ACTIVE LEARNING AS THEORISED BY PIAGET, VYGOTSKY AND DEWEY... INVOLVES INDIVIDUALS CONNECTING WITH THEIR HYPERACTIVE PERSONAS?
TRUE OR FALSE?
FALSE.
ACTIVE LEARNING INVOLVES THE BUILDING OF KNOWLEDGE THROUGH HANDS-ON INTERACTION AND EXPERIENCE (PIAGET), COLLABORATIVE LEARNING AND PEER-TEACHING (VYGOTSKY) AND LEARNING BY DOING (PROBLEM-SOLVING, DEWEY).
WHY DID J.D.ELDER SEE FOLK GAMES, SONG GAMES AND OTHER GAMES THAT CHILDREN PLAY AS CRUCIAL TO LEARNING?
J.D. ELDER...
Through games, individuals are
expected to receive instruction about
and make acquaintance with life situations.
OBSERVATIONAL LEARNING (ALBERT BANDURA) IS EQUIVALENT TO THE LOCAL UNDERSTANDING OF 'MACOING'?
TRUE OR FALSE?
TRUE TO AN EXTENT...
Four Stages:
Attention: Noticing the behavior.
Retention: Remembering what you saw.
Reproduction: Doing the behavior yourself.
Motivation: Wanting to repeat the action based on rewards or consequences
DID J.D. ELDER PROPOSE THAT GAMES CAN BE USED TO DEVELOP PERSONALITY STRUCTURING (PREPARATION FOR INDEPENDENCE, DEVELOPING EXPLORATIVE ATTITUDES AND DEVELOPING MENTAL ACUITY)?
YES.
CONSIDER THIS EXAMPLE:
IS THIS AN EXAMPLE OF ASSOCIATIVE LEARNING?
YES.
GIVE AN EXAMPLE OF A DRAMA, FOLK OR SONG GAME WHICH CAN PREPARE STUDENTS FOR 'WORKING TOGETHER AS A TEAM.
RED OVER RIGHT OVER
IN A FINE CASTLE
SNAKE TAG... OR ANY EXAMPLE APPROVED BY LECTURER.
IN A CONTINUOUS LEARNING CYCLE OF EXPERIENCING, REFLECTING, THINKING AND ACTING... WHICH FORM OF LEARNING DOES THIS APPLY TO?
EXPERIENTIAL LEARNING (DAVID A. KOLB)
WHAT CAN THE GAME "UP & DOWN THE DECK" BE USED FOR IN A CLASSROOM SETTING?
DEVELOPING MEMORY
DEVELOPING CONCENTRATION SKILLS
DEVELOPING STRATEGY FORMULATION
WARMING UP FOR DRAMA WORK.
TRUE OR FALSE...THE FIVE (5) WAYS IN WHICH WE LEARN (AS TAUGHT IN THIS CLASS) ARE AS FOLLOWS:
1. OBSERVATIONAL LEARNING
2. COGNITIVE LEARNING
3. ASSOCIATIVE LEARNING
4. EXPERIENTIAL LEARNING
5. ACTIVE LEARNING
TRUE.
IN YOUR OWN WORDS...WHAT IS SPOLIN'S "THEATRE GAMES" ABOUT?
Viola Spolin's strategy in theatre games centers on learning through play and spontaneous action rather than intellectual analysis. Instead of telling actors how to act, her approach uses structured games to help players bypass their self-consciousness and hit a state of creative flow.