Online ISSN: 1989-9572

Keywords : Culture

Education, gender and cultural diversity. Conviviality or Coexistence?

Rocío Cárdenas-Rodríguez, Teresa Terrón-Caro, Victoria Pérez-de-Guzmán.

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 3, Pages 54-67

Cultural diversity is a characteristic of plural societies, the way we think that cultural diversity makes societies evolve or become tight, make cultural groups remain segregated or integrated. It is important to analyze the management model of cultural diversity guide our interventions because it determines which cultural groups remain isolated, integrated and even annihilated. This paper examines and defends the intercultural model inclusive and cohesive model, establishing principles and guidelines for intervention from this model. The gender has always been a factor of exclusion, being for immigrant women an element of discrimination. From an intercultural model is to guide measures and actions to intervene from a gender perspective, determining the need in society to form an intercultural coexistence to achieve integration of all people (immigrant and native). We are all aware of the importance of the struggle for respect for freedom of ideas and integration of differences as essential elements in human dignity, and culture and gender are elements of this process.

Learning music form everyday things: creative experiences

Jusamara Souza

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 193-203

It is a tradition in music education to transform everyday objects into sources of music making or music learning. A large number of concepts and experimental reports show the possibilities of transforming objects into musical instruments or the interaction of music making with the environment. This article addresses the dimension of creativity present in the interaction of people with objects of the environment to make music through a sociological perspective of music education. This perspective conceives music as a social production which contributes to the idea of pertaining to a group, the expression or the value of a culture and the transmission of traditions and
attitudes. The article has been divided into three parts: (1) Making music as a human and as a social experience; (2) The tradition of music making with objects, and (3) Experience: transforming objects into percussion; transforming objects of nature into melodies; transforming toys into musical instruments. It is our intent to contribute to the discussion on musical creativity through interactions with everyday objects and encourage other professionals to observe and explore the musical potentialities in theirs environments.

Creative connections with Asia using videoconferencing

Myung-sook Auh, Robert Walker

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 31-44

The core activity in this project is direct contact between Australian school children both primary and secondary, with their peers in Asia, particularly in Korea. Direct contact is made through highdefinition videoconferencing whereby students talk to each other and observe each other in real time. Teachers are directly involved in organising and helping students prepare their presentations to their Asian peers, but the students themselves talk directly to their peers. The program began in 2008 and now there are 30 pairs of schools between Australia and Korea, 5 pairs for Japan, and 2 for China. This study focuses on 12 videoconferencing sessions involving Australian and Korean students. The excitement of the students in both countries is palpable, and the motivation to make the very best presentation is extremely high. Excitement, seeing new faces in their peers who are thousands of miles away across the world and who are as excited as the presenters and show it, and working to ensure that they do the best job they can in their presentations, all together act as strong motivators. But the most important aspect is the contact made between children from different countries and different cultures, who speak a different language, and who want to know about each other. The identification of creative activities as they occurred in each session was completed by three expert judges who were asked to rate behaviours simply as creative or non-creative and to give some reasons if necessary. Several spontaneous behaviours were recognized as good examples of creative behaviour