Suchergebnisse

У статті розглянуто національні особливості організації мистецької освіти на рівні МСКО 1 в країнах Європейського Союзу. Проаналізовано ключові політичні події та ініціативи початку ХХІ століття у галузі освіти і культури з боку ЄС. Окрема увага звертається на цілі мистецької освіти, її зміст, статус, моделі навчання. Схарактеризовано підходи до оцінювання навчальних досягнень молодших школярів у даній сфері, проблеми професійної підготовки і підтримки вчителів початкової школи. Визначено загальні тенденції розвитку мистецької освіти у початковій школі Євросоюзу.В статье рассмотрены национальные особенности организации художественного образования на уровне МСКО 1 в странах Европейского Союза. Проанализированы ключевые политические события и инициативы начала XXI века в области образования и культуры со стороны ЕС. Отдельное внимание уделяется целям художественного образования, его содержанию, статусу, моделям обучения. Охарактеризованы подходы к оцениванию учебных достижений младших школьников в данной сфере, проблемы профессиональной подготовки и поддержки учителей начальной школы. Определены общие тенденции развития художественного образования в начальной школе Евросоюза.The article describes the peculiarities of arts education organization at ISCED 1 in the European Union member-states. It analyzes the key policy developments and initiatives in the field of education and culture at the beginning of the XXI century on part of the EU. Special attention is given to the objectives of arts education, its content, status, and models.The role of liberal education, arts in particular, in forming the competencies of young people for life in the twenty-first century has been widely recognized at the European level. The main objectives of arts education declared in national curricular, such as the development of students' artistic skills and knowledge, critical assessment of cultural heritage, promotion of self-expression, understanding of personal identity and cultural diversity by encouraging creativity, are similar among all the countries of the European Union. However, the «art for life» goal is mentioned only in some programs.Arts education in primary school fulfils its functions by enlarging knowledge and skills in the classroom through arts disciplines, mastering the technique and method of implementation of creative ideas that enrich younger students' possibilities for artistic expression and sensuality, meeting art works of different cultures and eras, practising creativity that allows children to realize their cultural and artistic projects. Contents of arts education in most EU countries include visual arts and music programs with crafts, dance, drama, architecture, and media arts being less popular at primary stage.In about half of the EU states minimal time for studying arts subjects is ranging from 50 to 100 hours per year at ISCED 1. Criteria for evaluating students' achievements in arts education are usually determined by teachers at the school level. They are based on the curriculum objectives or educational authorities' instructions. Primary school most commonly practises verbal comments.Today at primary school in the EU countries the following trends in arts education are observed: arts education is a compulsory component of basic education programs; fine arts and music are dominating other aesthetic disciplines (e.g., drama and dance) in programs for primary school; two models of arts education are being realized at ISCED 1 – combining arts disciplines as a distinct area within the curriculum or teaching them as separate subjects without any conceptual link between them; integration of arts education into the content of other disciplines (history, literature, languages, physical education, etc.); the content of school arts education is being enriched by the study of the media, including cinema, photography and digital arts, and encourages students and teachers to use ICT in the creative process; as a result of modern demographic changes the intercultural aspect is becoming one of the basic principles of teaching arts subjects; arts education is being practically oriented; the potential of arts education is used to create a situation of success in teaching underachieving students; schools are encouraged to organize extra-curricular arts activities and collaborate with professional artists and cultural institutions; local cultural features are more often considered. The above-mentioned processes impose new demands on teachers and schools, and need guidance and support at the political level.

У статті розглянуто принципи та підходи до організації релігійної освіти молодших школярів у державах-членах Європейського Союзу. Автор аналізує практику релігійної освіти на рівні МСКО 1 і характеризує основні моделі РО – конфесійну (або деномінаційну) та неконфесійну (або релігієзнавчу). Визначено спільні для країн ЄС риси та виклики в організації РО на початковому щаблі.В статье рассматриваются принципы и подходы к организации религиозного образования младших школьников в государствах-членах Европейского Союза. Автор анализирует практику религиозного образования на уровне МСКО 1 и характеризует основные модели РО – конфессиональную (или деноминационную) и неконфессиональную (или религиоведческую). Определены общие для стран ЕС черты и проблемные моменты в организации РО на начальной ступени.The article examines the principles and approaches to religious education of younger schoolchildren in the Member States of the European Union. The author analyzes the practice of religious education at ISCED level 1 and characterizes its main models: confessional (or denominational) and non-confessional. The difference between the two models is determined by their content, the system of teacher training, curriculum development and teaching provision for which either the state or religious associations are responsible.The article identifies the common features and challenges in the organization of religious education at the primary stage, among which are the voluntariness of the students' choice in this field, the possibility of studying religious culture of some particular denomination or non-religious ethics, the negotiation of RE content with representatives of religions, indicating the general trend of Europeanization.The author comes to the conclusion that the practice of religious education in the Member States of the European Union is greatly dependent on complex specifics of each country. The implementation of existing models of RE is facing numerous challenges due to the recent changes in the social context of Europe.Recognizing the need and usefulness of international consultations and cooperation in the field of RE, religious scholars and teachers point out such difficulties as language issue, the problem of cultural and language barriers, and differences in the existing educational systems.The gradual transition from the confessional model of teaching school religion to the non-confessional one allows to acquaint students with a variety of world religions, strengthens the developmental function of RE, and focuses on Ecumenical and interreligious education for mutual understanding and respect for other religious traditions and worldview.

У статті розглянуто принципи та підходи до організації релігійної освіти молодших школярів у державах-членах Європейського Союзу. Автор аналізує практику релігійної освіти на рівні МСКО 1 і характеризує основні моделі РО – конфесійну (або деномінаційну) та неконфесійну (або релігієзнавчу). Визначено спільні для країн ЄС риси та виклики в організації РО на початковому щаблі.В статье рассматриваются принципы и подходы к организации религиозного образования младших школьников в государствах-членах Европейского Союза. Автор анализирует практику религиозного образования на уровне МСКО 1 и характеризует основные модели РО – конфессиональную (или деноминационную) и неконфессиональную (или религиоведческую). Определены общие для стран ЕС черты и проблемные моменты в организации РО на начальной ступени.The article examines the principles and approaches to religious education of younger schoolchildren in the Member States of the European Union. The author analyzes the practice of religious education at ISCED level 1 and characterizes its main models: confessional (or denominational) and non-confessional. The difference between the two models is determined by their content, the system of teacher training, curriculum development and teaching provision for which either the state or religious associations are responsible.The article identifies the common features and challenges in the organization of religious education at the primary stage, among which are the voluntariness of the students' choice in this field, the possibility of studying religious culture of some particular denomination or non-religious ethics, the negotiation of RE content with representatives of religions, indicating the general trend of Europeanization.The author comes to the conclusion that the practice of religious education in the Member States of the European Union is greatly dependent on complex specifics of each country. The implementation of existing models of RE is facing numerous challenges due to the recent changes in the social context of Europe.Recognizing the need and usefulness of international consultations and cooperation in the field of RE, religious scholars and teachers point out such difficulties as language issue, the problem of cultural and language barriers, and differences in the existing educational systems.The gradual transition from the confessional model of teaching school religion to the non-confessional one allows to acquaint students with a variety of world religions, strengthens the developmental function of RE, and focuses on Ecumenical and interreligious education for mutual understanding and respect for other religious traditions and worldview.

У статті розглянуто національні особливості організації мистецької освіти на рівні МСКО 1 в країнах Європейського Союзу. Проаналізовано ключові політичні події та ініціативи початку ХХІ століття у галузі освіти і культури з боку ЄС. Окрема увага звертається на цілі мистецької освіти, її зміст, статус, моделі навчання. Схарактеризовано підходи до оцінювання навчальних досягнень молодших школярів у даній сфері, проблеми професійної підготовки і підтримки вчителів початкової школи. Визначено загальні тенденції розвитку мистецької освіти у початковій школі Євросоюзу.В статье рассмотрены национальные особенности организации художественного образования на уровне МСКО 1 в странах Европейского Союза. Проанализированы ключевые политические события и инициативы начала XXI века в области образования и культуры со стороны ЕС. Отдельное внимание уделяется целям художественного образования, его содержанию, статусу, моделям обучения. Охарактеризованы подходы к оцениванию учебных достижений младших школьников в данной сфере, проблемы профессиональной подготовки и поддержки учителей начальной школы. Определены общие тенденции развития художественного образования в начальной школе Евросоюза.The article describes the peculiarities of arts education organization at ISCED 1 in the European Union member-states. It analyzes the key policy developments and initiatives in the field of education and culture at the beginning of the XXI century on part of the EU. Special attention is given to the objectives of arts education, its content, status, and models.The role of liberal education, arts in particular, in forming the competencies of young people for life in the twenty-first century has been widely recognized at the European level. The main objectives of arts education declared in national curricular, such as the development of students' artistic skills and knowledge, critical assessment of cultural heritage, promotion of self-expression, understanding of personal identity and cultural diversity by encouraging creativity, are similar among all the countries of the European Union. However, the «art for life» goal is mentioned only in some programs.Arts education in primary school fulfils its functions by enlarging knowledge and skills in the classroom through arts disciplines, mastering the technique and method of implementation of creative ideas that enrich younger students' possibilities for artistic expression and sensuality, meeting art works of different cultures and eras, practising creativity that allows children to realize their cultural and artistic projects. Contents of arts education in most EU countries include visual arts and music programs with crafts, dance, drama, architecture, and media arts being less popular at primary stage.In about half of the EU states minimal time for studying arts subjects is ranging from 50 to 100 hours per year at ISCED 1. Criteria for evaluating students' achievements in arts education are usually determined by teachers at the school level. They are based on the curriculum objectives or educational authorities' instructions. Primary school most commonly practises verbal comments.Today at primary school in the EU countries the following trends in arts education are observed: arts education is a compulsory component of basic education programs; fine arts and music are dominating other aesthetic disciplines (e.g., drama and dance) in programs for primary school; two models of arts education are being realized at ISCED 1 – combining arts disciplines as a distinct area within the curriculum or teaching them as separate subjects without any conceptual link between them; integration of arts education into the content of other disciplines (history, literature, languages, physical education, etc.); the content of school arts education is being enriched by the study of the media, including cinema, photography and digital arts, and encourages students and teachers to use ICT in the creative process; as a result of modern demographic changes the intercultural aspect is becoming one of the basic principles of teaching arts subjects; arts education is being practically oriented; the potential of arts education is used to create a situation of success in teaching underachieving students; schools are encouraged to organize extra-curricular arts activities and collaborate with professional artists and cultural institutions; local cultural features are more often considered. The above-mentioned processes impose new demands on teachers and schools, and need guidance and support at the political level.