The Highlander Folk School and the Pedagogies of the Civil Rights Movement." History of Education Quarterly 62, no. 2 (2022): 191–210. http://dx.doi.org/10.1017/heq.2022.4.
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AbstractScholars have demonstrated that a range of institutions, organizations, and “social movement schools” aimed to advance the civil rights movement through education. What remains unclear is how those institutions balanced conversation, direct instruction, role-play, and other pedagogical methods. This article focuses on the Highlander Folk School, a radical, racially integrated institution located in the hills of Tennessee. Drawing upon audio tapes of civil rights workshops at Highlander, I argue that the folk school's workshops blended a variety of pedagogical styles in a way that previous scholarship has failed to acknowledge, and that close attention to Highlander's varied pedagogies can help us rethink the relationship between education and the civil rights movement.
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Kusainova, Marzhangul A., Riza N. Zhapanova, Galiyabanu M. Kertaeva, Sayan T. Zhanbyrbaeva, and Laura E. Alipbayeva. "Ethno-pedagogical conditions for forming a healthy lifestyle in the educational process of younger schoolchildren (Condiciones etnopedagógicas para la formación de un estilo de vida saludable en el proceso educativo de los niños de escuela primaria)." Retos, no. 39 (August 13, 2020): 488–93. http://dx.doi.org/10.47197/retos.v0i39.78562.
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 Abstract. Insufficient attention is being paid to the potential of applying folk pedagogics and ethnopedagogics in improving society, which is a serious omission that reduces the effectiveness of the formation of a healthy lifestyle for younger students and does not contribute to the continuity of generations in this matter, including preservation of national values and culture. The purpose of the study is to investigate these issues, analyse the works of Kazakh and foreign scientists and formulate proposals for improving the educational process aimed at creating a healthy lifestyle for children in classroom and extracurricular activities. This article investigates the formation of a healthy lifestyle in primary school age. The author of the paper argues that this process should be based on the principles of folk pedagogy and ethno-pedagogy, since it is precisely under the current conditions of globalization and unification of cultures that they can ensure the continuity of generations in the Republic of Kazakhstan in preserving and enhancing national traditions and values of training and education. The author suggests creating a healthy lifestyle for children in classroom and extracurricular activities, attracting prominent Kazakh scientists, writers, poets, local historians, artists to the process, including setting up sightseeing walking tours around Kazakhstan, which will provide younger students with physical activity, necessary knowledge and will facilitate the development of healthy habits associated with maintaining a healthy lifestyle. The paper also draws attention to the fact that a personal example of teachers and parents is the best motivation for younger students in the formation of their healthy lifestyle.
 Resumen. No se presta suficiente atención a las posibilidades de utilizar la pedagogía popular y la etnopedagogía para mejorar la sociedad, lo que constituye una omisión grave que reduce la efectividad de la formación de un estilo de vida saludable entre los niños de la escuela primaria y no contribuye a la continuidad de generaciones en esta materia, incluso la preservación de los valores y la cultura nacionales. El propósito de la investigación - es estudiar estos temas, analizar los trabajos de científicos kazajos y extranjeros y formular propuestas para mejorar el proceso educativo dirigido a la formación de un estilo de vida saludable para los niños en la escuela y las actividades extraescolares. Este artículo analiza las características de la formación de un estilo de vida saludable en la escuela primaria. El autor del artículo sustenta la tesis de que este proceso debe basarse en los principios de la pedagogía popular y la etnopedagogía, ya que en las condiciones modernas de globalización y unificación de culturas son capaces de asegurar la continuidad de generaciones en la República de Kazajstán en la preservación y mejora de las tradiciones nacionales y valores de formación y educación. El autor propone formar un estilo de vida saludable para los niños en las lecciones educativas y actividades extracurriculares, involucrando a destacados científicos, escritores, poetas, historiadores locales, artistas kazajos en el proceso, así como organizar excursiones a pie a los lugares de interés de Kazajstán, que proporcionarán a los niños de la escuela primaria la actividad física, los conocimientos necesarios y permitirán desarrollar buenos hábitos asociados con un estilo de vida saludable. El artículo también llama la atención sobre el hecho de que el ejemplo personal de los maestros y los padres es la mejor motivación para que los niños de la escuela primaria formen su estilo de vida saludable.
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Felisilda, Violeta. "RURAL LIFE IMAGERY REPRESENTATIONS IN SELECTED FOLK SONGS." Journal Sampurasun : Interdisciplinary Studies for Cultural Heritage 2, no. 2 (2017): 158. http://dx.doi.org/10.23969/sampurasun.v2i2.167.
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Pedagogical materials in teaching regional literature are needed in Philippine classrooms. However, the number of studies on regional literature that students and teachers can make use of is very limited. To cater to such academic demand, this study selected four folk songs of Southern Leyte, Philippines to determine the rural life imagery that they portray.
 The formalism approach in literary analysis was used in this study. The chosen folk songs were “AwitsaBukid” (Song of the Mountain), “Barutu” (Boat), “Alibangbang” (Butterfly), and “May BalayGamaysaBungtud” (There Was a Hut on the Hill). The textual translation of the lyrics of the folk songs followed the Phonology-Orthography Correspondence: Sound-Letter System on pedagogic grammar for Cebuano Visayan. Coding and triangulation were applied to the data.
 The findings revealed that the selected folk songs of Southern Leyte had the following rural life imagery representations: “AwitsaBukid” (Song of the Mountain) - farmers working to attain a good harvest, “Barutu” (Boat) - a coffin made out of a sawed-off boat and funeral activities, “Alibangbang” (Butterfly) - a man courting and exploiting a woman then leaving her for another woman, “May BalayGamaysaBungtud” (There Was a Hut on the Hill) - a socialite mother living in a shanty on a hill.
 The literary analysis showed that the selected folk songs of Southern Leyte have representations of rural life imagery.
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Gutnyk, Iryna. "Pedagogical Creativity of Oleksandr Kolosok in Folk Choreography Specialist Training." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 164–70. https://doi.org/10.31866/2410-1176.44.2021.235409.
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The purpose of the article is to highlight the teaching practice of O. Kolosok and identify its impact on the development of Ukrainian folk stage dance and the choreographic culture in Ukraine. Research methodology. To achieve this purpose, general scientific methods of theoretical and empirical levels such as analysis and generalisation of scientific and theoretical foundations of researches, logical approach, interview method were used. Conclusions on O. Kolosok’s teaching peculiarities are made based on the analysis of scientific sources, pedagogical, methodological and creative achievements of the artist, our own experience of communicating with him, memories of colleagues and students. Scientific novelty. The article highlights O. Kolosok’s teaching practice at art universities, analyses the teacher’s work on the Ukrainian Folk Stage Dance discipline, introduces in scientific use materials of interviews with the teacher and his students and colleagues. Conclusions. The teaching practice of Professor O. Kolosok was aimed at developing the traditions of folk dance in a harmonious and logical combination with expressive means of literary art and the best achievements of the contemporary world performing culture. Thanks to his efforts, future choreographers began to study the Ukrainian Folk Stage Dance discipline. The methodological developments by the folk dance theorist and practice O. Kolosok are now used to teach choreography at higher education institutions of Ukraine. His students’ engagement in mastering the choreographer’s skills was multi-faceted, truly professional, and choreographerdirector thinking reached the deep sources of folk dance art. O. Kolosok’s long-term teaching practice was highly fruitful, so today, many young choreographers and dance teachers whom he nurtured owe him their high professional level.
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Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music." International Journal of Social Science Studies 9, no. 1 (2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.
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This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.
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Allayevna, Abduraximova Muxabbat. "Developing the Creative Activity of Future Teachers Through Folklore." European International Journal of Pedagogics 5, no. 1 (2025): 85–88. https://doi.org/10.55640/eijp-05-01-18.
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The article describes the preparation of folk art in the training of future teachers, effective methods of them, and the role of folk art in the spiritual education of young people. The future elementary school teacher has lost control of any process lesson, learning, and recommendations on the effective use of advanced and communication technologies. It is a methodical method for primary school teachers to teach effectively in the future in the process of pedagogic work, with a creative approach to folkloric art in exemplary lessons and additional classes after the lesson, or using pedagogical technologies will help.
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Gurung, Raj Kumar. "Pedagogical Implications of Gha͂tu Folk Dance in EFL Classes." Journal of NELTA Gandaki 5, no. 1-2 (2022): 87–98. http://dx.doi.org/10.3126/jong.v5i1-2.49283.
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This paper proposes teaching Gha͂tu folk dance as a performing art in EFL classes for effective teaching and learning activities. Like dance performance, language skills are also performing arts. The study examines the English language proficiency of intermediate students in general. Their performance is not as satisfactory as expected. One major finding of the study is that the relationship between teachers and students and students to students is not harmonious. Gha͂tu can play a catalytic role in maintaining the relations between teachers and learners. This cultural activity is the source of good human relations, good coordination, patience, group work, devotion, submissiveness and many more. This article explores how this cultural activity enhances the teaching-learning activities in EFL classes, what factors are affecting students’ performance, and how Gha͂tu inspires teaching-learning pedagogies. But it has not been studied from this perspective yet. So, Gha͂tu is to be introduced in the syllabus. The study employs the human relations theory to interpret and analyze this Gha͂tu cite and relate it to this research. Teaching Gha͂tu folk dance in EFL classes can create an exciting environment as it is a new teaching pedagogy. This makes all the students actively participate in teaching-learning activities. Gha͂tu can make classroom activities effective, active, and interactive if it is introduced in the syllabus. The active participation of both language and literature students enhances the English language proficiency in EFL classes.
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Yuldashevich, Ruziev Davron. "Psychological and Pedagogical Bases of the Organization of Problem-based Education through Folk Songs." International Journal of Psychosocial Rehabilitation 24, no. 4 (2020): 6834–38. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020495.
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Umid, Ishonkhodjaev. "Problems and Solutions of Teaching Folk Instruments in Higher Education." International Journal of Pedagogics 5, no. 4 (2025): 160–63. https://doi.org/10.37547/ijp/volume05issue04-43.
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This article analyzes the current problems encountered in the process of teaching folk instruments in higher educational institutions. In particular, the inconsistency of curricula with modern requirements, the imbalance between theoretical and practical training, shortcomings in the training of pedagogical personnel, and the lack of methodological materials are highlighted as problems. The importance of approaches based on national heritage in the formation of professional competencies in the performance of folk instruments is also highlighted.
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Džekčioriūtė-Medeišienė, Vita. "Scaring of Children in the Traditional Lithuanian Worldview." Tautosakos darbai 51 (June 27, 2016): 177–94. http://dx.doi.org/10.51554/td.2016.28890.
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By scaring, the author means short phrases uttered by the grown-ups in order to encourage acceptable behavior of kids, e.g. ‘If you walk by the rye field, rusalka will come out and take you away’ (LII ES 508/77 p. 153). This phenomenon of Lithuanian folklore, pedagogics and culture in general has hitherto attracted not enough scholarly attention; therefore, this article aims at elucidating its most important features and forms of expression.It is not entirely clear, to what folklore genre these forms of scaring should belong. They are close to folk beliefs in terms of their typical structure and manifestations of mythical worldview. However, the scaring presents reaction to certain situations and circumstances, thus being similar to situational sayings. Quite frequently, such occurrences stem from a broader social and mythological background, therefore being capable of evolving into folk legends or ritual-like imitation practices.The scaring of children functions on a twofold basis. Since scaring describes the surroundings and the applicable rules of behavior, it embodies the sensual experience. Children can experience some scary subjects directly (seeing them), while perceiving others through their mythical dwelling places (darkness, reflection in the well, the wavy rye, etc.) or sounds. The diminished possibilities of sensual experience and the obscurity determine the mythical code present in the scaring of children. The opposition between one’s own vs. foreign also plays an important role here: the foreign things tend to be more mythologized and frightening. The relation to reality makes scaring effective here and now, while mythical level encourages children’s imagination and curiosity, making the scaring remarks very catchy.The scaring very much depends on the situation and changes easily; therefore, classifying these instances according to a single criterion is difficult. This article lists four ways of classifying the scaring of children: according to form (the way of presenting the scary things to kids), to the scary subject (what the kids are intimidated with), to the space (how scary things are located in the living surroundings), and to the purpose (what scaring is meant to achieve). Formally, children can be scared with songs (phrases inserted into the lyrics of lullabies), rhymed situational phrases or simple verbal warnings. According to the subject, the material falls into four groups: scaring with no subject (threatening children with physical destruction or some unpleasant physical consequences); threatening with really existing, although mythologized persons (foreigners, beggars, wizards); threatening with mythologized animals; and threatening with mythical beings. According to space, there are also four groups of scaring instances, i.e. those associated with home, yard, close extraneous space, and distant extraneous space. Such scaring reflects psychophysical development of children and their range of spatial movement. The purpose of scaring may include appropriate everyday behavior of children or their ritually meaningful conduct. In the first case, children have to behave appropriately in terms of physiology or social meaning. Besides, by use of such scaring children are kept away from dangerous places (like wells, water pools, forests) or places important to the social welfare are safeguarded from them (including orchids, gardens, crops). The ritually meaningful scaring depends either on the stage of the child’s development or on the festive periods that require certain norms of behavior.The scaring of children constituted an inherent part of the Lithuanian peasant life in the second half of the 19th – the first half of the 20th century. Its prime purpose was forming appropriate social behavior of children. The secondary, although no less important, function was shaping their practical knowledge and mythical worldview. The patterns of scaring altered along with the child’s development, adjusting to the circumstances and the child’s physiologic capacities, yet in turn stimulating the psychophysical development of children as well.
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Murotovna, Raximberdiyeva Maxfuzaxon. "EFFECTIVENESS OF TEACHING FOLK PEDAGOGY AS AN ACTUAL PROBLEM." International Journal of Pedagogics 4, no. 10 (2024): 93–98. http://dx.doi.org/10.37547/ijp/volume04issue10-16.
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Folk pedagogy, a rich reservoir of cultural knowledge, values, and traditions, plays a pivotal role in shaping the moral, ethical, and social framework of societies. However, in the contemporary educational landscape, the effectiveness of teaching folk pedagogy remains an under-explored yet crucial issue. This article investigates the challenges and opportunities associated with the integration of folk pedagogy into modern educational systems. Through an analysis of current pedagogical practices and the socio-cultural importance of folk knowledge, the study underscores the relevance of folk pedagogy in fostering holistic education. The findings suggest that an interdisciplinary approach that blends traditional and modern teaching methodologies can enhance the effectiveness of folk pedagogy education.
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Mokhirieva, Yu. "OUTSTANDING MASTERS OF UKRAINIAN FOLK ART: BIOGRAPHICAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 80–95. http://dx.doi.org/10.33989/2226-4051.2020.22.221998.
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The article considers the problems of creating a semantic component of the pedagogical narrative (based on biographical studies of prominent personalities of Ukrainian national art) as an effective method of professional-pedagogical education of teachers of fine arts. Among the most representative phenomena of Ukrainian culture are the works by Hanna Sobachko-Shostak, Kateryna Bilokur, Oleksandr and Nadiia Babenko, the Piliuhin family. As a result of the research, the individual features of our selected outstanding masters of Ukrainian folk art were clarified, the influence of the social environment and the family on the formation and creative development of outstanding Ukrainian folk artists was determined.The Department of Fine Arts of Poltava V. G. Korolenko National Pedagogical University has developed biographical narratives about outstanding masters of Ukrainian traditional folk art, which are used in teaching the following subjects: "History of Ukrainian Fine Arts", "History of Decorative and Applied Arts", "Basics of Decorative Composition". The study proved the effectiveness and feasibility of introducing biographical narratives in the training of future teachers of fine arts.
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Bolysbaev, D. S., N. Á. Mahanbetova, B. A. Saınanov, and J. M. Agadılova. "Folk Ornament is One of the Means of Pedagogical Education." Iasaýı ýnıversıtetіnіń habarshysy 4, no. 118 (2020): 96–104. http://dx.doi.org/10.47526/2020/2664-0686.038.
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Decorative and applied arts as a spiritual culture of society developed over the centuries, achieving the spread of real folk traditions and customs, which at certain stages of historical development formed its moral culture. The study of ornament is a means of achieving certain results in the development of creative activity of future teachers of fine arts. The article reveals the aspects and functions of ornamental art which makes it possible to apply its study in the educational process of pedagogical universities as an effective way to build a complete picture of the world and the development of students’ artistic and creative activity. This paper is devoted to folk ornaments as multifunctional phenomenon of folk culture. Its potential is seen by the authors as a source of reserve and worldview, values, moral, artistic, aesthetic and educational means. Definitions of the most important aspect in ornamental art are given.
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Bolysbaev, D. S., N. Á. Mahanbetova, B. A. Saınanov, and J. M. Agadılova. "Folk Ornament is One of the Means of Pedagogical Education." Iasaýı ýnıversıtetіnіń habarshysy 4, no. 118 (2020): 96–104. http://dx.doi.org/10.47526/2020/2664-0686.038.
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Decorative and applied arts as a spiritual culture of society developed over the centuries, achieving the spread of real folk traditions and customs, which at certain stages of historical development formed its moral culture. The study of ornament is a means of achieving certain results in the development of creative activity of future teachers of fine arts. The article reveals the aspects and functions of ornamental art which makes it possible to apply its study in the educational process of pedagogical universities as an effective way to build a complete picture of the world and the development of students’ artistic and creative activity. This paper is devoted to folk ornaments as multifunctional phenomenon of folk culture. Its potential is seen by the authors as a source of reserve and worldview, values, moral, artistic, aesthetic and educational means. Definitions of the most important aspect in ornamental art are given.
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Jumanazarov, Umurzoq, and Shirinbek Nurboev. "Pedagogical Basis of Studying Folk Epics in the Independence Period." International Journal of Social Science Research and Review 5, no. 5 (2022): 23–27. http://dx.doi.org/10.47814/ijssrr.v5i5.296.
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The article provides a brief analysis of doctoral, PhD, PhD dissertations defended in the field of Uzbek pedagogy over the past thirty years, as well as published major monographs, scientific ideas in pamphlets, new ideas.
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Ismoilova, Gulzoraxon Xasanjon qizi. "THE PEDAGOGICAL FOUNDATIONS OF TEACHING FOLK CRAFTS USING INTERACTIVE METHODS." Multidisciplinary Journal of Science and Technology 5, no. 1 (2025): 594–99. https://doi.org/10.5281/zenodo.14794887.
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This article explores the pedagogical foundations of teaching folk crafts using interactive methods. Folk crafts are an integral part of national culture and heritage, requiring innovative approaches to ensure their preservation and transmission to future generations. The study emphasizes the role of interactive teaching methods in enhancing students’ engagement, creativity, and practical skills. The research highlights key interactive strategies, including problem-based learning, project-based learning, and collaborative activities, which contribute to a more effective and dynamic educational process. The findings suggest that the implementation of interactive methods fosters a deeper understanding of traditional craftsmanship, develops students' critical thinking abilities, and improves their hands-on experience. The article concludes that integrating interactive approaches into folk crafts education enhances the learning process and ensures the sustainability of cultural heritage.
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Bihus, Olha. "Formation of Patriotism in Students-Choreographers Through Folk Dance." Dance Studies 6, no. 1 (2023): 42–50. https://doi.org/10.31866/2616-7646.6.1.2023.283725.
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The purpose of the article is to identify the peculiarities of implementing the patriotic potential of Ukrainian folk dance in the pedagogical process of higher education establishments of culture and arts and to propose effective methods of forming patriotism. Research methodology. Theoretical methods (analysis, synthesis, systematization and comparison of the defining scientific sources that reflect the specifics of patriotic ideas), the method of systemic and structural analysis, hermeneutics, the art historical analysis, and others are applied. Scientific novelty. The processes of patriotism formation in students-choreographers by means of folk dance and the realization of the patriotic potential of folk choreography in the pedagogical approach of higher education establishments of culture and art are investigated. The patriotic potential contained in the specifics of the Ukrainian folk-dance style (stable lexical complexes in the military dances <em>Arkan</em>, <em>Hopak</em>, and <em>Zaporozhets</em>) is revealed by means of the hermeneutic method, which enhances the patriotic orientation of the choreographic text; the means of realizing the content of patriotic education of students-choreographers through folk dance in the process of studying specific disciplines are theoretically substantiated. Conclusions. Ukrainian folk dance is a powerful means of developing a sense of patriotism in students-choreographers, which is realized through the formation of their ethnic identity. The methodology for the patriotism formation in choreography students in the process of studying specialized disciplines is a holistic and consistent process that combines the leading forms and methods of research, educational and independent activities. Its successful implementation involves the creation of a dedicated ethno-pedagogical environment based on a combination of socio-cultural components, considering scientifically based dynamics, the choice of effective technologies, modern forms and adequate ways to revive Ukrainian dance culture. The results of patriotic education based on the proposed methodology are a careful attitude to the traditions of Ukrainian folk dance, education of patriotic feelings, formation of historical memory, national patriotic values, consciousness and behaviour of the individual, active use of traditional dance culture and the experience of leading Ukrainian patriotic choreographers in creating modern folk-stage compositions.
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Zafarbek, Yakubov. "PEDAGOGICAL AND PSYCHOLOGICAL ASPECTS OF DEVELOPING THE SPIRITUALITY OF FUTURE MUSIC TEACHERS THROUGH KHORESM FOLK EPISTLES." International Journal of Pedagogics 4, no. 11 (2024): 263–67. https://doi.org/10.37547/ijp/volume04issue11-51.
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This article analyzes the issue of developing the spiritual education of future music teachers through Khorezm folk epics from a pedagogical and psychological perspective. Khorezm folk epics are not only a rich literary heritage reflecting Uzbek culture and history, but their musical expression also forms the skills of future teachers to understand and appreciate cultural values. The article discusses the pedagogical approaches and psychological impact of this process, emphasizing important aspects in the spiritual development of future music teachers. The musical aspects of epics and methods of integrating them into the educational process are also considered.
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Fursenko, T. F. "Value Orientations Development in Adolescents by Means of Folk Music." Психологическая наука и образование 24, no. 2 (2019): 29–36. http://dx.doi.org/10.17759/pse.2019240203.
Full textAbstract:
The paper focuses on the pedagogical aspect of developing value orientations in adolescents by means of folk music. It provides an outline of various views on the issue; reveals the meaning of the value orientations concept; analyses the pedagogical settings necessary for the development of value orientations in adolescents and personality-oriented pedagogical technologies. The author describes her method of ‘value actualisation’ which is based on the use of some of the best pieces of folk music in contemporary arrangements that embody the values of the modern society and nourish universal human as well as cultural-historical national values. When working with adolescents, it’s important to take into account their musical interests and needs and to use contemporary arrangements of traditional music, for instance, folk-rock and folk-pop, gradually expanding the focus. The paper gives examples of how traditional music can be used in working with value orientations in adolescents. The outcomes of the study show that developing value orientations by means of folk music can be effective if personality-oriented pedagogical technologies are employed (which promote mastering and incorporating in the adolescent’s activity the entire spectrum of traditional music) and if the process of educating is humane and democratic enough.
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Badriddinova, Dilnoza. "The use of didactic possibilities of Uzbek folk proverbs in the formation of national traditions in readers." International Journal Of Literature And Languages 5, no. 3 (2025): 17–20. https://doi.org/10.37547/ijll/volume05issue03-05.
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This article discusses the use of educational, moral, educational and motivational opportunities of Uzbek folk proverbs in the formation of national customs and values in students by future teachers. The pedagogical conditions for the development of knowledge, skills and qualifications in this area, information about the moral directions of proverbs from examples of folk oral art are provided. The pedagogical opportunities for providing formal, informal and referential information to future teachers for the successful mastery of folk oral art by students are analyzed.
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Mamedova, I. "Pedagogical Ideas and Views of Aligeidar Gashimov, the Founder of Azerbaijani Folk Pedagogy." MAN AND EDUCATION, no. 1 (May 7, 2025): 168–74. https://doi.org/10.54884/1815-7041-2025-82-1-168-174.
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The article examines the pedagogical ideas of Aligeydar Gashimov, which contributed to the formation and development of folk pedagogy in Azerbaijan as a special pedagogical system. In the process of working on the article, the analysis of historical and scientific-pedagogical literature was carried out, the works of A. Gashimov, and works of folklore were studied. The idea of the personality of A. Gashimov, his professional path and the diversity of his scientific research is given. It is shown that A. Gashimov was a collector of pedagogical ideas presented in various genres of oral folklore, and formulated on this basis the conceptual provisions of Azerbaijani folk pedagogy. The scientist's point of view on the problems of moral education of children is presented. As a result of the study of the pedagogical ideas of A. Gashimov, conclusions are made that his pedagogical creativity is still relevant in solving issues of education and upbringing of the younger generation.
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Mahalis, Oleksandr. "Stanislav Pavliuchenko's Cultural and Pedagogical Activity." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 249–58. https://doi.org/10.31866/2410-1176.37.2017.155649.
Full textAbstract:
The purpose of the article is to describe S. Pavliuchenko’s creative and pedagogical work as head of the folk-song art department, artistic director and chief conductor of the Ukrainian folk choir of KNUKiM. The research methodology consisted in using universal scientific methods, in particular the historical and chronological methods, the method of structural and comparative analysis, systematization, generalization, and the method of interviewing. The application of such methods allowed for conducting the research in chronological order, analyzing the creative life of the artist during his work in KNUKiM. The scientific novelty of the work. The paper deals with the investigation of Stanislav Pavliuchenko’s creative and pedagogical activity from 1984 to 2010. Having researched the creative work of the artist, scholars and researchers of his work through the example of the Ukrainian folk choir of KNUKiM will have the opportunity to understand more clearly the construction of the algorithm of the development in the field of the establishment of the national school of folk choral performance and its direct influence on the formation of the national conscious, patriotic society. Conclusions. The thorough analysis of Stanislav Pavliuchenko’s creative and pedagogical activity allowed for expanding knowledge of his creative work and comprehending his role in Ukrainian music art. The artist left a bright trace in the history of the national folk choral school, having contributed to the process of its formation and development.
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Yangyang, Lyu, and Rita Wong Mee Mee. "Pedagogical Innovations in Teaching Ethnic Folk Dance in Chinese Higher Education." Journal of Neonatal Surgery 14, no. 32S (2025): 797–800. https://doi.org/10.63682/jns.v14i32s.7455.
Full textAbstract:
Ethnic folk dance holds significant cultural and educational value in China, representing the diversity and richness of its multi-ethnic heritage. However, traditional pedagogical methods often fail to engage modern students or align with evolving higher education goals. This paper investigates pedagogical innovations in the teaching of ethnic folk dance within Chinese universities, highlighting emerging practices, interdisciplinary approaches, and technology integration. Drawing on case studies, interviews with dance educators, and curriculum analysis, this research identifies key strategies that enhance student engagement, cultural understanding, and creative expression. The findings advocate for a dynamic, student-centered approach that honors cultural authenticity while embracing contemporary educational tools