• Title/Summary/Keyword: Play Action

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An Action Research to Support Indoor Free Play in the Dodam Class Consisting of Five-Year-Olds (5세 도담반의 실내놀이지원을 위한 실행연구)

  • Sim, So Yeong;Kwon, Yeon Hee
    • Korean Journal of Childcare and Education
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    • v.17 no.4
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    • pp.29-47
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    • 2021
  • Objective: The purpose of this study was to understand the teacher's role as play supporter in a carry out play generated curriculum and develop and implement an action plan in order to indoor free play. Methods: Participants were 14 kindergartners (9 boys, 5 girls) and one teacher. Processes of planning-implementation and observation- reflection were repeated in a cyclical procedure and the 3rd action plan was conducted based on strategies to support children's play. Results: Children experienced the following: Continuing and immersive play, play filled with experiments and challenges, play to make together, attitude to enjoy novelty and respect differences, and play of trial and error. And the researcher changed the following: Be sensitive to the child's words and actions, finding the 'real interest' of children in 'waiting', acquiring the perception that 'children are the masters of play', seeing the value of learning in children's expressive play, and gain confidence in play support. Conclusion/Implications: This study suggested the need for teacher to have patience and demonstrate reflective thinking in order to support children's play.

Exploring the Play-centered Curriculum Action Competence of Early Childhood Teachers Based on FGI Analysis (FGI 분석을 통한 유아교사의 놀이중심교육과정 실행 역량 탐색)

  • Lee, Wonmi;Kwon, Yeonhee
    • Korean Journal of Childcare and Education
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    • v.16 no.4
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    • pp.93-110
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    • 2020
  • Objective: The purpose of this study was to explore the early childhood education teacher's ability to implement play-centered curriculum that is recognized by an early childhood education expert based on an analysis of focus group interviews. Methods: Two professors of early childhood education, two directors of daycare centers, and two early childhood education teachers participated in the focus group interview. The interview was conducted three times. The interviewed data were categorized and compared. Results: The action competence of the play-centered curriculum required for early childhood teachers were categorized into the following categories; comprehending play, recognizing play, and practicing child-centered play. Detailed factor competencies were required for understanding play, reflective thinking, reading play, recording play, playing like a child, and supporting play. Conclusion/Implications: For actualizing play-centered curriculum, early childhood education teachers needed to comprehend, recognize, and practice for child's play. Furthermore, we discussed the necessity and direction of teacher education to improve the teacher's action competence for play-centered curriculum.

Future Elementary School Teacher's Carrying Out Mathematics Classes Using Play-Action Programs (예비초등교사를 대상으로 한 '놀이수학' 수업의 실행)

  • Kim, Sung-Joon
    • Journal of the Korean School Mathematics Society
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    • v.9 no.4
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    • pp.575-595
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    • 2006
  • In this paper, we investigated the effects of mathematics classes using play-action programs in the course of mathematics education of future elementary school teachers. This study was conducted with 43 junior university students who selected 'Play Mathematics' in 2006. All the participants in this course was divided 11 groups. Play-action mathematics programs was consisted of 12 themes. For example, there was tangram, somacube, hexamino, tessellation, geoboard etc. In the beginning of lessons, we investigated theses themes itself through plays, puzzles, games, and computer programs. And next time, we investigated the relationships between these themes and elementary mathematic textbooks(i.e. mathematical contents). In 14th and 15th lessons, all the groups took a project presentation lessons that included all things about play mathematics in all group categories. And they developed two themes of play mathematics in accordance with grades, contents, levels as course tasks. Through this study, three educational effects induced. First, future elementary school teachers have a deep understanding about play-action mathematics. They are interested in these play themes, and take part in these play mathematics programs of their own accord. And they realize that these play themes are related to elementary mathematics. Second, future elementary school teachers' attitude and mind about mathematical are improved after this course. Third, future elementary school teachers comprehend various instruction methods relating to play mathematics. Therefore, we suggest that future elementary school teachers need to have many opportunity to experience and develop a mathematics classes using play mathematics.

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Function and Utility of Musical Action Songs - Focoused on the Musical (뮤지컬 '액션송' 기능과 효용성 연구 - 뮤지컬 <공포의 꽃가게>를 중심으로 -)

  • Shin, Dong-A;Kim, Hak-Min
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.8
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    • pp.49-62
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    • 2020
  • Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

Effects of Father's Play Beliefs on Father-Child Interaction and Child's Social Skills (아버지의 놀이신념이 부-자녀 간 상호작용과 아동의 사회적 기술에 미치는 영향)

  • Im, Ye Sul;Han, You Jin
    • Korean Journal of Child Studies
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    • v.36 no.2
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    • pp.1-16
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    • 2015
  • The purpose of this study is to investigate the effects of father's play beliefs on father-child interaction and child's social skills. The subjects were 370 fathers of 1, 2 and 3 graders of elementary schools who lived in Seoul and Gyeonggi area. The results were as follows; First, the differences were found to be significant between the whole of father's play hours, play focus beliefs, study focus beliefs and father-child interaction, and their sub-variables of disciplinary action, sensitiveness, and affectionate expression; and between the whole of child's social skills and its sub-variables of cooperative action, self-assertion and self-control. Second, the higher play focus beliefs, the more positive interaction on the child, and specifically they use much democratic disciplinary action, sensitiveness and affectionate expression. Third, as to the effect of the father's play focus beliefs on the child's social skills, father-child interaction was found to act as a partial parameter, while as to the effect of the father's study focus beliefs on the child's social skills, father-child interaction was found to act as a full parameter.

A Study on the Ritual of Exorcism Play and Mask Play - Based on Victor Turner's theory of social drama (굿놀이와 탈놀이의 제의성 고찰 -빅터 터너(V. Turner)의 사회극 이론을 바탕으로)

  • Yang, Jin-Young
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.581-607
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    • 2019
  • Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

Beyond Words and Sounds: A Study on the Language of T. S. Eliot's Murder in the Cathedral (말과 소리 저 너머 -『대성당의 살인』의 언어고찰)

  • Kim, Han
    • Journal of English Language & Literature
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    • v.55 no.4
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    • pp.539-565
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    • 2009
  • T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.

A Sustainable Strategy and Action Plan of Social Enterprise in Korea

  • Kim, Gye-Soo
    • International Journal of Quality Innovation
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    • v.9 no.2
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    • pp.91-98
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    • 2008
  • Social Enterprise (SE) has a vital role to play in helping meet some main commitments for Korea-growing economy; supporting stronger communities; closing opportunity gap-together with the developing a vibrant third sector. The Strategy and action plan is intend to grow and develop us of social enterprise business model in Korea. The sustainable strategy and action plan will be useful for Korea's Social enterprise. This paper will suggest that from the sustainable strategy to action plan of social enterprise in Korea.

On-Line Two-Dimensional Conducting Motion Analysis (실시간 이차원 지휘운동의 해석)

  • ;;;Zeung nam Bien
    • Journal of the Korean Institute of Telematics and Electronics B
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    • v.28B no.11
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    • pp.876-885
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    • 1991
  • This paper proposes an on-line method of understanding humans conducting action observed through a vision sensor. The vision system captures images of conducting action and extracts image coordinates of endpoint of the baton. A proposed algorithm based on the expert knowledge about conducting recognizes patterns of the conducting action from the extracted image coordimates and play the corresponding music score. Complementary algorithms are also proposed for identifying the first beat static point and dynamics through extensive experiments, this algorithm is found to detect lower edges and upper edges without error.

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The Expression of Negative Emotions During Children's Pretend Play (유아의 상상놀이에서 부정적 정서 표현에 대한 연구)

  • Shin, Yoolim
    • Korean Journal of Child Studies
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    • v.21 no.3
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    • pp.133-142
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    • 2000
  • This study investigated the extent to which negative emotions were portrayed, the ways in which children communicated about negative emotions, and to whom negative emotions were attributed during pretend play. The themes in which negative emotions were embedded were examined. Thirty 4- and 5-year-olds, each paired with a self-chosen peer, were observed and videotaped during a 20-minute play session. Observations presented the following conclusions: Anger and fear were the most frequently occurring negative emotions. Children communicated about negative feelings through emotion action labels and gesture. Children attributed a large proportion of their emotional portrayals to themselves and to play objects. Expression of affective themes embedded in pretend play included anger, fear, sadness, and pain.

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