Marja-Liisa Hassi, H. Niemelä, Ari Paloniemi, Jouni Piekkari, Kaisa Wolde
1. IntroductionIn introducing the Global Education First (GEF) initiative in 2012, the UN Secretary-General Ban Ki-moon portrayed the necessary changes in the goals and methods of education for preparing students to face the future challenges of the global world.Schools have traditionally prepared people to pass exams, proceed to the next level, and graduate into the workplace. We now face the much greater challenge of raising global citizens... Education must fully assume its central role in helping people to forge more just, peaceful, tolerant, and inclusive societies. It must give people the understanding, skills, and values they need to cooperate in resolving the interconnected challenges of the 21st century (Education First, 2012, 20).In addition to knowledge and competence in different subject areas, students more than before need to be equipped with a will and an ability to collaborate with people reflecting various cultural backgrounds, life styles, and values. Students need to be prepared for global citizenship featured by active participation, collaboration, and reinforcement of human rights. This calls for increased attention and allocation of resources to the pedagogy of human rights education. Increased understanding, skills, and personal strength for sustaining and further strengthening peace, equity, and wellbeing are needed for a sustainable future. However, research indicates problems in implementing human rights education, and child rights education in particular. This calls for more knowledge about the pedagogy of human rights education.Learning and teaching about child rights are not systematically embedded in curricular frameworks and teachers are rarely familiar with the UN Convention on the Rights of the Child (DICE, 2010). For example, even though respondents in the recent international UNICEF baseline survey identified teacher training as the most important area for action, such as academic freedom and de-regulation of higher education seemed to refrain from achieving coherence in the area (Jerome, Emerson, Lundy, & Orr, 2015). On the other hand, opportunities for children's participation in decision-making in school were widespread but the number of schools and type of participation were mixed in most countries. Notably, child rights education was explicitly and consistently monitored only in a few countries.This paper report results from an action research project and study that aimed at testing and further development of a drama based model in child rights education. The study aim at clarifying teachers' and students' experiences and gains from the implementation of the model, exercises, and materials on child rights education developed by the the Finnish National Committee for UNICEF. The authors first outline a theoretical basis for human and child rights education, which is followed by an introduction of drama as a powerful pedagogical method of learning about, through, and for human rights. After this, we will focu
{"title":"Drama in Child Rights Education - Developing a Pedagogical Model","authors":"Marja-Liisa Hassi, H. Niemelä, Ari Paloniemi, Jouni Piekkari, Kaisa Wolde","doi":"10.15405/ejsbs.172","DOIUrl":"https://doi.org/10.15405/ejsbs.172","url":null,"abstract":"1. IntroductionIn introducing the Global Education First (GEF) initiative in 2012, the UN Secretary-General Ban Ki-moon portrayed the necessary changes in the goals and methods of education for preparing students to face the future challenges of the global world.Schools have traditionally prepared people to pass exams, proceed to the next level, and graduate into the workplace. We now face the much greater challenge of raising global citizens... Education must fully assume its central role in helping people to forge more just, peaceful, tolerant, and inclusive societies. It must give people the understanding, skills, and values they need to cooperate in resolving the interconnected challenges of the 21st century (Education First, 2012, 20).In addition to knowledge and competence in different subject areas, students more than before need to be equipped with a will and an ability to collaborate with people reflecting various cultural backgrounds, life styles, and values. Students need to be prepared for global citizenship featured by active participation, collaboration, and reinforcement of human rights. This calls for increased attention and allocation of resources to the pedagogy of human rights education. Increased understanding, skills, and personal strength for sustaining and further strengthening peace, equity, and wellbeing are needed for a sustainable future. However, research indicates problems in implementing human rights education, and child rights education in particular. This calls for more knowledge about the pedagogy of human rights education.Learning and teaching about child rights are not systematically embedded in curricular frameworks and teachers are rarely familiar with the UN Convention on the Rights of the Child (DICE, 2010). For example, even though respondents in the recent international UNICEF baseline survey identified teacher training as the most important area for action, such as academic freedom and de-regulation of higher education seemed to refrain from achieving coherence in the area (Jerome, Emerson, Lundy, & Orr, 2015). On the other hand, opportunities for children's participation in decision-making in school were widespread but the number of schools and type of participation were mixed in most countries. Notably, child rights education was explicitly and consistently monitored only in a few countries.This paper report results from an action research project and study that aimed at testing and further development of a drama based model in child rights education. The study aim at clarifying teachers' and students' experiences and gains from the implementation of the model, exercises, and materials on child rights education developed by the the Finnish National Committee for UNICEF. The authors first outline a theoretical basis for human and child rights education, which is followed by an introduction of drama as a powerful pedagogical method of learning about, through, and for human rights. After this, we will focu","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132872216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1. IntroductionSuccessful teachers' role in satisfying educational goals implies, among other things, positive emotional environment. "The most important predictors of students' satisfaction with school are students' feelings that they are treated fairly, that they feel safe and that they believe that teachers are supportive." Samdal et all. (1996). Assuming that teacher who feels competent would be a better motivator and supporter was my motive for the first research. "The function of drama teacher is to challenge, arouse interest, make anxious, give confidence, coordinate achievement, and encourage reflection. In any one lesson, he may operate in these varieties of other ways. No more than the maths or history teacher can he abdicate from his responsibility to assist and support his pupils in their learning." O'Neill, Lambert, Linnell, Warr-Wood (1976). In this article, drama education is not considered as a tool for learning theatre-skills or interested in production. The accent was on diffusion of drama techniques in teaching and extracurricular activities and sense of competence in teaching this field of education. Drama education, as considered in this article,"...it is a set of methods that can be used in learning process using dramatic expression to grow and mature as a person through the ability to perceive , to understand the behavior of people and relationships." Krusic (2008). It is focused on learning process and critical thinking. "Drama creates dramatic situations to be explored by the participants, inviting them to find out more about the process of how the situation comes into being, to shiftperspectives in the here and now, identify and sometimes solve problems and deepen our understanding of them." DICE (2008). Drama education is part of the modern educational paradigm that fosters learning through game and a holistic approach in education. Drama, especially actualized in extracurricular activities, provide the possibility for creative work and learning in a new way through experience. Pupils should satisfy their needs, deepen their interests and abilities to improve self-esteem and confidence. Drama Education has a wide application in education, either as a separate subject or as teaching methods within other subjects. Extracurricular activities are a part of school practice with no numerical rating; it is the area of free and independent choice. Their wealth of content and suitability to the needs and desires of specific school facilities provide an opportunity for individual development of each child, Martincevic (2010).Drama education as extracurricular activity is the part of the Croatian educational system that are ideal to bring together all of it because of the freer structure than in others subjects. The first idea, one that today bears the significance of a viewpoint, from which one should commence both in discussion and in the construction of immediate pedagogical practice, is the idea that extracurricular activities
{"title":"Use of Drama Techniques among Teachers and Pupils' Satisfaction with Extracurricular Activities in Croatia","authors":"R. Rudela","doi":"10.15405/EJSBS.175","DOIUrl":"https://doi.org/10.15405/EJSBS.175","url":null,"abstract":"1. IntroductionSuccessful teachers' role in satisfying educational goals implies, among other things, positive emotional environment. \"The most important predictors of students' satisfaction with school are students' feelings that they are treated fairly, that they feel safe and that they believe that teachers are supportive.\" Samdal et all. (1996). Assuming that teacher who feels competent would be a better motivator and supporter was my motive for the first research. \"The function of drama teacher is to challenge, arouse interest, make anxious, give confidence, coordinate achievement, and encourage reflection. In any one lesson, he may operate in these varieties of other ways. No more than the maths or history teacher can he abdicate from his responsibility to assist and support his pupils in their learning.\" O'Neill, Lambert, Linnell, Warr-Wood (1976). In this article, drama education is not considered as a tool for learning theatre-skills or interested in production. The accent was on diffusion of drama techniques in teaching and extracurricular activities and sense of competence in teaching this field of education. Drama education, as considered in this article,\"...it is a set of methods that can be used in learning process using dramatic expression to grow and mature as a person through the ability to perceive , to understand the behavior of people and relationships.\" Krusic (2008). It is focused on learning process and critical thinking. \"Drama creates dramatic situations to be explored by the participants, inviting them to find out more about the process of how the situation comes into being, to shiftperspectives in the here and now, identify and sometimes solve problems and deepen our understanding of them.\" DICE (2008). Drama education is part of the modern educational paradigm that fosters learning through game and a holistic approach in education. Drama, especially actualized in extracurricular activities, provide the possibility for creative work and learning in a new way through experience. Pupils should satisfy their needs, deepen their interests and abilities to improve self-esteem and confidence. Drama Education has a wide application in education, either as a separate subject or as teaching methods within other subjects. Extracurricular activities are a part of school practice with no numerical rating; it is the area of free and independent choice. Their wealth of content and suitability to the needs and desires of specific school facilities provide an opportunity for individual development of each child, Martincevic (2010).Drama education as extracurricular activity is the part of the Croatian educational system that are ideal to bring together all of it because of the freer structure than in others subjects. The first idea, one that today bears the significance of a viewpoint, from which one should commence both in discussion and in the construction of immediate pedagogical practice, is the idea that extracurricular activities","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116876973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1. Starting pointSocial, educational and therapeutic potentials and benefits of drama and theatre activities especially in working with children and young people become widely recognized in Croatia during and immediately after the last wars in the region. The warfares of the 1990s, which invariably hit and lefttheir scars upon all societies in the region, in a way challenged numerous educationalists and socially aware artists to give their immediate professional and creative response to the social crisis. Many of them reacted on ethical impulse, without any previously learned lesson of how to act in such extreme situations, and spontaneously used and applied creative techniques and medium of drama and theatre in work with war-affected groups and communities. However, at that time a number of experts and professional associations working in the field of psycho-social assistance and therapy, often supported by international humanitarian organizations and institutions, has launched various emergency programmes to support war-affected groups in the war zones, refugee camps and settlements, in schools and other settings, as well as in communities affected by war and its consequences, and these projects extensively and very often primarily used drama and theatre techniques in their activities as their main methods.2. Purpose of the review articleStarting from this initial background of a general social fracture and crisis in which creative theatre and drama proceedings have proved as valuable and effective educational and therapeutic methods, this article will describe the development of contemporary drama education in Croatia with a focus on the main activities, goals and problems which emerged as important issues in the course of the last twenty years. Although this historical analysis is rather personal and mainly experience based, still it is my belief that my article can be considered a document that bear witness of constructive engagement of Croatian educationalists in building and establishing the contemporary drama pedagogy in Croatia as an organised system, as a verified methodology and, finally, as a recognized and appreciated educational profession.3. The pre-war roots of contemporary drama education in CroatiaAlthough the painful reality caused by the wars of the 1990s incited numerous educationalists, therapists and artists to react humanely and professionally to generally devastated social and family life and especially to disrupted childhood and education of practically all children in Croatia,i the awareness of the psycho-social, educational and therapeutic values of drama and theatre work with vulnerable groups could have been created not only by immediate evidences and positive effects recognized through these activities, but also thanks to the widespread creative drama practice with children and youth which existed in the pre-war period in Croatia, as well as in other parts of the former state, the practice which has been since the 1
{"title":"Drama Education in Croatia Today - an Experience Based Story","authors":"V. Krusic","doi":"10.15405/EJSBS.176","DOIUrl":"https://doi.org/10.15405/EJSBS.176","url":null,"abstract":"1. Starting pointSocial, educational and therapeutic potentials and benefits of drama and theatre activities especially in working with children and young people become widely recognized in Croatia during and immediately after the last wars in the region. The warfares of the 1990s, which invariably hit and lefttheir scars upon all societies in the region, in a way challenged numerous educationalists and socially aware artists to give their immediate professional and creative response to the social crisis. Many of them reacted on ethical impulse, without any previously learned lesson of how to act in such extreme situations, and spontaneously used and applied creative techniques and medium of drama and theatre in work with war-affected groups and communities. However, at that time a number of experts and professional associations working in the field of psycho-social assistance and therapy, often supported by international humanitarian organizations and institutions, has launched various emergency programmes to support war-affected groups in the war zones, refugee camps and settlements, in schools and other settings, as well as in communities affected by war and its consequences, and these projects extensively and very often primarily used drama and theatre techniques in their activities as their main methods.2. Purpose of the review articleStarting from this initial background of a general social fracture and crisis in which creative theatre and drama proceedings have proved as valuable and effective educational and therapeutic methods, this article will describe the development of contemporary drama education in Croatia with a focus on the main activities, goals and problems which emerged as important issues in the course of the last twenty years. Although this historical analysis is rather personal and mainly experience based, still it is my belief that my article can be considered a document that bear witness of constructive engagement of Croatian educationalists in building and establishing the contemporary drama pedagogy in Croatia as an organised system, as a verified methodology and, finally, as a recognized and appreciated educational profession.3. The pre-war roots of contemporary drama education in CroatiaAlthough the painful reality caused by the wars of the 1990s incited numerous educationalists, therapists and artists to react humanely and professionally to generally devastated social and family life and especially to disrupted childhood and education of practically all children in Croatia,i the awareness of the psycho-social, educational and therapeutic values of drama and theatre work with vulnerable groups could have been created not only by immediate evidences and positive effects recognized through these activities, but also thanks to the widespread creative drama practice with children and youth which existed in the pre-war period in Croatia, as well as in other parts of the former state, the practice which has been since the 1","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127665609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1.IntroductionPublic stigma has been defined by Corrigan, Rowan, Green, Lundin, River, Uphoff-Wasowski, White, and Kubiac, (2003) as a status loss and discrimination of individuals with mental health problems due to negative prejudice from the general public. Norman, Sorrentino, Gawronski, Szeto, Ye and Windell (2010) further explained stigma as a complex process that is cognitive and behavioural which takes place between the general public and mentally ill individuals. Stereotypes refer to the beliefs that are negative and associated with mentally ill individuals such as dangerousness and unpredictability (public stigma) and incompetency (self-stigma) (Pingani, Forghieri, Ferrari, Ben-Zeev, Artoni, Mazzi, and Corrigan, 2011). Prejudice, such as fear (public stigma) and low self-esteem (self-stigma) are cognitive and emotional responses that are activated by the stereotypes. These may then lead to discrimination, which is a behavioural response to prejudice; not employing someone due to his or her mental health problem (public stigma) or not applying for a job due to having a mental illness (self stigma).Two main theoretical models on stigma have been developed in an effort to explain how it forms; labelling (Link et al., 1987) and attribution theories (Corrigan, 2000). Scheff's original theory of labelling suggested that stereotypes about mental illness are learnt at an early age through social interactions and media, which are then internalized and applied to self in the case of mental illness. Individuals diagnosed with mental illness are aware of these roles that expected from them by the public, they therefore, start acting in such way. According to this theory, once someone is diagnosed with mental illness a new identity of a "psychiatric patient" and a social status is created for that individual. Stigma is then formed which is expressed as labelled individual being excluded form the daily interactions (Link et al., 1987). Another theory that sought to understand the stigma of mental illness is attribution theory (Heider, 1958). Corrigan (2000) developed Weiner's original attribution theory and applied it specifically to stigma of mental illness. According to him, there are 3 constructs of mental illness stigma; signalling event, cognitive and affective responses and behavioural reaction. There are signals such as poor social skills, which may indicate that there may be something unusual or alarming about the individual. Similar to Weiner, Corrigan also suggested that if the illness is attributed to an external factor the person is more likely to receive pity, therefore, help and less negative attitudes. This is opposite for those who are held responsible for their illness which in turn receive more anger and punishing behaviour consequently more stigma.Furthermore, a widely used social-psychology model has further been developed which adopted aspects from both attribution and labelling theories (Angermeyer and Matschinger, 2003, Angermeye
1.Corrigan, Rowan, Green, Lundin, River, Uphoff-Wasowski, White和Kubiac(2003)将公众耻辱感定义为由于公众的负面偏见而导致心理健康问题个体的地位丧失和歧视。Norman、Sorrentino、Gawronski、Szeto、Ye和Windell(2010)进一步解释了病耻感是一个复杂的认知和行为过程，发生在公众和精神病患者之间。刻板印象是指与精神病患者有关的负面信念，如危险性和不可预测性(公众耻辱感)和无能性(自我耻辱感)(Pingani, Forghieri, Ferrari, Ben-Zeev, Artoni, Mazzi, and Corrigan, 2011)。偏见，如恐惧(公众耻辱感)和自卑(自我耻辱感)是由刻板印象激活的认知和情绪反应。这些可能会导致歧视，这是对偏见的行为反应;由于某人的精神健康问题而不雇用某人(公众耻辱)或由于患有精神疾病而不申请工作(自我耻辱)。关于柱头的两个主要理论模型已经发展起来，试图解释它是如何形成的;标签(Link et al.， 1987)和归因理论(Corrigan, 2000)。Scheff最初的标签理论认为，关于精神疾病的刻板印象是在早期通过社会互动和媒体习得的，然后内化并应用于精神疾病的自我。被诊断患有精神疾病的人意识到公众对他们的期望，因此，他们开始以这种方式行事。根据这个理论，一旦一个人被诊断出患有精神疾病，他就会有一个新的“精神病人”的身份和社会地位。然后形成耻辱感，表现为被标记的个体被排除在日常互动之外(Link et al.， 1987)。另一个试图理解精神疾病耻辱的理论是归因理论(Heider, 1958)。Corrigan(2000)发展了Weiner最初的归因理论，并将其专门应用于精神疾病的污名化。他认为，精神疾病耻感有三种构念;信号事件，认知和情感反应和行为反应。还有一些信号，比如社交技能差，这可能表明这个人可能有些不寻常或令人担忧。与韦纳类似，科里根也认为，如果疾病是由外部因素引起的，那么这个人更有可能得到同情，因此，帮助和更少的消极态度。对于那些为自己的疾病负责的人来说，情况恰恰相反，他们反过来会受到更多的愤怒和惩罚行为，从而受到更多的污名。此外，一个广泛使用的社会心理学模型进一步发展，该模型采用了归因和标签理论的各个方面(Angermeyer和Matschinger, 2003; Angermeyer, Matschinger和Corrigan, 2003;Corrigan, Edwards, Green, A.， Diwan, and Penn, 2001)。Corrigan等人(2000)认为，该模型认为，污名化的态度是由先前的经验和知识构建的，然后导致行为反应。休闲路径模型由经验、感知、影响和反应组成(见图1)。该模型将感知和影响视为归因，进而导致歧视作为一种行为反应(Emmerton, 2010)。与标签理论和归因理论不同，该模型还考虑了其他因素，这些因素被确定为导致精神疾病耻辱的因素;人口统计和熟悉度。根据研究人员的说法，耻辱通常会给那些有这种健康状况的人带来经济、个人、政治和社会挑战(Halter, 2008年)。污名化的态度也可能导致歧视行为;限制某人的日常生活行为以及在公共和私人机构的前景。．．．
{"title":"Mental Illness Stigma in Turkish and Greek Cypriot Communities Living in Cyprus: A Pilot Study","authors":"A. Zorba","doi":"10.15405/EJSBS.158","DOIUrl":"https://doi.org/10.15405/EJSBS.158","url":null,"abstract":"1.IntroductionPublic stigma has been defined by Corrigan, Rowan, Green, Lundin, River, Uphoff-Wasowski, White, and Kubiac, (2003) as a status loss and discrimination of individuals with mental health problems due to negative prejudice from the general public. Norman, Sorrentino, Gawronski, Szeto, Ye and Windell (2010) further explained stigma as a complex process that is cognitive and behavioural which takes place between the general public and mentally ill individuals. Stereotypes refer to the beliefs that are negative and associated with mentally ill individuals such as dangerousness and unpredictability (public stigma) and incompetency (self-stigma) (Pingani, Forghieri, Ferrari, Ben-Zeev, Artoni, Mazzi, and Corrigan, 2011). Prejudice, such as fear (public stigma) and low self-esteem (self-stigma) are cognitive and emotional responses that are activated by the stereotypes. These may then lead to discrimination, which is a behavioural response to prejudice; not employing someone due to his or her mental health problem (public stigma) or not applying for a job due to having a mental illness (self stigma).Two main theoretical models on stigma have been developed in an effort to explain how it forms; labelling (Link et al., 1987) and attribution theories (Corrigan, 2000). Scheff's original theory of labelling suggested that stereotypes about mental illness are learnt at an early age through social interactions and media, which are then internalized and applied to self in the case of mental illness. Individuals diagnosed with mental illness are aware of these roles that expected from them by the public, they therefore, start acting in such way. According to this theory, once someone is diagnosed with mental illness a new identity of a \"psychiatric patient\" and a social status is created for that individual. Stigma is then formed which is expressed as labelled individual being excluded form the daily interactions (Link et al., 1987). Another theory that sought to understand the stigma of mental illness is attribution theory (Heider, 1958). Corrigan (2000) developed Weiner's original attribution theory and applied it specifically to stigma of mental illness. According to him, there are 3 constructs of mental illness stigma; signalling event, cognitive and affective responses and behavioural reaction. There are signals such as poor social skills, which may indicate that there may be something unusual or alarming about the individual. Similar to Weiner, Corrigan also suggested that if the illness is attributed to an external factor the person is more likely to receive pity, therefore, help and less negative attitudes. This is opposite for those who are held responsible for their illness which in turn receive more anger and punishing behaviour consequently more stigma.Furthermore, a widely used social-psychology model has further been developed which adopted aspects from both attribution and labelling theories (Angermeyer and Matschinger, 2003, Angermeye","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129435962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Emotion coaching is a parenting style clinically observed in the USA which supports children’s emotional self - regulation, social skills, physical health and academic success. A pilot study in a rural disadvantaged area in England sought to evaluate the effectiveness of training practitioners who work with children and young people in schools, early years settings and youth centres to apply emotion coaching strategies in professional contexts, particularly during emotionally intensive and behavioural incidents. The study rested on the premise that supportive adults can individually and collectively empower children and young people to build a repertoire of internal and external socio-emotional regulatory skills that promote prosocial behavior. A mixed method approach was adopted (n=127). The findings suggest the efficacy of adopting emotion coaching strategies to support behavioural management approaches and policies within settings across the age range. Data from school contexts are largely recorded here. The research is the first pilot in the UK that builds on and complements similar work being undertaken in the USA and Australia.
{"title":"Emotion Coaching - a Strategy for Promoting Behavioural Self-Regulation in Children/young People in Schools: A Pilot Study","authors":"J. Rose, L. Gilbert, R. McGuire-Snieckus","doi":"10.15405/EJSBS.159","DOIUrl":"https://doi.org/10.15405/EJSBS.159","url":null,"abstract":"Emotion coaching is a parenting style clinically observed in the USA which supports children’s emotional self - regulation, social skills, physical health and academic success. A pilot study in a rural disadvantaged area in England sought to evaluate the effectiveness of training practitioners who work with children and young people in schools, early years settings and youth centres to apply emotion coaching strategies in professional contexts, particularly during emotionally intensive and behavioural incidents. The study rested on the premise that supportive adults can individually and collectively empower children and young people to build a repertoire of internal and external socio-emotional regulatory skills that promote prosocial behavior. A mixed method approach was adopted (n=127). The findings suggest the efficacy of adopting emotion coaching strategies to support behavioural management approaches and policies within settings across the age range. Data from school contexts are largely recorded here. The research is the first pilot in the UK that builds on and complements similar work being undertaken in the USA and Australia.","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116632676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1. IntroductionDesignating graphic design as a vital tool in presentation part of architecture is a widely accepted notion not only in architectural practice but also in architectural education. Most of professional architects use graphic design as means of communication, which display their ideas and aims of an already completed design. Moreover, as Gurel and Basa (2004:193) conveyed there is also "a consensus for the necessity of an ideally finalized graphical presentation of a design project" in design studios; a tendency releted with "sets and systems of values that are hidden in the agenda of a design studio and its evaluation system".Nevertheless, these attitudes ignore the potentials of art of graphics within design process and constrain its usage by presentation. Indeed, graphic design could be a powerful tool especially in architectural education, for students to develop a design idea at the very beginning of the process.2. Problem StatementThe idea of presenting design in most pleasant and effective way forces designers to use the realm of visual language and art of graphics. Besides, visual representations such as sketches, drawings and virtual models are requirements as vital means of communication in the domain of architecture profession.For that reason, most of the architects are well equipped with graphical skills, but they don't consider them as neither technical nor theoretical part of their professional knowledge but as a part of their professional abilities. Hence, they dislocated graphical knowledge in presentation phase instead of the conceptual development process of an architectural design project. In other words, architects do not utilize their graphical skills as tool for design but as tool for displaying the already designed.3. Research QuestionsAlthough graphic design is designated as a powerful tool for presentation both in architectural education and in professional life, the authors would like to examine the possibility of wider use of art of graphics in conceptual development of a design project. Hence the this study questions if it is possible to integrate art of graphics within the design process implicitly by creating a demand for it on early stages of the design process?4. Purpose of the StudyThe purpose of this study is to show that utilizing art of graphics could be a productive side-tool in concept development stage of design process. In order to achieve this goal, it is important to understand the process of design and sequences of actions in a designing process.Nevertheless, it is not easy to understand the nature of design since it has many implicit personalized manners in decision making processes. Besides, the difficulty of understanding the design process lies partly in the fact that the design knowledge is tacit in nature, too. As in Polanyi's (1966:4) famous statement "we can know more than we can tell" in design education. On the other hand, the real difficulty lies in the fact that design process co
{"title":"The Art of Graphics in Design Education","authors":"H. T. Örmecioğlu, Aydin Uçar","doi":"10.15405/EJSBS.161","DOIUrl":"https://doi.org/10.15405/EJSBS.161","url":null,"abstract":"1. IntroductionDesignating graphic design as a vital tool in presentation part of architecture is a widely accepted notion not only in architectural practice but also in architectural education. Most of professional architects use graphic design as means of communication, which display their ideas and aims of an already completed design. Moreover, as Gurel and Basa (2004:193) conveyed there is also \"a consensus for the necessity of an ideally finalized graphical presentation of a design project\" in design studios; a tendency releted with \"sets and systems of values that are hidden in the agenda of a design studio and its evaluation system\".Nevertheless, these attitudes ignore the potentials of art of graphics within design process and constrain its usage by presentation. Indeed, graphic design could be a powerful tool especially in architectural education, for students to develop a design idea at the very beginning of the process.2. Problem StatementThe idea of presenting design in most pleasant and effective way forces designers to use the realm of visual language and art of graphics. Besides, visual representations such as sketches, drawings and virtual models are requirements as vital means of communication in the domain of architecture profession.For that reason, most of the architects are well equipped with graphical skills, but they don't consider them as neither technical nor theoretical part of their professional knowledge but as a part of their professional abilities. Hence, they dislocated graphical knowledge in presentation phase instead of the conceptual development process of an architectural design project. In other words, architects do not utilize their graphical skills as tool for design but as tool for displaying the already designed.3. Research QuestionsAlthough graphic design is designated as a powerful tool for presentation both in architectural education and in professional life, the authors would like to examine the possibility of wider use of art of graphics in conceptual development of a design project. Hence the this study questions if it is possible to integrate art of graphics within the design process implicitly by creating a demand for it on early stages of the design process?4. Purpose of the StudyThe purpose of this study is to show that utilizing art of graphics could be a productive side-tool in concept development stage of design process. In order to achieve this goal, it is important to understand the process of design and sequences of actions in a designing process.Nevertheless, it is not easy to understand the nature of design since it has many implicit personalized manners in decision making processes. Besides, the difficulty of understanding the design process lies partly in the fact that the design knowledge is tacit in nature, too. As in Polanyi's (1966:4) famous statement \"we can know more than we can tell\" in design education. On the other hand, the real difficulty lies in the fact that design process co","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114178263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
W. Warwick, Sophie M. Johnson, Judy Bond, G. Fletcher, P. Kanellakis
1. IntroductionData quality assessment is a fundamental task when undertaking research. A wealth of healthcare data provided from the National Health Service is available and can be easily accessed and utilised for research. Even though health related datasets are obtained from authoritative sources, issues within the quality of data may be apparent. Data quality issues can lead to an array of errors within research findings including incorrect demographical information and exaggeration of disorder prevalence. Moreover, the consequences of decisions made from inaccurate results can be damaging to organisations within the healthcare sector (Goodchild, 1993).It is therefore important to use a framework to assess the quality of data obtained from the data mining process. This will help determine whether it can be used to test hypotheses, and increase confidence of validity.The motivation for this current research was to investigate data quality issues encountered for a research report undertaken by the NHS Coventry and Warwickshire Partnership Trust entitled 'Up Skilling the Adult Mental Health Workforce in Psychological Practice Skills'. As researchers had access to a wealth of data from several sources, it was important to examine the data available to the research and what data quality criteria would be necessary to draw conclusions on its suitability. As many of the available datasets had not been collected with a specific research question, the selection quality and methods were not under control of the research and therefore, were difficult to validate (Sorensen, Sabroe & Olsen, 1996). From this, there was a need to construct a robust framework to assess the quality of data. This led to a review of existing frameworks and the formation of a new framework specific for this research.2. Review of Quality FrameworkThe existing literature instigated that the criteria for a quality framework must be general, applicable across application domains and data types and clearly defined, Price & Shanks, (2004). Eppler (2001), put forward that quality frameworks should show interdependencies between different quality criteria, to allow researchers to become familiar with how data quality issues impact other criteria.The Data Quality Assessment Methods and Tools (DatQAM) provides a systematic implementation of data quality assessment which includes a range of quality measures which considers the strengths of official statistics. It is concerned with user satisfaction concerning relevance, sampling and non-sampling errors, production dates concerning timeliness, availability of metadata and forms for dissemination, changes over time and geographical differences and coherence (Eurostat, 2007).The Quality Assurance Framework (QAF) developed by Statistics Canada (2010) includes a number of quality measures for assessing data quality including measures for timeliness, relevance, interpretability (completeness of metadata), accuracy (coefficient of variance, imput
{"title":"A Framework to Assess Healthcare Data Quality","authors":"W. Warwick, Sophie M. Johnson, Judy Bond, G. Fletcher, P. Kanellakis","doi":"10.15405/EJSBS.156","DOIUrl":"https://doi.org/10.15405/EJSBS.156","url":null,"abstract":"1. IntroductionData quality assessment is a fundamental task when undertaking research. A wealth of healthcare data provided from the National Health Service is available and can be easily accessed and utilised for research. Even though health related datasets are obtained from authoritative sources, issues within the quality of data may be apparent. Data quality issues can lead to an array of errors within research findings including incorrect demographical information and exaggeration of disorder prevalence. Moreover, the consequences of decisions made from inaccurate results can be damaging to organisations within the healthcare sector (Goodchild, 1993).It is therefore important to use a framework to assess the quality of data obtained from the data mining process. This will help determine whether it can be used to test hypotheses, and increase confidence of validity.The motivation for this current research was to investigate data quality issues encountered for a research report undertaken by the NHS Coventry and Warwickshire Partnership Trust entitled 'Up Skilling the Adult Mental Health Workforce in Psychological Practice Skills'. As researchers had access to a wealth of data from several sources, it was important to examine the data available to the research and what data quality criteria would be necessary to draw conclusions on its suitability. As many of the available datasets had not been collected with a specific research question, the selection quality and methods were not under control of the research and therefore, were difficult to validate (Sorensen, Sabroe & Olsen, 1996). From this, there was a need to construct a robust framework to assess the quality of data. This led to a review of existing frameworks and the formation of a new framework specific for this research.2. Review of Quality FrameworkThe existing literature instigated that the criteria for a quality framework must be general, applicable across application domains and data types and clearly defined, Price & Shanks, (2004). Eppler (2001), put forward that quality frameworks should show interdependencies between different quality criteria, to allow researchers to become familiar with how data quality issues impact other criteria.The Data Quality Assessment Methods and Tools (DatQAM) provides a systematic implementation of data quality assessment which includes a range of quality measures which considers the strengths of official statistics. It is concerned with user satisfaction concerning relevance, sampling and non-sampling errors, production dates concerning timeliness, availability of metadata and forms for dissemination, changes over time and geographical differences and coherence (Eurostat, 2007).The Quality Assurance Framework (QAF) developed by Statistics Canada (2010) includes a number of quality measures for assessing data quality including measures for timeliness, relevance, interpretability (completeness of metadata), accuracy (coefficient of variance, imput","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117291408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study was realized in cooperation with grant support: MUNI/A/0790/2012 "Verifying the psychometric properties of diagnostic tools for screening the incidence and forms of self-harm among school children". This study explores self-harming behavior among adolescents (12-15 years old) and its relation with previous psychological or psychiatric care. There is a connection to the process occurrence type of self-harm between adolescents who have been or are in psychological or psychiatric care and those who were never been. The results can spread our knowledge about self-harm behavior, which is very common teenage phenomenon. Furthermore, it can be used to specify the support for adolescents who do self-harm. In accordance with the research objectives were quantitative, exploratory data, in a one-shot cross-sectional survey using self-report measures. Our sample was 1110 adolescents between 12 to 15 years old. In our sample were 84 adolescents who do or did self-harm. The methods for measuring self-harm included the Self-Harm Inventory (SHI; Sansone, Sansone, & Wiederman, 1995). The main differences were found in occurrence of self-harm behavior between children who have never been in psychological or psychiatric care (20%) and the others (40%). Small differences were found also in different type of self-harm behavior. On the other hand we did not find differences in the self-harm process.There are differences between those adolescents who have never been in psychological or psychiatric care and the others. We hope that the results of this study could help to understand the self-harming behavior, which is currently spreading among adolescents. It could be a useful guide for those, who are working with the youth.
{"title":"Self-harming behavior and its relation with previous psychological or psychiatric care","authors":"Veronika Tlapáková, I. Burešová, Michal Čerňák","doi":"10.15405/EJSBS.167","DOIUrl":"https://doi.org/10.15405/EJSBS.167","url":null,"abstract":"The study was realized in cooperation with grant support: MUNI/A/0790/2012 \"Verifying the psychometric properties of diagnostic tools for screening the incidence and forms of self-harm among school children\". This study explores self-harming behavior among adolescents (12-15 years old) and its relation with previous psychological or psychiatric care. There is a connection to the process occurrence type of self-harm between adolescents who have been or are in psychological or psychiatric care and those who were never been. The results can spread our knowledge about self-harm behavior, which is very common teenage phenomenon. Furthermore, it can be used to specify the support for adolescents who do self-harm. In accordance with the research objectives were quantitative, exploratory data, in a one-shot cross-sectional survey using self-report measures. Our sample was 1110 adolescents between 12 to 15 years old. In our sample were 84 adolescents who do or did self-harm. The methods for measuring self-harm included the Self-Harm Inventory (SHI; Sansone, Sansone, & Wiederman, 1995). The main differences were found in occurrence of self-harm behavior between children who have never been in psychological or psychiatric care (20%) and the others (40%). Small differences were found also in different type of self-harm behavior. On the other hand we did not find differences in the self-harm process.There are differences between those adolescents who have never been in psychological or psychiatric care and the others. We hope that the results of this study could help to understand the self-harming behavior, which is currently spreading among adolescents. It could be a useful guide for those, who are working with the youth.","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123238860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1. IntroductionPerception of psychotherapy is subject to several factors those actually affect not only the perception but practice as well. I will examine issues that might influence the perception and the practice of psychotherapy in Turkey.Kagitcibasi (1994) stated that even today psychology is not given sufficient value in Turkey as it is not thought to be the solution to important problems. This situation is similar in the developing countries. In addition, according to Kagitcibasi (1994), the large number of women in the area of psychology lowers the status of this area. Because Turkish society has a patriarchal structure, in which women are secondary to men.Formal institutions in Turkey do not provide the teaching of psychotherapy, thus there is no formal institution to grant the title of 'psychotherapist' (Psikoterapi Portali [Psychotherapy Portal], 2011). In Turkey, psychotherapist skills are provided at clinical psychology master's degree but clinical psychology programs may not provide being a fully competent psychotherapist. Add to this, only some information of psychotherapy and some facilities to practice psychotherapy are provided in medical schools of psychiatry. Further education on psychotherapy is needed for the ones those want to become competent enough.It is considerable to review formal education departments, from which people in Turkey may become psychotherapists. Undergraduate psychology education is a four-year program in arts and sciences faculties, which provides general information regarding all areas of psychology. Psychiatry experts specialize for four years after six years of medical faculty undergraduate education. They receive an education mostly based on drug treatment. Undergraduate programmes called 'counselling' in Turkey teach school counselling rather than psychotherapy, so they mainly work as guidance counsellors at schools and at other training units. The reason for giving school counselling in the undergraduate education is defined by Korkut (2007) as the need for school counsellors in Turkey. Counselling focused on school counselling started in 1950s in Turkey and developed influenced by the developments in the United States (Korkut, 2007). However guidance and counselling graduates may label themselves as psychotherapist and offer psychotherapy.Although psychologists had been requesting to formally known for forty years (Paker, 2010), there was no mental health law regarding to control the competency of psychotherapy practitioners until 22 May 2014, and psychology graduates and psychiatry experts may practice psychotherapy as if they were competent enough, because there was no law to control whether they are competent. Although this health law is not satisfying for psychotherapy practitioners, with this law definitions of health occupations are made, and duties of these occupations such as 'psychologist' and 'clinical psychologist' are defined. According to the law, a psychologist works under the respon
{"title":"The Perception of Psychotherapy in Turkey","authors":"D. Coşan","doi":"10.15405/EJSBS.165","DOIUrl":"https://doi.org/10.15405/EJSBS.165","url":null,"abstract":"1. IntroductionPerception of psychotherapy is subject to several factors those actually affect not only the perception but practice as well. I will examine issues that might influence the perception and the practice of psychotherapy in Turkey.Kagitcibasi (1994) stated that even today psychology is not given sufficient value in Turkey as it is not thought to be the solution to important problems. This situation is similar in the developing countries. In addition, according to Kagitcibasi (1994), the large number of women in the area of psychology lowers the status of this area. Because Turkish society has a patriarchal structure, in which women are secondary to men.Formal institutions in Turkey do not provide the teaching of psychotherapy, thus there is no formal institution to grant the title of 'psychotherapist' (Psikoterapi Portali [Psychotherapy Portal], 2011). In Turkey, psychotherapist skills are provided at clinical psychology master's degree but clinical psychology programs may not provide being a fully competent psychotherapist. Add to this, only some information of psychotherapy and some facilities to practice psychotherapy are provided in medical schools of psychiatry. Further education on psychotherapy is needed for the ones those want to become competent enough.It is considerable to review formal education departments, from which people in Turkey may become psychotherapists. Undergraduate psychology education is a four-year program in arts and sciences faculties, which provides general information regarding all areas of psychology. Psychiatry experts specialize for four years after six years of medical faculty undergraduate education. They receive an education mostly based on drug treatment. Undergraduate programmes called 'counselling' in Turkey teach school counselling rather than psychotherapy, so they mainly work as guidance counsellors at schools and at other training units. The reason for giving school counselling in the undergraduate education is defined by Korkut (2007) as the need for school counsellors in Turkey. Counselling focused on school counselling started in 1950s in Turkey and developed influenced by the developments in the United States (Korkut, 2007). However guidance and counselling graduates may label themselves as psychotherapist and offer psychotherapy.Although psychologists had been requesting to formally known for forty years (Paker, 2010), there was no mental health law regarding to control the competency of psychotherapy practitioners until 22 May 2014, and psychology graduates and psychiatry experts may practice psychotherapy as if they were competent enough, because there was no law to control whether they are competent. Although this health law is not satisfying for psychotherapy practitioners, with this law definitions of health occupations are made, and duties of these occupations such as 'psychologist' and 'clinical psychologist' are defined. According to the law, a psychologist works under the respon","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121907631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
R. Upitis, P. Abrami, J. Brook, D. Pickup, Laura Johnson
1.IntroductionDigital applications for music education are growing at an astounding rate and are changing the ways people teach, learn, and make music (Beckstead, 2001; Burnard, 2007; Partti, 2012; Rainie & Wellman, 2012; Waldron, 2013; Wise, Greenwood, & Davis, 2011). Accessing reliable information about these new tools is important for music teachers so that they can assess the appropriateness of such tools for their students' needs. Unfortunately, teachers are perennially time-starved and are unable to systematically examine and evaluate the digital resources that are available. Classroom teachers often rely on interactions with their colleagues to learn about new technologies. However, independent music teachers work in isolation (Feldman, 2010), making these informal discussions about resources more unlikely and certainly less than comprehensive. Thus, a tool that provides a centralized place where independent music teachers can keep abreast about high quality digital technologies for their field has the potential to assist music teachers in substantial ways.The Digital Resource Exchange About Music (DREAM) is a digital tool designed to provide teachers with digital resources related to music education and to studio instruction. DREAM is part of a suite of digital tools developed by the multi-institutional Canadian partnership between Queen's University, Concordia University, and The Royal Conservatory (www.musictoolsuite.ca).DREAM enables music teachers to search for resources, evaluate resources, to read about other teachers' views of the resources, and to add resources of their own to the DREAM repository. In the release version (v. 1.4) DREAM resources were organized into six broad categories: (a) musical repertoire, (b) practising, (c) ear/sight, (d) creating/composing, (e) theory/history, and (f) professional resources. All of the resources are searchable by title and key words, and users can also filter the resources by instrument, ability level, or platform (e.g., used on computer, tablet, or smartphone). DREAM also recommends resources to users based on their prior choices.In this age of ubiquitous and easily accessible digital tools, it is essential that the DREAM tool operates in a way that is seamless and efficient for intended users. Thus, before releasing DREAM to the public, a multi-phase usability testing protocol for DREAM was designed. This research study describes how DREAM evolved with the input of 12 core test participants and designers, a group of 24 classroom music teachers enrolled in a teacher education program, as well as 47 studio music teachers representing eight of the thirteen provinces and territories in Canada. Most of the final group of beta testers were from Ontario (51%). All regions of Canada were represented with the exception of the northern territories.2. Related LiteratureUsability testing refers to the examination of how intended users interact with a new tool. Usability testing is the most common way
{"title":"Digital Resource Exchange About Music (DREAM): Usability testing results","authors":"R. Upitis, P. Abrami, J. Brook, D. Pickup, Laura Johnson","doi":"10.15405/EJSBS.155","DOIUrl":"https://doi.org/10.15405/EJSBS.155","url":null,"abstract":"1.IntroductionDigital applications for music education are growing at an astounding rate and are changing the ways people teach, learn, and make music (Beckstead, 2001; Burnard, 2007; Partti, 2012; Rainie & Wellman, 2012; Waldron, 2013; Wise, Greenwood, & Davis, 2011). Accessing reliable information about these new tools is important for music teachers so that they can assess the appropriateness of such tools for their students' needs. Unfortunately, teachers are perennially time-starved and are unable to systematically examine and evaluate the digital resources that are available. Classroom teachers often rely on interactions with their colleagues to learn about new technologies. However, independent music teachers work in isolation (Feldman, 2010), making these informal discussions about resources more unlikely and certainly less than comprehensive. Thus, a tool that provides a centralized place where independent music teachers can keep abreast about high quality digital technologies for their field has the potential to assist music teachers in substantial ways.The Digital Resource Exchange About Music (DREAM) is a digital tool designed to provide teachers with digital resources related to music education and to studio instruction. DREAM is part of a suite of digital tools developed by the multi-institutional Canadian partnership between Queen's University, Concordia University, and The Royal Conservatory (www.musictoolsuite.ca).DREAM enables music teachers to search for resources, evaluate resources, to read about other teachers' views of the resources, and to add resources of their own to the DREAM repository. In the release version (v. 1.4) DREAM resources were organized into six broad categories: (a) musical repertoire, (b) practising, (c) ear/sight, (d) creating/composing, (e) theory/history, and (f) professional resources. All of the resources are searchable by title and key words, and users can also filter the resources by instrument, ability level, or platform (e.g., used on computer, tablet, or smartphone). DREAM also recommends resources to users based on their prior choices.In this age of ubiquitous and easily accessible digital tools, it is essential that the DREAM tool operates in a way that is seamless and efficient for intended users. Thus, before releasing DREAM to the public, a multi-phase usability testing protocol for DREAM was designed. This research study describes how DREAM evolved with the input of 12 core test participants and designers, a group of 24 classroom music teachers enrolled in a teacher education program, as well as 47 studio music teachers representing eight of the thirteen provinces and territories in Canada. Most of the final group of beta testers were from Ontario (51%). All regions of Canada were represented with the exception of the northern territories.2. Related LiteratureUsability testing refers to the examination of how intended users interact with a new tool. Usability testing is the most common way","PeriodicalId":164632,"journal":{"name":"European Journal of Social & Behavioural Sciences","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125273818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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