AD ALTA
JOURNAL OF INTERDISCIPLINARY RESEARCH
CREATING AND EVALUATING THE IDENTIFICATION OF CHILDREN AND YOUTH TALENT
FOR FINE ART
a
DANIELA VALACHOVÁ,
b
STANISLAV
BENČIČ,
c
BARBORA KOVÁČOVÁ
Department of Visual Arts, Faculty of Education, Matej Bel
University, Ružová 13, 974 11 Banská Bystrica, Slovakia
a
email: daniela.valachova@umb.sk
Faculty of Mass media, Pan-European University, Tomášikova
150/20, 821 02 Bratislava, Slovakia
b
email: stanislav.bencic@paneurouni.com
Department of Pedagogy and Special Education, Department of
Czech Language and Literature, Faculty of Education, Catholic
University, Hrabovská cesta 1A, 034 01 Ružomberok, Slovakia
c
email: barbora.kovacova@ku.sk
The study presents an analysis of findings from a long-term research supported by the
VEGA agency 1/0179/17 Research on the Identifiers of Fine Art and Talent of
Children and Youth.
Abstract: The study describe the process of identifying the indicators of art talent in
children and youth and specify one of the indicators based on the internal structure.
The process of searching the indicators of art talent was carried out by the process of
identification, which served us to recognize and then assign a particular category to the
basic three indicators of fine art talent (so-called triads of fine art talent).
Keywords: art talent, process od identifying, indicators, fine art
1 Fine art talent - characteristics
The topic about talent and gifted children and youth for fine art
is based on the concept of talent. When we talk about gifted
people or talent, we usually refer to other areas of human activity
than art., It is possible find information about cognitive or other
kinds of talent in the literature for specific purposes. Talent,
endowment, natural ability or gift are expressions and terms
closely related to the arts. At present, we can find different
definitions of the term talent: from innate assumptions, above
average abilities or creativity and deep interest.
We can find both terms in literature, talents and endowment used
differently. In literature (especially from local provenance), the
terms (talent and endowment) are used differently, e.g. talent as
an actual ability (Musil, 1985), endowment as potential ability
for intellectual activities and skill for non-intellectual activity
(according to Hvozdík, see
Valachová, 2005). Dočkal (2005)
mentioned these terms as synonyms, used them as equivalent. It
is also possible to continue in equivalence, as according to
Winner (1997) talent and endowment have a lot in common. The
author (Winner, 1997) describes the common triadic model.
According to the author, he has three basic pillars (claims),
which include the following premise:
1.
An individual with talent is usually prematurely mature
2.
He/she needs minimal help
3.
He/she wants to stand out in the area where he is gifted
When trying to define the scientific notion of art talent, it is
necessary to have an effort or ambition to uncover the essence of
the phenomenon, ie to break away from the word and
associations from colloquial language. According to
Dočkal
(1987) every healthy person can do some activity, he has some
prerequisites for it, some talent. Talent and endowment must be
understood as a component of the personality that is responsible
for regulating his/her activity, both in qualitative (kind of
activity) and in quantitative meaning (performance, success of
activity).
Dočkal (2005, p.158) points out that it is useful to use the terms
gift (and talent as synonyms) as the belief that talent and talent
are two different concepts is a myth. Both terms refer to the
same term - the ability of a person to practice. This statement, in
turn, contradicts Musila's claims (1985) that the main
quantitative difference is that talent is considered a high degree
of talent.
The basic theoretical background for the understanding of talent
from our point of view, as well as the talent of art, is the
definition of the term from a psychological vocabulary
(Abramenkovová et al., 1987), where it is understood as:
1.
A qualitatively distinctive set of competences that underpin
the successful implementation of the activity, the synergy
of capabilities that form a certain structure, make it
possible to compensate for the shortcomings of some skills
through the development of other abilities.
2.
General abilities or general elements of competences that
determine the subject's ability, level and specificities of his
/ her activities.
3.
Reasonable potential, or intelligence, holistic individual
characteristics of cognitive possibilities and learning
abilities.
4.
A summary of beliefs, innate facts, level manifestations
and the specificities of innate assumptions.
5.
Talent, existence of internal conditions for achieving
excellent results in action (Abramenkovová et al., 1987, p.
120).
Consequently, in the context of giftedness and abilities are
essential as a precondit
ion for action. According to Dočkal
(2005, p. 11), some of the constantly evolving hardware is the
use of which we can only provide with the use of appropriate
(constantly developing) software. The ability to represent a java
and quantitative aspect, the feature puts emphasis on a pro-active
and dynamic aspect. Ability is in function and develops at the
same time as it is used by the function, which is particularly
significant in a child of pre-school age. Although the child's
autonomous activity gains a major place in the process of
perfecting innate abilities, it is not possible for a child to reach
his or her own limits naturally, solely on the basis of his or her
own activity, but due to appropriate educational action. Our
interest is art talent, which i
s one of the artistic talents. Dočkal
(2005) argues that no artistic activity can be successfully carried
out with insufficient intellectual abilities. The unequivocal
determination of the type of childhood talent is complex.
Adequately developed intellectual abilities allow the
development of artistic talent.
1.1 Approaches to talent studies
Three basic theoretical approaches to giftedness have been
preferred since the 20th century (see Cognitive approach,
Personality development approach, Social cultural approach):
Cognitive approach: He has the longest tradition in psychology.
The original interest of the authors of this direction was to
explore the cognitive assumptions of children and to identify
individual differences between children. The research was
focused on testing cognitive assumptions, focused primarily on
IQ height.
Personality development approach: Representatives of this
approach understand talent as an interplay of multiple
personality characteristics. This model has many advocates and
their ideas influence school policy in several countries.
Social cultural approach: This approach brings together the
psychological and pedagogical tendencies of the problem. Their
application is primarily in pedagogical practice, where it is
desirable to address not only the individual's talents but also
related areas and problems. In connection with artistic talent, we
are most satisfied with the socio-cultural approach to giftedness
study. The most important authors who have contributed to the
development of this approach are H. Gardner's theory of diverse
intelligences, followed by A. J. Tannenbaum, M.
Csikszentmihalyi and A. Robinson (see Bartko et al., 2018).
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