|
Non-visual motifs Theare paperthose exploresthat are not seen by the possibilitieseyes but by other senses: smell, touch, taste, and hearing. We can roughly divide such motifs into sensations and feelings. After the empirical experience of applyingreality anwith integrativethe approachsenses, toman visuallooks artsfor and literatureregularities in the first cycle of primary educationobserved, in thewhich Republicvisualization ofalso Serbia. Within this educational system, where teaching is subject-oriented, integrative approaches are inadequately present in practice. The authors of this paper believe that, in suchplays a context,role futureas teachers need to be further trained and empowered in using integrative approaches. The paper describes and analyzes a project conducted in more than 70 Fine Arts classes, involving fourth-year students from the Faculty of Education in Belgrade and pupils from the first to fourth grade. Inspired by H. C. Andersen's fairy tale 'Thumbelina,' the artwork explores the story's themes, motifs, problems, and possibilities through a methodical interpretation. Based on such an understandingone of the fairytools tale,for dealing with experience. In order to avoid visualization in art education to become a substantialbanal illustration, it is useful to use structural correlation. It is based on the structure, mutual relations of what is being visualized, by connecting common compositional grammar (so-called syntagms). Synesthesia offers another possibility for visualization. It is an atypical (unusual) neurological condition in which the synesthetist connects, that is, combines different sensations: sight, hearing, touch, taste, and diversesmell. practiceFor example, synaestheses experience color when looking at letters, or when listening to sounds, they have an activated sense of taste or touch. A synesthete experiences non-visual motifs in Finea Artscertain classesway: wassees implemented,sounds, whichhears wascolors, smells and tastes, and in other ways unifies the primary goalperception of the project.surroundings. InTo additiona tolesser describingextent, thesynesthesia workingcan processbe withexperienced studentsby –all collaborativepeople marking- offor motives,example, characters,we and/orperceive scenesdeep fromsounds theas fairy tale,"dark" and findinghigh appropriatesounds artisticas media adapted to the pupils' age – the paper includes qualitatively analyzed authors’"bright", and participants’expressions personalsuch reflectionsas "warm and outlinescold" methodologicalcolors, implications"rough" ofvoice challengesor and"velvety" opportunitiesvoice weare havealso encountered.common. The research resultswas demonstrateconducted to reveal the successful integrationreaction of visual arts and literature, challenging the notion of art being used merely as a decorative activity in otherelementary school subjects, where it may lose its integrity. Photos of children's artworks are an integral part of the project's outcomes, presented here as a strong incentive for teachersstudents to considervarious artnon-visual instimuli, schoolsto asdetermine athe way of thinkingartistic expression to non-visual stimuli, and knowing.to identify potential synesthetes at that age. It established that there is no statistically significant difference between boys and girls, and colors that are preferred along with certain letters, numbers, words, tastes, and sounds were established.
|
