| Abstract: | Šiuo metu neformalaus vaikų švietimo sąvoka pakeista į pasirenkamąjį vaikų ugdymą, kurį sudaro du poskyriai: formalųjį švietimą papildantis ugdymas ir neformalusis vaikų ugdymas. Iki 2011 metų meno mokyklos buvo priskiriamos prie neformaliojo ugdymo, dabar jos priskiriamosios prie formalųjį švietimą papildančio ugdymo. Lietuvoje iki 2013 metų nebuvo dokumento, aiškiai apibrėžiančio neformaliojo šokio ugdymo sistemą, programų rengimą, todėl nėra aišku, kuo remiantis ir kaip meno mokyklų mokytojai ruošdavo ir ruošia savo šokio ugdymo programas. Nuo 2011 m. liepos 1 d., įsigaliojus naująjai Lietuvos Respublikos švietimo įstatymo redakcijai, yra įteisinta nauja neformaliojo vaikų švietimo dalis – formalųjį švietimą papildantis ugdymas (FŠPU). Todėl jau nuo 2013 metų situacija meno mokyklose keičiasi. Atsiranda formalųjį švietimą papildančio ugdymo programų rengimo rekomendacijos, kurias siekiama įgyvendinti, patikrinti ir tobulinti. Darbe nagrinėjami šokio ugdymo organizavimo pokyčiai meno mokyklose, atliekant meno mokyklų šokio ugdymo programų analize pedagoginių paradigmu aspektu, išskiriant skirtumus pagal programų sudarymo laikotarpį, bei pagal formalųjį švietimą papildančio ugdymo šokio programų analizės išryškėjusias kategorijas: struktūrą, turinį,tikslą, metodus, vertinimą. Taip pat bandoma Išsiaiškinti, kuom remiantis yra sudaromos šokio ugdymo programos meno mokyklose ir koks mokytojų požiūris į FŠPU šokio programų rekomendacijų naudojimą savo veikloje.
Dance education in formal and non-formal education is a very important part of general education. The definition of non-formal education has been changed and now it is defined as optional education of children, which is formed of two parts, i.e. a) teaching supplementing the formal education, and b) non-formal education of children. Till 2011, the Arts schools were attributed to non-formal education, but now they are attributed to the schools providing teaching supplementing the formal education. Till 2013, there was no document clearly defining the non-formal dance education system and development of curricula in Lithuania and, therefore, it is unclear on what basis and how the teachers of Arts schools prepared dance curriculum. Since 1st July 2011, when the Law on Education of the Republic of Lithuania as last amended became effective, a new part of non-formal education of children, i.e. teaching supplementing the formal education (hereinafter – TSFE), has been validated. Therefore, the situation for Arts schools changes as from 2013. Recommendations for teaching supplementing the formal education curricula, which should be implemented, verified and improved, have been introduced. In this research paper, the changes in dance education organization in Arts schools have been disclosed, the question whether the paradigm of free education is promoted in dance education has been analysed, the basis on which curriculum are developed in Arts schools has been defined; and the teachers’ attitude towards TSFE dance curriculum application in their work has been analysed. The subject of research is dance education organization in Arts schools. The purpose of this research is to disclose changes in dance education organization in Arts schools. Qualitative research by applying analysis of dance curriculum and methods of structured interviews was performed in order to analyse dance education organization changes and curriculum prepared by dance teachers in Arts schools. Dance curriculum from six Arts schools were received for dance curriculum analysis. Structured interviews were conducted with five dance teachers who work in Arts schools and prepare the dance curriculum themselves. Analysis of six Arts schools’ dance curriculum showed up that the paradigm of classical and free education prevails in majority of schools. The paradigm of classical education prevails in few schools; and only one schools focused on paradigm of free education. The research of curriculum goals, taking into consideration the time of curriculum development, showed that the goals changed as follows: till 2000, physical training of pupils and possibility of self-expression in dance were emphasised in dance curriculum; in 2009 and 2011, the pupils’ education and self-education became the goal in curriculum; and in 2012-2014, education and self-education of pupils was not highly emphasized as new goal such as pre-concert activities appeared, but the goal of pupils’ creativity training remained. Teaching of various styles of dances was emphasized as a goal in all curriculum. The conducted interviews showed up that teachers preparing the dance curriculum refer to the laws and, in consultations with other teachers, take into consideration the learning environment, pupils’ individuality, and their own experience. They form the goals based on the current legislation, the premises possessed, and the pupils’ individual abilities and personality. Only three of five teachers are familiar with TSFE recommendations. They say that the recommendations provided are suitable for dance education in Arts schools; however, they still work based on their own developed curriculum. |
