The distress experienced during the COVID-19 pandemic can add to the already stressful experience of migration for children and their family, having serious short-term and long-term impact on their ...mental health and meaning-making processes. Since creativity acts as a protective buffer for children and support their adjustment, the implementation of school arts-based interventions can help support the recovery of children and promote their coping and adaptive strategies. Through the case study of a 7-year-old Syrian refugee, this article presents how a young girl invested the Art & Storytelling school-based creative expression program to regain a sense of agency and control in a (post-)crisis context. Based on the images she created during the workshops as well as on the individual and group observational field notes recorded by workshop facilitators, the case study highlights the child’s creative process and its relationship to the creation of meaning and her developing sense of agency. It focuses especially on how the girl integrated puppets into her own creative process to regain a sense of agency and control over her life.
•Art & Storytelling school-based expression program was offered to immigrant children.•A child used strategies (e.g., folding) to control what the others could see or not.•Creation fostered the integration of polarities which helped regain a sense of agency.•Puppets combined with art-making supported meaning-making and a sense of agency.
Two-year-olds engage in many behaviors that ostensibly require the attribution of mental states to other individuals. Yet the overwhelming consensus has been that children of this age are unable to ...attribute false beliefs. In the current study, we used an eyetracker to record infants' looking behavior while they watched actions on a computer monitor. Our data demonstrate that 25-month-old infants correctly anticipate an actor's actions when these actions can be predicted only by attributing a false belief to the actor.
Over the the past decade, social networking services (SNS) have proliferated on the web. The nature of such sites makes identity deception easy, providing a fast means for creating and managing ...identities, and then connecting with and deceiving others. Fake users are those accounts specifically created for purposes such as stalking or abuse of another user, for slander, or for marketing. The current system for detecting deception depends on behavioral, non-behavioral and user-generated content (UGC) information gathered from users. Although these methods have high detection accuracy, they cannot be implemented in databases with massive volumes of data. To address this issue, this paper proposes an enhanced graph-based semi-supervised learning algorithm (EGSLA) to detect fake users from a large volume of Twitter data. The proposed method encompasses four modules: data collection, feature extraction, classification and decision making. Data collected from Twitter using Scrapy is utilized for the evaluation. The performance of the proposed algorithm is tested with existing game theory,
k
-nearest neighbor (KNN), support vector machine (SVM) and decision tree techniques. The results show that the proposed EGSLA algorithm achieves 90.3% accuracy in spotting fake users.
The background of this research is students who find it difficult to listen to learning. This study aims to determine the differences and increase in students' listening skills using the storytelling ...method with hand puppets. This research was conducted in class II of SD Negeri 51 Pekanbaru. Based on the results of the study, it was found that there were differences in the skills of listening to fairy tales between the experimental class and the control class. In the final test of the experimental class and the control class obtained = 5.7697 ≥ = 1.666, so there are significant differences. Increased skills in listening to fairy tales also occurred in the experimental class from an average of 74, 44 to 86, 94 in the final test and a gain of 0.38 which included in the medium category. So, there is a difference and an increase in the skill of listening to fairy tales grade II students of SD Negeri 51 Pekanbaru using the method of telling stories with hand puppets
Traditional norms and values stood in the way of radical experimentation with the form of "wayang" until Indonesia's postcolonial era. The same impediments did not exist for colonial European ...artists. Edward Gordon Craig formulated his theories of the über-marionette with reference to "wayang," while Richard Teschner adapted "wayang" puppets for his unique Viennese puppet theatre. This initial encounter of Europe with "wayang" articulated a pattern of colonial exploitation: Asian products were alienated from their producers and transported to Europe stripped of direct connections to the people and conditions from which they arose. The 1960s ushered in a new era of intercultural communication. A major influx of Indonesian puppetry came to the United States when a generation of budding American puppet artists received direct tuition from Indonesian puppet masters at California summer schools in the early 1970s. Many subsequently went to Java and Bali themselves for lengthy periods of "wayang" study and apprenticeship. Some of these artists crossed traditional Indonesian puppets forms with other modes of practice to create complex hybrids. Much of the most interesting contemporary "wayang" work today is taking place along transnational axes. "Wayang" has been embraced by international artists and companies in order to tell idiosyncratic myths and celebrate the sacred and the ethereal.
This article extends recent attempts to think (post)qualitative research together with decolonial, postcolonial and other critiques - as a frictional, fraught encounter. I review how the concept of ...voice has been used in past and present research with children and young people: from research speaking about children and young people, dialogical speaking with the 'agentic' young person, poststructural refusals of 'raw voices' speaking for themselves, and (post)qualitative onto-epistemological experiments with utterances spoken in research assemblages. Reading one of my research practices - the mis/use of cloth puppets with high school students - through recent critiques of (post)qualitative work, two particular concerns materialize: accounting for relations between past and present research, and accounting for what comes to matter during and after research encounters.
Puppets as pedagogical tools with young children have a long tradition in therapy and healthcare, but the tradition and practice in ECEC (Early Childhood Education and Care) have decreased in recent ...years. The academic learning outcomes of ECEC require a clearer connection to researching the professional practice. If puppets are to be introduced as functional pedagogical tools, it is important to find theoretical support for their use. This study is a systematic review of 37 research articles concerning the pedagogical use of puppets with young children, focusing on the theoretical relationship. The review reveals four theoretical perspectives, constructivism, psychology, sociology and art. The finding of the two most common perspectives, constructivism and psychology is not surprising but does give some new insights into relevant and functional terms and approaches. Perezhivanie is an example of a relevant term from Vygotsky to understand the pedagogical use of puppets. A bit surprising was the finding of Corsaro in the perspective of sociology, and an insight here is that also this theory and concept can be useful when puppets are used to teach children social behaviour. More surprising is that the art perspective includes few articles. However, the foundation of theoretical support in art, narrative pedagogy, seems highly relevant and worthy of development.
Why are young children so willing to believe what they are told? In two studies, we investigated whether it is because of a general, undifferentiated trust in other people or a more specific bias to ...trust testimony. In Study 1, 3-year-olds either heard an experimenter claim that a sticker was in one location when it was actually in another or saw her place an arrow on the empty location. All children searched in the wrong location initially, but those who heard the deceptive testimony continued to be misled, whereas those who saw her mark the incorrect location with an arrow quickly learned to search in the opposite location. In Study 2, children who could both see and hear a deceptive speaker were more likely to be misled than those who could only hear her. Three-year-olds have a specific, highly robust bias to trust what people—particularly visible speakers—say.
In recent years, many studies in the field of animation aesthetics have recognized that puppets’ materiality in stop-motion animation films is a powerful narrative tool. Starting from these premises, ...this article explores stop-motion films performed by fabric-skinned puppets and suggests that textile materials convey meta-narratives about loss and nostalgia. The analyses of the anthropological and expressive–sensorial dimensions of fabric indeed allow us to investigate the concepts of melancholy and nostalgia as intellectual and emotional experiences made possible thanks to the material characteristics of an artifact. To validate this hypothesis, three stop-motion short films are considered: the Japanese film Komaneko’s Christmas: The Lost Present (2009) by Tsuneo Goda and produced by the Dwarf studio; Christopher Kezelos’ film The Maker (2011); and Marionette (2012) by Thomas Tanner and Frayah Humphries. In these films, puppets’ materiality enhances either the melancholy aspects or the positive consequences of nostalgia and this interpretation can be formulated by looking at the ‘stories’ narrated by puppets’ fragile fabric skin as a manifestation of wistfulness. After providing an interdisciplinary overview of the main theoretical studies that explore concepts such as craftsmanship, puppets’ materiality and nostalgia from either animation, design or psychanalytical perspectives, the article defines three phenomenological dimensions of nostalgia suggested by fabric-skinned puppets’ material surface. Nostalgia is analysed as an emotion that proactively allows us to face the present by remembering the past, as an unconscious relational feeling that manifests human beings’ need to connect and as a pessimistic reaction to an inconsolable and irretrievable loss.
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