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One can speak of a real attention to the text of a reflective position (setpoint respect, organizational arrangements). — Description: The school’s vision is broader and mainly centered on activities (less places outside school or the yard, but most classes, specialized spaces and passing through or living spaces, but without critical and fearless (different matter!) they mention more students than to teachers work is updated much more important than elsewhere — Conclusion on the 3.. Interviews conducted with 145 students (about production .) Objective: to evaluate the ways of thinking of the students on the texts on the same production activity and educational frameworks within which they were part — singularities (outstanding answers) — a more independent position ensured. within interactions related to maintenance. — respect the academic standards and the specific authority master the master is not posed as holder of an absolute and arbitrary power, may s as an aide — evaluative unique position — it’s the communicative dimension that proves fundamental (refer to the devices) Compared to others, they are particularly reflective students Note also that only they speak of usefulness of the master’s remarks to improve.

There remain difficulties in spelling and metalanguage (slower evolution) but evolution does not happen at the expense of other activities as is the case in more conventional operations. NATIONAL ASSESSMENTS: — Students back large gaps with great rapidity: not scatter because the work is based on cooperation.

Everyone involved in the progress of all. — The operation of the classes F generates unmeasured skills in national assessments, including French skills that are not found in the linguistic criteria, especially regarding the imagination, the quality of the narrative content. — Students do not seem to lose their means face exercises they are not familiar … And this is probably the most acute regarding mathematics … b. The construction of Values ??- From the 1st month, there was a shift: incidents and physical violence have decreased.

When parents appear in the original incident, the mode of regulation implemented in the school gives a collective and professional dimension to the incident, incident that lived elsewhere as an interpersonal problem, relational, put the account the violent nature of the author. — The fact that the work and the construction of knowledge are central to the school’s life, but also the power given to students in the management of their school life, contribute to their adherence to the principles — Expression is free in all areas: text, math, art, music … the councils followed with the theme: work. The incidents appear only at the end of the board.

Rule: which does not appear in writing may enter into law. Conclusion: they are learning at the heart of the system and not the children. Yves Reuter described the system in ten aspects characterizing this child learning: — Every child can learn as long as the environment is favorable — The child is to build as subject learning — It is the student who learns — Students learn to from his questions — students learn by doing — the student also learns by distancing himself from the do — students learn through a variety of roles — the student learns by experimenting with different forms of thought, — the student learns because he is secure — students learn because it can be in a story — Ex arts: analytical frameworks built on the creations of the class based on criteria that emerged at the time of presentation.

These grids are then exploited during visits to the museum … «Students learn because it can be within a story»: every morning there reading the newspaper class the day before that is done. 3- The transferability of the project — Any experiment suggests the goal of generalization — The solidarity of the team determines perhaps other known aspects transferable by Yves Reuters: the collective construction of rules, respect for students, the emphasis on cooperation and mutual assistance, building a common culture in the classroom, or the desire to inform parents and get them involved.

It is desirable that do my physics assignment
this team solidarity principle is transferable, or at least it is not reserved solely Freinet schools. Print Add comment
By Jean-Charles Huver on 29/07/09 — 2:56 p.m.

In: Gr. Music and Arts> Music and sound COMMISSION MUSIC: OUR DISCOVERY OF THE «FREE MUSIC»: I will limit my remarks to the long way that I ‘I could do with the «Music Commission», which necessarily had close ties with the Audiovisual Sector, tape outfitting built or improved by G.Paris and sold by the CEL, microphones, tapes, mounting tools and dispenser of knowledge with these machines.

Evoking this story and remember the advances of this experience will be a complete file, with more relevant and authorized persons as me. (Personally, I’d like to see realized the book that this would be to write about). What they have achieved is unique: nowhere else such a step has been completed for three decades. Currently, we do not realize, with our eyes full of screens that flicker, they knew we put earful of treasure and know how that we forget to enjoy despite its modernity.

IN INTRODUCTION: In the book of Michel Barre, «Freinet, an educator for our times,» reads the efforts made in the thirties to the use of the disk to school and selling by a CEL quality phonograph. Then in the following years, research on bamboo pipe manufactured by children, approach supported by a musician and by the book «All musicians» (Lina Roth, ed. Nathan). At the same time, Roger Lallemand, inspired by the book «Creative Music for Children» tries percussion instruments made by children.

CEL starts disc publishing (songs, dances from various regions). Freinet is interested in the «Anthology of School Song» expresses its approval for instruments made by children. About the use of film in school, he expresses his hope «for the next day,» the ability to capture sounds in a manner comparable to the way images and movements are captured in a shooting apparatus.

And when the approach to music, he explains his views in 1939: «Here, as elsewhere, free and synthetic expression, the basis of all activity …». He reiterated the importance of groping children, both with different objects and instruments made by themselves, with the voice and singing. It emphasizes the teacher’s role is not to simply laissez-faire, but the means of a true dynamic of learning to build together real acquisitions.

Grabbing once again the opportunity to protest against the accusations of carelessness and let it do anything, he recalled that in music too, about Freinet Pedagogy is to put things in place when in self-construction and construction of learning. These fundamental questions before the war, will lead in the 50’s, the efforts of comrades. How to do it ? Is the lack of musical knowledge prohibitive? In music, how to practice trial and error and natural method?

It seems interesting to me, to give an idea of ??abundance and the place that was made to the multifaceted expression of children in the work of Freinet Movement, recalled that it was also the time when Elise developed a fabulous way to practice of free paint on large sheets, the notion of painting workshop permanently installed, valuing the plastic expression of children. She managed to interest the brand «Pebeo» to offer powdered color at prices for considering this other way of painting in school despite school credits while.