Invited speakers


 

Prof. Dr. Valéria, Csépe

ELRN RCNS, Brain Imaging Centre
University of Pannonia, Multilingualism Doctoral School

Website, CV


Relationships between play and child learning


„In play, a child is always above his average age, above his daily behavior; in play, it is as though he were a head taller than himself.” wrote Lev Semjonovich Vygotsky in 1978. Indeed, play performed by a young child is a cognitive challenge accompanied by emotions and it is the royal way of gaining experience, discovering connections via learning, as well as the cradle of the ‘aha’ type of discovery, an early form of learning. Therefore, the question arises on what factors move and influence the spontaneous, natural forms of learning. It’s time to know more about how our knowledge on the spontaneous forms of play and their development can contribute to the renewal of formal learning and teaching. For this it is a crucial question whether play and learning have common mechanisms and universal foundations. Moreover, we may also ask what the different scientific fields know about the relationship of play and learning, whether we have a well-founded knowledge that helps to translate it for practice.

At the beginning of the third decade of the 21st century, psychologists know much more about the play and learning than in the days of Vygotsky and Piaget. This additional knowledge was shaped not only by the developmental psychology of increasing knowledge accumulated in recent decades, but also by the contribution of different disciplines investigating the relationship as well as the mechanisms of play and learning in association with maturation and development. Today, many researchers active in the field of neuroscience are interested in the various aspects of these two activities, which are only in principle independent. Neuroscientists use a large variety of methods to know more about the mechanisms of play and learning, their neural correlates, and conditions. Here we look for both universal and specific features and phenomena, and rely on different models of development, from classical to recent ones. The main questions are about the common mechanisms and the brain networks these two activities may share. Are the effects of play like that of arts? Are there basic mechanisms that also affect well-planned and directed learning?

Brain control, brain research-based education, and many other promises raise the curiosity of pedagogy high today. The brain has become fashionable, and although it brings results, the increasing number of myths, false, often unscientific theories on learning and teaching are gaining ground. True, the cognitive, emotional, and social changes associated with formal learning can be related to the functioning of the brain, more precisely, the brain in maturation and development, and we can measure these. However, it is not enough just to perform research, we also need to communicate its results in a way that tis clear and easy to understand. In the absence of this, we can further look at picture on oversimplified functions of the two hemispheres a favorite of many teachers, hear about disorders called as neurological though they are neuro-developmental in nature, and see regular mistakes when interpreting correlations as causal. The question, of course, is whether neuroscience is far enough to provide reliable, ecologically valid answers beyond the laboratory to important questions about play and learning, and their relationship and assumed interplay.

Learning develops from play and is a self-sustaining process based on similar mechanisms. The presentation aims at supporting this main message with scientific data.


 

Wendy Russell

Senior Lecturer in Play and Playwork

at the University of Gloucestershire, United Kingdom

Website, Bio


Exploring the Dilemma of Planning for Play


Adults’ relationships with children tend to be outcome focused. For example, parents want their children to develop into happy, successful adults; educationalists want children to learn. Assessment of learning judges both children and their teachers in terms of how far specific outcomes have been realised. This focus on outcomes often leads to thinking in terms of straight lines from input to outcome. When this kind of thinking is applied to playing, it may mean that play is valued for its role in something other than play: play and learning, for example, or play and physical activity. Specific kinds of play are valued for the outcomes we expect it to deliver. Planning involves planning for the ‘rights kinds of play’ for the ‘right kinds of outcomes’. I suggest that, valuable though it is, this misses out a lot of what play is about and its value for children’s health and wellbeing both generally and in educational institutions. We know that children will play wherever and whenever the conditions are right. Playing is spontaneous and opportunistic, it can go in any direction, and its unique value lies in its intrinsic nature. Given this, predicting outcomes is not only difficult, but it risks turning whatever is planned into something other than play. This presentation explores this dilemma, drawing on several conceptual tools that can help us think about the conditions that support playing in educational settings. In particular, it considers approaches to planning a space that is open for play to emerge.


 

Prof. Dr. Miklósi, Ádám

ELTE TTK Biológiai Intézet igazgatója
ELTE TTK Etológia Tanszék vezetője
Biológiai Doktori Iskola Etológia program vezetője
MTA-ELTE Összehasonlító Etológiai Kutatócsoport vezetője

Website


Residents of the ‘Mobile Planet’: New Challenges of the Parent-Child Relationship in the Digital Age


What's that got to do with it? Why does an ethologist deal with children? Legitimate questions, indeed, but I will explain! Years ago, we started working on attachment at the Department of Ethology and showed how much similarity there is between parent-child and owner-dog attachment. Attachment is the basic unit of the human social system, and is also the foundation of the networks that unite society. However, the advent of the digital age has significantly changed our habits, moreover, our children are already born into this era. The mobile phones and other devices of digital technology separate us almost imperceptibly, destroying our natural attachment relationships. The most important question of our research in recent years is how to reduce the ‘harmful’ impact of digital technology so that its inevitable use is more to our advantage. How can the bonding relationship between children and parents be strengthened by developing an appropriate technology when we know exactly the consequences and impact? I am convinced that if we do not move in this direction now, it will be too late. Of course, for this one or more ethologists are too few, we are looking for kindergarten nurses and school teachers to help us.


 

Lencse Máté

Igazgyöngy Alapítvány

pedagógus, játéktervező

Website, Önéletrajz


Miért legyen kedvünk játszani? – A komolytalan tanulásról


Társasjátékok pedagógiai hatásával foglalkozva két dolog szokott zavarni. Egyrészt az, amikor legyintünk és nem vesszük komolyan a játékban rejlő lehetőségeket; nem hisszük el, hogy ez valóban teljes értékű pedagógiai eszköz, hogy módszerek épülhetnek rá. De ugyanennyire zavaró, amikor komolyan vesszük a játékokat, eszközként, egy-egy módszer építőelemeként tekintünk rájuk és használjuk őket. Előadásomban azt szeretném megmutatni, hogy ez az ellentmondás csak látszólag feloldhatatlan, hogy a társasjátékokat nem használva, hanem játszva, milyen fejlődést várhatunk egy-egy gyerektől, gyerekcsoporttól. Az előadás vázát a Jesztl Józseffel közösen kidolgozott társasjáték-pedagógia elméleti kerete adja - alapelvek, célok, fejlődési területek -, de mivel társasokról nehéz játékélmény nélkül beszélni, az előadás több pontján várható közös játék és azok feldolgozása. A társasjáték-pedagógiai a motivációra épít, a hatást pedig nem a pedagógustól, hanem a játéktól magától várja. Így pedagógustól nem kevés bátorság kell, hogy merjen csak játszani, de megéri. Ez az első lépés tehát, hogy nekünk legyen kedvünk játszani, a következő pedig az, hogy a gyerek kedvét is meghozzuk. Az előadás másik fókusza tehát a motiválás lehetőségei és buktatói. Bár az előadásban bemutatott eredmények és tapasztalatok többsége hátrányos helyzetű gyerekekkel és fiatalokkal lejátszott partikból származik, az adaptálhatóságát végig szem előtt tartjuk, hogy valódi válasz születhessen a címben feltett kérdésre.


 

Dr. Sándor Ildikó

néprajzkutató

a Magyar Táncművészeti Egyetem docense, a Hagyományok Háza Népművészeti Módszertani Műhelyének vezetője ,főbb kutatási területei: népi játékok, etnopedagógia, folklorizmus jelensége

Website


Közös játékrepertoár és játékkultúra: a csoportos játék feltételei hogyan és mennyi idő alatt alakíthatóak ki?


A grundon játszó Pál utcai fiúk vagy a néprajzi terepmunkából, leírásokból ismert falusi, libalegelő gyermekközössége a huizingai szabad, önindított, önszabályozó játéktevékenységben vett részt. Mélyrehatóak azok az okok, amelyek a játszás térbeli, időbeli és társas jellemzőit gyökeresen megváltoztatták nemcsak Magyarországon, hanem világszerte a huszadik század elejétől napjaink tartó időszakban.

A kollektív játéktevékenységet gyermeki szükségletnek tekintjük – ezzel kijelölve fontosságát, funkcióját az oktatás-nevelés intézményesített keretei között, az óvodában és az iskolában. Óvodai foglalkozásokon, tanórán, szabadidős tevékenységként egyaránt megjelenik a játszás, jóllehet gyakran esik szó arról, hogy kevesebbet, mint kellene.

A Marczibányi téri Művelődési Központban majd 15 éven át működő Varázslóiskolában a résztvevő megfigyelés módszerével gyűjtött adatok, résztvevőkkel készült interjúk, fotók, tárgyi emlékek alapján bemutatom a közösség játékáról szerzett ismereteimet. Az esettanulmány tapasztalatai alapján mutatom be a kollektív együttjátszás két alapfeltételének, a játékrepertoár kialakításának és a csoport játékkultúrája formálásának folyamatát, fontosabb állomásait.


 

Suhajda, Virág PhD.

pszichodinamikus mozgás- és táncterapeuta

Metamorphosis meseterapeuta és személyközpontú tanácsadó, a Rogers Személyközpontú Oktatásért Alapítvány ügyvezető igazgatója és szakmai vezetője

Website


Supporting Freely Chosen Play: the Loose Parts Play


Freely chosen play is the most important source of joy for a child. All children are playing from the youngest of age, and during playing they get in contact with the space around them. Connecting to the external space (and the people in it) is an important source for learning about „me” and „not me”, developing body-awareness, self-subjectivity and physical and social self-agency. During play the external space are filled with the internal, subjective meaning of the child to make up a special space (which Winnicott calls potential space), in which everything can happen, everything can be experienced. Playing therefore becomes the space for trial and fail, as well as development.

Therefore freely chosen play can be enriched and effected by the external space. Loose Parts Play – using scraps and loose parts in the play space – creates a potential space, where everything is possible. That’s how freely chosen play becomes the basis for experiencing freedom and creativity.


 

Tészabó, Júlia PhD.

címzetes egyetemi docens, ELTE

Website, Önéletrajz


“Artifacts” in the nursery - Toys designed by artists


From the early 1900s, the efforts of art pedagogy included the aesthetics of children’s environments, toys, books and other objects. To this end, design competitions were announced and the works were exhibited. The importance of the movement is highlighted by recent international toy exhibitions too. The actual lecture presents an outline of this endeavour, by introducing Hungarian designers and incorporating their works into international movements.


 

Gyöngy, Kinga PhD.

Eötvös Loránd Tudományegyetem, Tanító- és Óvóképző Kar, Neveléstudományi Tanszék

Website, CV


Art and play in early childhood


Early childhood educators and kindergarten teachers have special knowledge about play in early childhood as well as play development. Practitioners are usually aware that children engage in play without external constraints simply for the satisfaction the behaviour itself brings, and they treat children’s play accordingly: they grant children psychological freedom in the play space and they take a supporting role.

However, when they enter the world of art, many practitioners feel lost and do not know what the developmentally appropriate practice looks like. This lecture investigates four topics that help us forward in this regard. The first question that we should ask ourselves is whether the art activity should be process or outcome oriented. The second question is about the main protagonist of the creative process. The third question is whether the activity provides an opportunity for self-expression. The fourth is about the presentation of the activity to parents and other interested parties. Our knowledge about play and child development can help us answer these questions.


 

Winkler Márta

A Kincskereső Iskola alapítója

Website, Önéletrajz


Játék az iskolában?


Gyerekkori élményeim mintájára alapítottam iskolát. Ennek légköre alkotó-, teremtőműhelyként él bennem. A vidámságot, a sokféle mozgást, minél színesebb életvitelt, életritmust kívántam az iskola mindennapi életébe beleszőni. Kiművelni a gyerekeket az öröm képességére, ahogy azt az én szüleim tették velem, és évek folyamán szokássá érlelni bennük az örülni tudást. Emellett a gyerekekben feltalálható lehetőségeket, " indításaikat" figyeltem, kutattam, s ha rádöbbentem azokra, féltve őriztem és hasznosítottam. A tudás átadásában, megszerzésében szigorú és következetes voltam, vagyok magamhoz is és a gyerekekhez is, hiszen a mai napig találkozom tanítókkal, hallgatókkal. Az együttélés szabályait, mindnyájunk kiegyensúlyozott életének alapját a nyugalmas, fegyelmezett és nagyon szeretetteljes légkörrel fogadtattam el a mindenkori gyerekekkel. Vallom, hogy a nekik való dinamikus iskolai élet megteremtése és kiteljesítése a pedagógus "kiművelő" erejétől függ


 


 

Prof. Kathleen Gallagher

Ontario Institute for Studies in Education

University of Toronto

Website, Bio


Theatre, Radical Hope and a Global Ethics of Care


What happens when young people see the future as something they can create?What might it look like to have a ‘global ethics of care’ as a framework for global citizenship? What does it mean to practice a radical hope? I will present on findings from the last 10 years of global my ethnographic researchspecifically from a study titled Youth, Theatre, Radical Hope and the Ethical Imaginary- a study engaging with young people and coming to understand their hopes and concerns. I will speak to how the young people in my study- in Toronto (Canada), Tainan (Taiwan), Lucknow (India), Coventry (England) and Athens (Greece)- are enacting radical hope as a practice of the everyday, recently published in the book Global Youth Citizenry and Radical Hope (Springer 2020). My research isone response to cultural theorist K. A. Appiah’s question: “What do we owe strangers by virtue of our shared humanity?”. This singular question has inspired me to globalize my research imagination and to study the drama classroom,which has given me critical insight into the world as young people know it, and as they might wish it to be. Drama is a somatic experience that can cross language, geography and generation. As an interdisciplinary study, my work seizes upon the power that theatre affords young people in communicating with each other and with an adult world often ill-equipped to hear them. Using theatre methodologically, the study takes seriously the imaginative powers of young people and advances researchers’ capacities to hear what young people are telling us about the effects of growing social polarization, income inequality, and environmental degradation. Using theatre and documentary film to communicate research, the study continues to reach many publics beyond academia.


 

Michael Follett

United Kingdom

Director of OPAL (Outdoor Play and Learning)

Website, Bio




 

Kamil Maciaszek

Free play - the foundation of the mental health of children.

About learning through play, building 21st century competencies and the GratoSfera Project in Poland.

Website, Bio


About learning through play



 

Karla Zacharias

cultural educator

Association for Cultural Education of Children and Youth

Website


Kulturelle Bildung für Kinder- und Jugendliche in München


A bemutatandó projekt honlapja: www.iz-art.de


 

Prof. Nigel Marshall

University of Sussex

Senior Lecturer in Education

Website, Bio


Joy through live music - Research



 
 

We welcome you as speaker and participant of our conference!

We extended the deadline of submission of scientific materials to 1st of April 2021. ... Read more

2021-01-30 20:11:37

LIVE THE CULTURE - PLAY, ARTS EDUCATION AND SCIENCE

It is a pleasure to inform you that the 4th EAEC will take place in 21-22 May 2020 in Budapest at Eötvös Loránd University (ELTE) Faculty of Primary and Pre-School Education. ... Read more

2020-01-30 20:11:35

Keynote speaker: Dr. Tamás Freund

Main speakers of the 4th Arts Education Conference: Tamás FREUND academic, Márta WINKLER teacher and Dániel VARRÓ writer, literary translator ... Read more

2020-01-30 20:10:45