Emocije U Nastavi - 2112

Croatian Journal of Education
Vol: 14 (1/2012), pages: 135-163

Preliminary communication
Paper submitted: 4th October 2011
Paper accepted: 2nd February 2012
Emotions in the
Teaching Process
Ladislav Bognar and Snježana Dubovički
Faculty of Teacher Education, University of Josip Juraj Strossmayer in Osijek
Abstract
Research into educational processes reveals that the dominant emotions are boredom
and fear and that negative emotions are prevalent, but also that the situation can be
changed and a domination of positive emotions can be reached. Emotions are not
only a part of educational climate, but the essential aspect of educational process.
They form a part of both verbal and non-verbal communication, they are the
subject of teaching in art education, but also in the overall human relationships.
Emotions can be perceived as love towards one’s own profession, towards the subject
we work on, towards pupils or students, but also reversely – that of pupils and
students towards teacher, subject or profession. Successful teaching is not only based
on emotions, it is, as Pestalozzi put it, a unity of head, heart and hand.
This paper is the result of the project which has been carried out at three levels: (1)
a study into theoretical level of emotions in teaching; (2) a seminar for teachers on
the emotions in teaching with the application of a creative approach, collection of
teachers’ questions about the issues in practice and survey of emotional climate in
this form of educational process; and (3) a report on the results of the project and
solutions to the problems in practice.
The aim of this research has been to apply the so-called lateral thinking onto the
issue of emotions in teaching, by using this method in seminars for teachers, while
approaching the issue in six different ways: as a process, information, emotionally,
critically, optimistically, and creatively. In writing this paper we have also used this
approach, which represents a shift from the positivist approach.
The obtained results indicate that there is a problem of fierce and uncontrolled
emotional reaction in practice, a problem of heavy emotions that are the result of
child trauma and unpleasant emotions connected with grading and ranking. It turns
out that teaching with the creative technique of ‘lateral thinking’ cause favourable
emotional climate and the seminar participants felt pleasant emotions in 98% cases.
Key words: emotional climate, creativity, lateral thinking
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Bognar and Dubovički: Emotions in the teaching process
Introduction
It was Pestalozzi who stressed that teaching should be a unity of head, heart and
hand or, speaking in contemporary terms, a unity of the cognitive, affective and
psychomotor. Today we are talking about six aspects of educational process, three
being referred to needs: biologic, social and those concerning self-actualisation, and
three to interests: cognitive, affective and psychomotor (Bognar, Matijević, 2005).
Emotions in classes are present also as a sort of atmosphere we call emotional climate
that can be both favourable and unfavourable. Emotions are sometimes linked to
conative or volatile aspect, which is also very emotionally coloured, so we sometimes
consider positive and negative emotions; however, this rather concerns attitudes which
are always followed by emotions.
Emotions are difficult to define. Sometimes we might say that every single definition
of emotion is correct, as everyone describes it in relation to his/her own emotional
situation and personal experience of emotion. There are more definitions describing
the notion of emotions, but we highlight the one by Oatley and Jenkins: ‘An emotion
is usually caused by a person consciously or unconsciously evaluating an event as
relevant to a concern (a goal) that is important; the emotion is felt as positive when a
concern is advanced and negative when a concern is impeded’ (2003:93).
According to references, emotion is always directed towards some important goal; if
an event is not directed towards an important goal, there are no emotions. Considering
emotions in teaching, we wonder what function they have for pupils. The answer can
be inferred from their wish to finish their education successfully, successful teaching
that will stimulate pleasure and happiness in them as the things they learn will be used
in life. Emotions are followed by different physical phenomena such as a faster heart
rate, trembling hands, sweating, etc. Therefore, ‘emotions connect what is relevant to
us with the world of people, things and events’ (Oatley and Jenkins, 2003:122).
An emotional dimension of teaching is largely neglected. This is reflected in the
relatively late recognition of educational climate as an element of educational process,
and even then it is treated more as a result of social relations. A distant rational
approach is still perceived as an ideal one should strive for. Our research on emotions
in teaching (Bognar, et al., 2004) has shown that the prevalent emotions are fear and
boredom. However, a domination of pleasant emotions, which are the basis of good
teaching, can be reached with a change in approach (Kragulj, 2011).
Within the project Fostering Creativity in the Life- Long Learning of Teachers we
have been working on finding new approaches to the education of future teachers,
but also to the permanent education of teachers with a special emphasis on fostering
creativity. In a co-operation with The Teacher Training Agency at a large number of
professional development conferences, we have applied approaches which foster the
creativity of participants. Emotions in teaching, the topic that is presented here, has
been considered in the same manner. To present this in a traditional manner would
oppose the approach we advocate, so we came to an idea to apply the technique of
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Croatian Journal of Education, Vol: 14 (1/2012), pages: 135-163
lateral thinking or parallel thinking which, as defined by Edward de Bono (2009),

lies in contrast to the traditional approach, tending to discover the truth without
building anything, as de Bono says. The traditional positivist approach focused on
a conclusion about the reality of situation and schematic papers with subheadings
suggested beforehand (mostly read by the authors themselves) is deemed useless in
pedagogy as it does not create new possibilities and new solutions.
Parallel or lateral approach tends to perceive the problem from several different
aspects which do not oppose each other but tend to find new solutions. Lateral thinking
(symbolically called ‘Six hats’) consists of six different approaches to some, in this
case pedagogic, problem – to be seen as a process, to be approached both emotionally
and intuitively, to collect the needed data, to analyse difficulties and dangers, but it
also includes optimistic possibilities offering solutions. This results in the creation of
approaches different from the common ones and a step forward in comparison with
the usual way of thinking, something that De Bono (1998) calls a paradigm shift.
The aim of this paper is to study the issues of emotions in teaching through a
creative approach of ‘lateral thinking’ at theoretical as well as empirical level.
The following research questions have been asked:
1. Which problems in approach to emotions are present in teaching?
2. In what ways can one use lateral thinking in the educational process?
3. In what way does a creative approach influence an emotional climate, or how will
the seminar participants experience this process?
4. In what way can we use lateral thinking in writing the report?
Methodological approach
We first planned the process in three stages. The first stage included dealing with
references, not only scientific but also artistic (generally neglected); the second stage
referred to dealing with this topic at three professional development conferences
organized for teachers in general where we applied the lateral approach as a technique
in the educational process but also obtained information from the participants on
different emotional phenomena in teaching and problems they face in practice; and
the third stage included the writing of this report, not in a traditional way but based
on the approaches of lateral thinking, i.e. the use of rational language but also the use
of story, case studies, video clips, music and drama.
Our emotional engagement was significant as we believed that some tiresome
approaches to this particular subject matter can be replaced with something more
interesting and more exciting. A team which carried out the practical part consisted of
four professors and six students from The Faculty of Teacher Education in Osijek, all
of us very excited about creating something new. To our students, future teachers, this
was the first time to participate in a professional development conference for teachers,
some of them had parents who also participated, so this was particularly challenging.
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We faced problems we prepared on our own. At each of the three conferences,

there were more than 100 participants – something we could not control. Besides,
the teachers were not used to this approach, and we were not experienced in applying
this approach with such large groups. Writing this paper, we are also aware of the
problem of presenting a scientific work in an unusual way and a danger of interpreting
this topic according to an ‘unserious’ approach. There is a danger that the paper will
be rejected or we might be asked to rewrite it according to the traditional model
which would then ruin the meaning of this paper. We also faced problems in finding
the balance between the methodological approach (lateral thinking) and the topic
presentation (emotions in teaching).
When collecting information from the references, we considered the question of
emotions in teaching as well as that of fostering teacher’s creativity. At the conferences
we elicited the questions about emotions in teaching to see how the teachers perceived
these problems in their own practice. We were able to answer some of the questions on
the spot by random choice. Then we analysed all the questions to present them in this
paper. As there was a huge number of questions (N=302), we grouped them in certain
categories and then ascribed them to the chapters they refer to. Some information
about the conferences is given through links to disburden the text, but the information
which cannot be given textually is provided with the image and the sound.
There was a lot of creativity in preparations. Firstly, we had to present the lateral
thinking approach in an interesting way so, together with students, a music professor
and a drama professor, we wrote the text and composed the music ‘Six hats’; thus,
we created a musical-drama image which was presented at the beginning of the
conference (see http://www.vimeo.com/5855185). We had to find techniques that
would stimulate the conference participants and provoke pleasant emotions in the
educational process during the conference but also give an experience of the subject
matter in one more complex way which will not only be rational. We wanted to enable
teachers to have one model that they could use, with certain modifications, in their
own practice. We chose pair activities which started with making up names and
continued with conversations about persons important in their growing up process
and his/her qualities. They also had to deal with some pedagogic situations, learn and
sing the song ‘Six hats’; for the evaluation purpose, we prepared a technique called
‘Characters from fairy tales’. We also found three stories pointing to different aspects
of emotions in teaching which were to enhance the affective consideration of this
subject matter.
Our optimism was based on the fact that we had expected to make a new
contribution to the study of pedagogic matters by applying this approach instead of
citing different authors or recording things as they are. In other words, we tended to
make a creative leap into the unknown. The expected resistance can be a good signal
that this approach is really new and that it represents the shift from the usual. We dealt
with emotions by discussing their purpose in certain aspects of educational process,
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but also by taking into account the emotional dimension of educational process we
had organised for teachers, which was evaluated at the end of teachers’ education.
In the following text, we will divide the subject matter into five units and in each unit
we will apply one of the six possible approaches. However, we will not specify these
approaches as the reader will have no problems to recognise them. We will mostly use
information, emotional and intuitive approach, sometimes critical, but at the end of
each unit we will give a set of practical ideas, which is the aim of this creative approach.
Results and discussion

Emotional climate is the atmosphere present in the educational process which
participants find more or less favourable or more or less unfavourable. Thus, we can
say that emotional climate is either favourable or unfavourable. According to earlier
research conducted on a larger sample of pupils from secondary schools in Slavonia
and Baranja, the dominant emotions were boredom and nervousness, intimidation
and fright, which are modalities of anxiety and fear (Bognar et al, 2004)
Table 1. Rank of emotions in secondary school teaching
Rank Feeling Frequency

1 Bored 370
2 Nervous 297
3 Worried 274
4 Frightened 126
5 Comfortable 111
6 Sad 110
7 Irritated 109
8 Curious 103
When we compare pleasant and unpleasant emotions, the ratio is 75% to 25%
in favour of unpleasant emotions. There is a stereotype that school needs to be an
unpleasant place because ‘there is no knowledge without pain’ and ‘the beating stick
came from heaven’, and that school is a staircase where one climbs and falls, and that
school is a preparation for life which is not idyllic but a severe survival fight.
Concerned about such a situation, we tried to change the situation in teaching
for future teachers and adjust teaching to their own interests and needs, as well as
to incorporate the elements of creativity. (See in more detail at http://kreativnost.
pedagogija.net/mod/resource/view.php?id=8). We concluded that teaching which
stimulates and enables creativity has a particularly favourable influence on emotions
in teaching. Our research on emotional climate in four university courses such as
Didactics, Pedagogic Communication, Theory of Music and Methods in Music Education,
where creativity was systematically stimulated, showed that our students felt fine,
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curious and happy in these classes. So, the ratio of pleasant emotions to unpleasant
ones was 92% to 8% (Graph 1), what one can tell by the smile on their faces but also
by the huge interest in these activities. Although this sort of teaching is difficult to
accomplish as it requires a new philosophy and a significantly different approach, we
still recommend it.
unpleasant
pleasant
Graph 1. Relation between pleasant and unpleasant emotions

in university teaching where creativity is applied
This shows that teaching does not have to be boring but interesting and attractive,
that fear is not an emotion on which one can ground successful learning but, on
the contrary, that fear is a hindrance to a successful learning. Emotions are also a
side effect of different social relations in the educational process, either between
teacher and pupils or among pupils themselves. Different emotions are developed in
competition-related situations than in the relations based on cooperation and mutual
help. Different emotions are developed in the climate of democratic relations than in
the climate of authoritative relations or in the anarchic teaching situation.
The questions the teachers asked about emotional climate referred to two issues.
The first issue considered the unpleasant emotions of pupils and how to deal with
them, e.g. How to influence the development of positive emotions? How to deal with rage in
class? What can effectively replace strictness? How to deal with pupils who express negative
emotions on a daily basis? The second problem referred to the emotions of teachers,
e.g. How can I as a teacher resist an outburst of negative emotions in class? Can emotions
(if shown) be a hindrance in teaching? To what extent can we show our emotions in class?
Is it good to show my emotions? How can I become a more ‘kind-hearted’ teacher showing
more understanding?
Unfavourable emotional climate can indicate that teaching does not meet the interests
and needs of pupils, so it is recommended to discuss this at the agreement level. There
are numerous techniques with which we can examine children’s interests and needs.
At the realisation stage, it is important to engage pupils and to have productive and
creative activities. It is very important to have a democratic climate in the classroom. It
can be simply tested by leaving the classroom for a short while (teacher) while pupils
are working autonomously. If the climate is truly democratic, pupils will carry on
with their activities. If pupils stop participating in their activities during the teacher’s
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absence, this indicates that one needs to work more on the development of democratic
climate which also stimulates the favourable emotional climate.
However, not only do teachers have problems with the emotions of pupils, but they
have some with their own. A common opinion that teachers should leave their personal
problems aside once they enter the classroom is not valid. The worst relationship is the
one where one’s emotions are kept hidden, because emotions cannot be lied about, and
an honest relationship is one of the most valuable parts of the human relationship. If we
have a car accident on our way to school, in which our car is damaged, or a problem with
an ill child, if we hear that our medical report is not favourable, is it not more humane
to adequately share it with our pupils instead of pretending that there are no problems
and lose control (explode) in the first minor conflict. Most certainly, pupils would then
be more careful and offer their support just as we would do in the same situation.
There are more ways to be attentive to emotions in teaching. Classes should more
often start with the conversation about how we feel today, and the lesson can end
with an evaluation in which pupils will simply express how they felt in the class. We
can introduce a ritual of placing a name tag in the yellow box for pleasant feelings
and in the blue box for negative feelings at the start of the school day. This should be
done by the teacher.
Emotions in upbringing have a particular significance and we can easily say that
upbringing is, above all, an emotional relationship. We are brought up only by the people
we love and they love us, as well. We adopt their value system and the philosophy of life;
so, in a way, we carry them inside. According to the current research, these important
persons are usually nuclear family members and close relatives (69%), but teachers are
also included in this group (12.5%). Such persons have emotional qualities revealing their
cheerfulness, understanding, optimism; they are affectionate and warm, fun, emotional,
happy, gentle (Bognar, 2004). Therefore, these are mainly pleasant emotions. Persons
with prevailing negative emotions do not attract young people and are often avoided.
Family
35%
30%
25%
20%
15%
Others 10% Relatives
5%
0%
Teachers Friends
Graph 2. Share of important persons in upbringing
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In teaching, it is of particular importance that the teacher loves his/her students.

Such a teacher is always capable of finding positive traits in each child. Vice versa,
teachers who do not love children are constantly trying to find faults in them. This
is especially dangerous because other children do not love the child who is not loved
by the teacher. This is why the teacher’s responsibility during that period is vital.
How important this emotional relationship established with the teacher is can be
clearly seen from a seminar participant who commented as follows: I had a teacher
who became my colleague, and not even today do I have good memories of her. Whenever
I see her at a meeting, I always feel some kind of fear or discomfort. She certainly didn’t
contribute to my decision to become a teacher, but how can I help myself when I see her?
The so-called ‘naughty’ children should be particularly loved because this is the
best way to overcome their problems in time. However, there will always be a child we
simply do not like. What should we do then? We might find an answer in the story of
a man who did not like dandelions. He hired so many experts to help him eliminate
them from his beautiful garden. After trying different approaches which all failed, the
experts suggested him to get fond of them! The story entitled Učiteljica (A Teacher)
addresses the importance of love in upbringing and we used it at our professional
development conference http://ladislav-bognar.net/drupal/files/Učiteljica.pdf.
The participants’ questions addressed disciplinary problems in the classroom,
hyperactivity or passivity of pupils and their ‘fitting-in’ in the classroom structure.
They consist of two types of disorders which include depressive behaviour (directed
inwards) and aggressive behaviour (directed outwards). How can we help a child who
appears emotionally unavailable – cold? How can we help a pupil who has been isolated or
rejected by his classmates? How can we motivate a child who ignores everything? How can
we help a hyper-passive child to express their emotions, to open up and speak? How can we
help introverted children in our class? How can we approach a child who is angry with other
children, overreacts, screams, argues and accuses everyone else around him, even adults?
How can we solve children’s problems in upbringing more successfully? A pupil likes to
argue and thinks he/she is always right. How can we deal with such problems? What to do
with a pupil who provokes conflict but reacts with silence if I attempt to solve the problem?
In an attempt to answer these questions, we brought the description of two situations
from our own practice (Bognar):
a) Two first-graders (boys) were playing with toy blocks. They had emptied an
entire box of blocks on the floor and shared them equally. Each boy was making
his own construction but also observing what the other boy was doing. After a
while, one of them, let us call him Mladen, used all his blocks but did not finish
what he had planned. So, he started screaming: ’No, he took more blocks!‘. The
other boy, we shall call him Đani, looked at him and gave him a handful of his
blocks. Mladen, surprised by this unexpected turn, was startled and continued
building his construction. I was watching them and I felt the urge to hug Đani
and to praise him, but I saw that it would be better not to react at the moment,
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when the situation was so emotional. However, later that day, when the things
settled down, I said in front of everybody: ‘You made me so happy today when
you gave Mladen the blocks. I was so proud of you’. Afterwards, I mentioned again
how Đani made my day by giving Mladen some of his blocks instead of arguing.
We also talked about it when his mother came at the end of the day. He was so
happy so that he was almost flying. Đani was smaller and younger than other
children in the group, and was not well accepted in the beginning. However, this
event substantially changed his position within the group.
b) During the break, the boys were playing hide and seek. One of them, we shall
call him Marijan, hid into the wardrobe. When the boy who was seeking came
near the wardrobe, Marijan strongly hit the wardrobe door with his fist and
leg to surprise him. However, this caused the hinge to break and the door fell
off. My reaction was very strong and I expressed anger over such behaviour. I
wanted to emphasize that I would not tolerate this. I put the door back on and
did not mention it for the rest of the day. Later, we were working on a project
about dinosaurs. We were reading books about them, looking at pictures and
archaeological findings, they could even draw a dinosaur. Marijan did a wonderful
drawing we all praised and displayed it in a visible place. At the end of the day,
Marijan’s mother came and asked: ‘How did my son behave today? ‘.
We asked the seminar participants – What should the teacher say to his mum?
a) About the wardrobe door.
b) About the pretty drawing.
c) About both things.
Most people chose the last option. This is what I did. I told his mum: ‘Look, your son
made this wonderful drawing. He thrilled us all again. He really is a little artist.’ Marijan
and his mum went home hugging each other. The next day, Marijan approached me
and asked what we could do to fix the wardrobe. I showed him that I had already done
it. (This part of the lecture is available at http://www.vimeo.com/5858004).
In education and upbringing, teachers use their emotional intelligence. It means
that they consider the ways and moments how and when to express their emotions
while, at the same time, they take care of pupils’ emotions. Emotional intelligence is
(according to Salovey, Sluyter, 1999) the competence of understanding emotions and
emotional cognition, as well as the ability to regulate emotions thoughtfully so as to
promote emotional and intellectual development. Therefore, the educator does not
react only spontaneously and intuitively but studies his/her reactions so that they
could have a positive influence on the process of upbringing.
Parent should not be drawn into solving disciplinary issues which may occur in the
classroom. Not only is it true they cannot solve them but this also deteriorates the
emotional relationship between parents and children or us and children (children
do not like tell-tales). As a rule, parents should be invited only when something nice
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happens and when we want to share our joy with them. When talking to parents, a
positive approach is always recommended. The art of upbringing in fact consists
of seeking and developing positive traits in each child. It is important to show our
example to parents, as well.
Unpleasant and difficult emotions are also present during teaching. Although we
strive for pleasant emotions in education and upbringing, this cannot be achieved
because unpleasant and the so-called ‘difficult’ emotions are a part of our everyday
life. Teachers often wonder what to do and how to react in the real situations in
which they find themselves, e.g. when a pupil loses one or both parents, is mistreated
in his/her family home or school. The seriousness of this problem can be seen from
the teacher’s questions:
A pupil’s mother died a year ago. She started lying and stealing. I understood the causes
and did not continue with the accusations. This is the question: is it appropriate to write
’good’ in the ‘behaviour category’ in the register at the end of a school year? How to celebrate
Mother’s Day when we have a pupil whose mother died? One pupil lost his father. How
should I treat him? To what extent should I be lenient if he had conflicts with other pupils?
How can I help a hyperactive child who was abused at home and elsewhere but abuses
other children in school? How should I react if I see a child withdrawing in the middle of a
difficult situation? How and when should I solve pupils’ emotional problems brought from
home? How can I turn these difficult emotions into the opposite ones?
Unpleasant emotions appear prominently in conflicts and it is important to learn
how to handle them. If these emotions do not subside, the conflict resolution becomes
increasingly difficult. Therefore, there are so many ‘cooling down’ techniques, such as ‘a
cool corner’, ‘an anger sack’, ‘a fight questionnaire’. Furthermore, recognizing one’s own
emotions and expressing them can also help. Children should be taught how to handle
their negative emotions, as well as how to resolve a conflict without using violence.
(Part of the lecture about this issue is available at http://www.vimeo.com/5870052.)
Particularly difficult emotions emerge after the loss of a close person or after a
traumatic event the child experienced. We normally tend to believe that the child
could be helped to overcome and forget but this approach is wrong. After losing a close
person, a period of mourning begins in the child’s life. S/he should be supported and
allowed to experience such emotions and the person who died should not be forgotten.
Instead, we could help the child to evoke memories of the person as often as we can.
Traumatic experience should be discussed and these emotions should be processed
in different ways. We can use painting, writing, active listening and the process of
‘desensitization’ which consists of relaxing, relaxation and autosuggestion implying
that it is over and it would not happen again. The procedure should be repeated for ten
or more times during a single session and it usually takes a few days. It is important
not to suppress traumatic experiences because they can trigger different disorders (in
more detail: Bognar, 2001). Sometimes we should seek the assistance of psychologist or
psychotherapist but the teacher’s role in this situation is of great importance. However,
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children should also be prepared for handling traumatic situations which might occur.
Stories and descriptions of real events with children as protagonists can greatly help in
this process. One such case of a six-year old Samuel is described by Carolyn Saarni (in
Salovey, Sluyter, 1999) and our interpretation (Kragulj) of this text at the professional
development conference can be seen at http://www.vimeo.com/5859453.
Description of a case revealing a fear of school (Bognar):
As a young teacher, I witnessed a case of school fear which appeared in one shy
and lovely girl from the first grade, we shall call her Klara. She simply refused to
stay at school without her sister two years older than herself. After talking to her
parents, we agreed on the sister’s presence at school with her, but the problem was
that they did not have the classes at the same time so the sister would have to spend
the entire day at school. Klara was perfectly functional and very successful at school
but whenever we tried to convince her to stay without her sister she would grab her
in panic with a terrified look. I did not know how to resolve this problem and I went
to the headmaster. He came into the classroom and tried to force the sister out of
the classroom, shouting that her sister had to go home. Klara was crying loudly and
held onto her sister panic- stricken so that the headmaster’s effort to separate them
ended in failure. The entire situation became even worse afterwards. I realised that the
headmaster’s approach was completely wrong. Today, I believe that this was a process
of emotional growth, which was just slower with this sensitive girl. She simply needed
more time. After a few months, she was able to stay at school on her own.
Today, there are different games children can play and practice in the safe
environment to learn how to cope with particularly difficult emotions such as fear,
anger, stress, and conflicts. Here, we bring one description of such a game.
‘Fear’ game
This game is suitable for children aged 6 to 12 to help them cope with fear more
successfully. Children are encountered with fear separately - fear of loud and sudden
sounds, fear of uniformed or armed people, fear of unknown people and personal
anxieties, such as bad dreams. The game board shows the directions players must take.
During the game, the players encounter different forms of fear. When they reach a
field which designates some kind of fear, they take the card and read their task, e.g.
‘describe your feelings during a bad dream’. When they reach an encouragement field,
they take an encouraging card and read the instructions, such as ‘change the end of a
bad dream’. After the game, children are recommended to talk to an adult about fear
and courage if they wish. (This game is a part of the package of ‘Non-violent games’,
published by the Evangelical Theological Faculty in Osijek and adapted by the co-
author of this paper, with a grant of the American Psychological Association).
Emotions in education can be observed from several different perspectives.
Emotions normally follow learning and different related activities connected to
scientific and technological education. Certain emotions, such as different modalities
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of fear, can inhibit learning to different extent. Pleasant emotions such as curiosity,
delight and joy facilitate the learning process and make it more successful. Intensive
emotions can intensify the cognitive process. Wunderer (2008) mentions the possibility
of using films in presenting historical events and emphasizes how emotions which
arise from watching films intensify the learning process. Instead, we used stories
which often address this issue more strongly. For emotions in education, we chose E.S.
Ballard’s story „Three Letters from Teddy“. The story is available at http://www.ladislav-
bognar.net/drupal/files/Tri%20Teddyjeva%20pisma.pdf.
Emotions have a particular significance in artistic education. Art is a form of
emotional communication and a way of expressing personal emotions. One of art’s
aims is also the development of sensibility towards certain forms of art, as well as the
emotional enrichment of pupils through artistic activities. Although emotions are
connected to our cognition and we always employ both thoughts and emotions when
encountering art, emotions are dominant because art communicates with our affective
nature. Different forms of artistic expression are the best way to express emotions.
‘During literature lesson, interesting stories are often read, which inspires children to learn
about the emotions of the characters. These characters are inevitably happy, frightened, jealous,
and so on, and children can perceive why the characters feel that way and how they cope
with their emotions. This type of learning stretches throughout the entire education; the more
complex these stories are, the more complex emotional learning becomes. The way in which the
feelings of characters motivate their action and , in turn, plot, teaches young people emotional
perception and writing skills...Literature is probably the first home of emotional intelligence.
However, we must not forget painting, music and theatre‘ (Salovey, Sluyter, 1999:40).
It is difficult to rationally discuss our emotional experiences, which can more
easily be expressed with movement, acting, facial expressions, painting, music, story
or poetry. As a young teacher (Bognar), I used to ask my pupils, after artistic tasks,
to choose the drawing they liked the most and then asked them about the reason.
I would usually get the answers such as because it has the sun or because children
are playing. I later realised that my question is pointless as an emotional experience
cannot be expressed rationally.
‘Artistic activities in school such as music, painting, imaginative games and drama can
contribute to emotional cultivation in numerous ways: They can help pupils to express and
face painful and hidden emotions by talking about them (for example, loss of parents). Such
activities also encourage pupils to be in somebody else’s shoes (assuming and imagining
what the others are feeling), and can have a balanced and organized influence on the
emotional life of the pupils.’ (Kristjansson, 2000:11).
The questions teachers ask usually refer to the problem of unpleasant emotions
when they have to grade pupils’ success. They bring out the old issue of fear of grading
because of the parents who might badly react to a poor grade.
Do you think that the grading system is one of the major causes of stress at school? How
can we check whether the less successive pupils learned without stress? What can we do
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with a child (and his/her grade) if they do their best and can barely get a passing grade?
How can we be objective but also include emotions in the evaluation? How to solve the
problem of testing knowledge without emotions? How can we help a child to cope with
a poor grade? How can we overcome the fear of testing and oral examinations? What
can we do to help a child who is very sad because of the failing grade? What can we do if
parents make pressure on a child over grades? How can we help a parent to cope with his/
her child’s poor grade? What can we do if a child comes to school every day fearing their
parents because they do not have the homework? How can we help a child whose parents
are demanding more than he/she can achieve?
We could agree with teachers who believe that the current grading system is one of
the leading causes of unpleasant emotions in the classroom. Being a final phase of the
educational process, evaluation should celebrate learning. Instead, in its purpose of
ranking pupils (and schools), it becomes a source of trauma for pupils with diminished
capacities. Until didactics does not cease to be a part of the paradigm of repressive
school and offers more humane solutions, this is what teachers can do today:
– Teachers can abandon giving negative grades. They would exist, but would not
be given. Child would be thus encouraged to achieve their maximum and only
good grades can be given to such efforts – good, very good and excellent. We had
this experience in our experimental schools in the second half of the 1980s and
they appeared as a good solution. We are trying to employ the same approach to
working with our students.
– We should aim high but always take care of the interests and competences of each
student. During one seminar, teachers had to suggest new names for grades. They
suggested two types of grades – excellent and striving to be excellent.
– At the end of a school year, teacher writes a letter to pupils, listing the qualities
s/he noticed. Then, s/he can describe their cooperation briefly, make a list of
achievements and say something about the possible problems and solution
suggestions. (For more details, see Bognar, 2001).
– Apart from grading, other aspects of evaluation should also be considered. By
using formative and summative evaluation, more importance should be given
to formative evaluation as the quality of process determines results, as well. If
evaluation becomes a common activity of pupils and teachers, then it stops being
something which threatens and exposes them.
At the end of the seminar, we used the procedure of formative evaluation we entitled
‘Fairy-tale characters’ (According to Bognar,Bagić,Uzelac, 1994). All the participants
received a list of characters from the fairy-tales by Ivana Brlić Mažuranić to which we
attributed some kind of symbolic emotional meaning. The participants were supposed
to draw one of the characters that would represent their emotional attitudes towards
the seminar. The image clearly displays the results. Most participants experienced this
approach as encouraging and supportive, a tool to develop confidence and mutual
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trust and as a cheerful game. Although the conditions were unfavourable (a large
number of participants, bad sound system, heat, uncomfortable chairs), only 2% of
the participants expressed negative emotions.
Table 2. Results of evaluation at the end of the seminar
Svarožić Joy, happiness 21 (7%)

Neva Nevičica Self confidence, trust 43 (15%)
Regoč Support, encouragement 59 (21%)
Kosjenka Trust to others 39 (14%)
Zora Djevica Cognition, awareness 4 (22%)
Malik Tintilinić Game, fun 44 (15%)
Domaći Safety, protection 9 (3%)
Palunko Confusion 0-
Morski Kralj Tension, uneasiness 3 (1%)
Bjesomar Disappointment, fury 4 (1%)
Conclusion
By using the approach of lateral thinking, we can draw a conclusion that the process
we used in addressing issues of emotional engagement in teaching has been productive.
By using the creative approach of lateral thinking, we managed to generate favourable
climate, which resulted in active engagement of participants at a seminar organized
for teachers on this very topic. The participants engaged in the activities such as pair
discussions, asking questions, solving emotional problems, singing and painting.
We collected abundant information on challenges faced in practice when dealing
with emotions in teaching. According to the questions we elicited, the situations that
pose the main problems to teachers include uncontrolled outbursts of emotions,
dealing with difficult emotions as a result of traumatic experiences as well as with
negative emotions resulting from the application of traditional grading system. The
collected questions have not only been used as our central focus in writing this paper
but they will also be used in training future teachers and as a discussion topic in our
upcoming seminars.
Since we advocate the acknowledgment of emotions in educational processes, we
used stories, music and painting in our research alongside scientific sources. Besides,
we were surprised by how the three stories we had selected (the one about Teddy
which brought tears to eyes, in particular) revealed and explained the essence of
emotions in teaching better than any rational interpretation. Each story was greeted
with applause. The result we obtained at the end (98% of the participants expressed
pleasant emotions) is similar to that we get with students with whom we practice this
form of teaching (See Kragulj, 2011).
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Creativity played an important part in the application of this approach. Setting

the scene took months and had different stages which cannot be described here.
The entire educational process of this seminar was designed as something new and
different. Since our students were given the opportunity to engage in their own
activities, we encouraged them to make the activities creative, as well. Let us only
mention how making up a fictional name and profession which was shared with their
partner inspired everyone’s imagination and brought smiles to their faces. The way of
presenting this approach with the use of lateral thinking is entirely new and unusual.
Our optimism was especially encouraged by all those who had the need to express
their honest delight and gratitude, share their personal experiences and enthusiasm,
ask some more questions or share new dilemmas or simply tell us how this was a
unique and rewarding experience for them. For us, organisers, this was just another
proof of how it is possible to put the humanistic notion of ‘essential learning’ into
practice, as we have experienced on many occasions in teaching our students.
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sowi-online.de/methoden/dokumente/filmanalyse_wunderer.html
Ladislav Bognar
Faculty of Teacher Education,
University of Josip Juraj Strossmayer in Osijek
Ulica cara Hadrijana b.b., 31 000 Osijek, Croatia
[email protected]
Snježana Dubovički
Faculty of Teacher Education,
University of Josip Juraj Strossmayer in Osijek
Ulica cara Hadrijana b.b., 31 000 Osijek, Croatia
[email protected]
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Emocije u nastavi
Sažetak
Istraživanja odgojno - obrazovnog procesa govore o tome da su dominantne emocije
dosada i strah i da dominiraju neugodne emocije, ali isto tako da je moguće
promijeniti stanje i postići dominaciju ugodnih emocija. Emocije nisu samo dio
odgojno - obrazovne klime, nego i sama bit odgojno - obrazovnog procesa. One su
dio verbalne, ali i neverbalne komunikacije, predmet su učenja putem umjetnosti, ali
i ukupnih ljudskih odnosa. Emocije možemo promatrati i kao ljubav prema vlastitoj
profesiji, prema predmetu kojim se bavimo, prema učenicima ili studentima, ali isto
tako i obratno - učenika i studenata prema nastavnicima/nastavniku, predmetu ili
profesiji. Uspješna nastava se ne bazira samo na emocijama, ona je, kako to reče
Pestalozzi, jedinstvo glave, srca i ruke.
Rad je nastao kao rezultat projekta koji je rađen na tri razine: (1) izučavanje
teorijske razine problema emocija u nastavi, (2) realizacija seminara za učitelje
s problematikom emocija u nastavi na kojemu je primijenjen kreativni pristup,
prikupljena pitanja učitelja o problemima u praksi i ispitana emocionalna klima
na toj vrsti odgojno-obrazovnog procesa te (3) pisanje izvještaja o rezultatima
projekta i nuđenje rješenja za probleme u praksi.
Cilj rada je da primijeni tzv. lateralno mišljenje na problem emocija u nastavi i
to tako da se na seminarima za učitelje koristi ovaj postupak te da se problemu
pristupi na šest različitih načina: kao procesu, kao informacijama, emocionalno,
kritički, optimistički i kreativno. Pri pisanju ovoga rada također se koristi ovaj
metodološki pristup, što predstavlja pokušaj odmaka od pozitivističkog pristupa.
Rezultati do kojih se došlo govore da se u praksi posebno javlja problem burnog i
nekontroliranog emocionalnog reagiranja, problem teških emocija koje nastaju kao
posljedica dječjih traumatskih iskustava te neugodne emocije vezane uz ocjenjivanje
i rangiranje. Pokazalo se da je nastava na kojoj je korišten kreativni postupak
„lateralno mišljenje“ izazvala ugodnu emocionalnu klimu te da su sudionici u
98% slučajeva odabrali ugodne emocije kao osobni osjećaj na ovim skupovima.
Ključne riječi: emocionalna klima, kreativnost, lateralno mišljenje,
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Uvod
Još je Pestalozzi naglašavao da nastava treba biti jedinstvo glave, srca i ruke ili
govoreći suvremenim jezikom jedinstvo kognitivnog, afektivnog i psihomotornog.
Danas govorimo o šest aspekata odgojno-obrazovnog procesa od kojih se tri odnose
na potrebe: biološke, socijalne i samoaktualizacijske, a tri na interese: spoznajne,
doživljajne i psihomotorne (Bognar, Matijević, 2005). Emocije su u nastavi prisutne i
kao ozračje koje nazivamo emocionalnom klimom koja može biti ugodna ili neugodna.
Uz emocije se ponekad vezuje i konativni ili voljni aspekt, koji je također emotivno
snažno obojen pa se ponekad govori o pozitivnim i negativnim emocijama, ali tu se
više radi o stavovima koji su uvijek popraćeni emocijama.
Emocije je teško definirati. Ponekad bismo mogli reći da je svaka definicija emocije
točna, budući da ju svatko opisuje u odnosu na svoje emocionalno stanje i na vlastiti
doživljaj emocije. Postoji više definicija koje opisuju pojam emocija, a ovdje izdvajamo
onu koju su dali Oatley i Jenkins (2003, str.93): „Emocija je obično izazvana svjesnim
ili nesvjesnim vrednovanjem nekog događaja bitnog za neki važan cilj; emocija se osjeća
kao pozitivna kad se cilj ostvaruje, a kao negativna kad je ostvarivanje cilja zapriječeno.“
U literaturi se navodi da je emocija uvijek usmjerena nekome važnomu cilju,
jer ukoliko događaj nije usmjeren važnomu cilju, izostaje emocija. Razmišljajući o
emocijama u nastavi, pitamo se kakvu funkciju one imaju kod učenika. Odgovor
proizlazi iz njihove želje za što uspješnijim završetkom školovanja, uspješna nastava
koja će kod njih izazivati ugodu i radost, jer će ono što je prikazano moći upotrijebiti
u životu. Uz emocije dolaze i razne tjelesne pojave kao ubrzani rad srca, drhtanje ruku,
znojenje i slično. Dakle: „Emocije povezuju ono što nam je važno sa svijetom ljudi, stvari
i događaja“. (Oatley i Jenkins, 2003, str.122)
Emocionalna dimenzija nastave je poprilično zapostavljena. To se ogleda i u
relativno kasnom prepoznavanju odgojno-obrazovne klime kao elementa odgojno-
obrazovnog procesa, ali i tada prvenstveno kao rezultat socijalnih odnosa. Hladni
racionalni pristup još i danas se smatra idealom kojemu treba težiti. Naša istraživanja
emocija u nastavi (Bognar i sur., 2004) pokazala su da su dominantne emocije strah
i dosada, ali da je promijenjenim pristupom moguće postići dominaciju ugodnih
emocija koje su i pretpostavka uspješne nastave (Kragulj, 2011).
U sklopu projekta „Poticanje kreativnosti u cjeloživotnoj edukaciji učitelja“ radimo na
pronalaženju novih pristupa u osposobljavanju budućih učitelja, ali i u permanentnoj
edukaciji učitelja s posebnim naglaskom na poticanje kreativnosti. U suradnji s
Agencijom za odgoj i obrazovanje na nizu skupova za učitelje koristili smo pristupe
u kojima se potiče kreativnost sudionika. Tema „Emocije u nastavi“, koju ovdje
prezentiramo, realizirana je na taj način. Prikaz ovoga rada na tradicionalan način
bio bi u suprotnosti s pristupom koji u njemu zagovaramo pa smo došli na ideju da
koristimo postupak lateralnog ili paralelnog mišljenja („lateral thinking“ i „parallel
thinking“) koje Edward de Bono (2009) definira kao suprotnost tradicionalnom
pristupu za koji kaže, da teži otkrivanju „istine“, ali ništa ne gradi. Tradicionalni
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pozitivistički pristup koji se svodi na konstatiranje postojećeg stanja i na šablonske

radove s unaprijed određenim podnaslovima (koje uglavnom čitaju sami autori) u
pedagogiji je nekoristan jer ne otvara nove mogućnosti i ne kreira nova rješenja.
Paralelni ili lateralni pristup teži da se problem sagleda s različitih aspekata koji se
pri tome ne suprotstavljaju nego teže pronalaženju novih rješenja. Lateralno mišljenje
(simbolično nazvanim „Šest šešira“) sastoji se od šest različitih pristupa nekom,
u ovom slučaju pedagoškom, problemu – da ga se promatra kao proces, da mu se
pristupi emocionalno i intuitivno, da se prikupe potrebne informacije, da se analiziraju
poteškoće i opasnosti, ali i optimistične šanse koje nude promjene. Kao rezultat je
kreiranje novih pristupa drukčijih od uobičajenih i iskorak iz uobičajenog načina
mišljenja, koje De Bono (1998) naziva promjenom paradigme.
Cilj ovog rada je istražiti problematiku emocija u nastavi koristeći se kreativnim
postupkom „lateralno mišljenje“ kako na teorijskoj tako i na empirijskoj razini.
Postavljena su sljedeća istraživačka pitanja:
1. Koji se problemi u pristupu emocijama u nastavi javljaju u praksi?
2. Koje su mogućnosti korištenja lateralnog mišljenje u odgojno-obrazovnom
procesu?
3. Kako kreativni pristup utječe na emocionalnu klimu, odnosno kako će sudionici
seminara doživjeti ovaj proces?
4. Na koji način u pisanju izvještaja o istraživanju koristiti lateralno mišljenje?
Metodološki pristup
Najprije smo isplanirali proces. Odlučili smo se za tri razine. Prva je bila rad na
literaturi, i to ne samo znanstvenoj nego i na umjetničkoj (koja se obično zapostavlja),
druga razina je realizacija ove teme na tri stručna skupa učiteljica i učitelja razredne
nastave na kojima ćemo se koristiti lateralnim pristupom kao postupkom u odgojno-
obrazovnom procesu, ali i dobiti od sudionica i sudionika informacije o različitim
pojavnim oblicima emocija u nastavi i problemima na koje nailaze u praksi, a treća
je pisanje ovog rada koji nije pisan na tradicionalan način nego se koristi pristupima
lateralnog mišljenja, što znači da se ne koristi samo racionalnim jezikom nego i
pričom, opisom slučajeva, videoisječcima, glazbom, scenskim prikazom.
Naša emocionalna angažiranost bila je vrlo velika jer smo vjerovali da je moguće
više-manje dosadne pristupe bavljenja određenom problematikom zamijeniti nečim
zanimljivijim i uzbudljivijim. Tim koji je realizirao praktični dio ove teme sastojao se
od četiri profesora i šest studentica Učiteljskog fakulteta u Osijeku, i svi smo bili vrlo
uzbuđeni u stvaranju nečeg novog. Našim studenticama, budućim učiteljicama, ovo je
bilo prvo sudjelovanje na jednom stručnom skupu učitelja razredne nastave na kojem
su sudjelovali i neki od njihovih roditelja pa im je to bio poseban izazov.
Poteškoće smo vidjeli u velikoj brojnosti skupova za koje smo se pripremali. Na
svakom od tri skupa bilo je po više od sto sudionika na što nismo mogli utjecati. Drugi
problem bio je nenaviknutost učiteljica i učitelja na ovaj pristup, ali i naše neiskustvo u
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primjeni ovog pristupa na ovako velike grupe. Kod objavljivanja teksta vidimo problem
neuobičajenosti prezentacije znanstvenih tekstova na ovaj način i opasnost da se to
proglasi nedovoljno „ozbiljnim“ pristupom ovoj tematici. Postojala je opasnost da će
rad biti odbijen ili da će se tražiti da ga se preradi prema tradicionalnim šablonama što
bi uništilo smisao ovog rada. Poteškoću smo vidjeli i u pronalaženju ravnoteže između
metodološkog pristupa (lateralnog mišljenja) i prikaza teme (emocija u nastavi).
U prikupljanju informacija iz literature podjednako smo se bavili i pitanjem emocija
u nastavi kao i poticanjem kreativnosti učiteljica i učitelja. Na samim skupovima smo
prikupili pitanja sudionika o emocijama u nastavi želeći tako doznati koje probleme
u vezi s ovom tematikom vide učiteljice i učitelji u svojoj praksi. Na ta smo pitanja
djelomično mogli odgovoriti na samom skupu i to tako da smo izvršili slučajni izbor,
a sva smo pitanja naknadno obradili i prezentirali u ovom tekstu. Budući da se radilo o
velikom broju pitanja (N=302), grupirali smo ih u određene kategorije, a zatim uvrstili
u poglavlja na koja se odnose. Dio informacija o samim skupovima dali smo putem
linkova čime smo rasteretili tekst, ali putem slike i zvuka dobiva se informacija koja
se ne može dati tekstualno.
U pripremanju je bilo mnogo kreativnosti. Najprije smo morali na zanimljiv
način prezentirati sudionicima pristup lateralnog mišljenja pa smo sa studentima,
profesoricom glazbe i profesoricom dramske umjetnosti napisali tekst i glazbu „Šest
šešira“ i kreirali glazbeno-scensku sliku koja je izvedena na početku skupa (vidi
http://www.vimeo.com/5855185). Trebalo je pronaći postupke kojima bismo mogli
aktivirati sudionike skupa, a da oni budu poticaj buđenju ugodnih emocija u procesu
edukacije na ovom skupu, ali i doživljaj teme na jedan kompleksniji način koji ne
će biti samo racionalan. Na taj način smo htjeli učiteljicama i učiteljima dati i jedan
obrazac kojim se mogu, uz određene modifikacije, koristiti i u vlastitoj praksi. Odlučili
smo se za aktivnosti u parovima koje su počele predstavljanjem izmišljenim imenom,
a nastavile razgovorom o značajnoj osobi u vlastitom odrastanju i njenim kvalitetama,
rješavanjem nekih odgojnih situacija, učenjem i pjevanjem pjesme „Šest šešira“, a za
evaluaciju je pripremljen postupak „Likovi iz bajki“. Ujedno smo pronašli tri priče
koje govore o različitom aspektu emocija u nastavi koje su trebale pojačati doživljajnu
stranu bavljenja ovom tematikom.
Naš optimizam zasnivao se na očekivanju da ćemo takvim pristupom dati novi
doprinos proučavanju pedagoške problematike koji ne će biti samo puko prepričavanje
različitih autora ili snimanje stanja, nego kreativni iskorak u novo i nepoznato.
Očekivani otpori mogu biti dobar znak da je ovaj pristup zaista nov i da predstavlja
odmak od uobičajenog. Emocijama smo se bavili i tako da smo raspravljali o njihovoj
ulozi u pojedinim aspektima odgojno-obrazovnog procesa, ali i tako da smo u
odgojno-obrazovnom procesu, koji smo realizirali za učitelje na tu temu, također
vodili računa o emocionalnoj dimenziji, što smo na kraju i provjerili u etapi evaluacije.
U tekstu koji slijedi temu smo podijelili na pet cjelina i u svakoj ćemo se služiti
nekim od ovih šest mogućih pristupa, ali ih ne ćemo posebno naglašavati jer će ih
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čitatelji lako prepoznati. Najčešće ćemo se služiti informacijama, emocionalnim i

intuitivnim pristupom, ponekad kritičkim, ali ćemo na kraju svake cjeline dati niz
ideja za praksu, što je i cilj ovog kreativnog pristupa.
Rezultati i rasprava
Emocionalna klima je ozračje koje se javlja u odgojno-obrazovnom procesu u kojem
se sudionici osjećaju više ili manje ugodno, odnosno više ili manje neugodno. Shodno
tome možemo reći da emocionalna klima može biti ugodna ili neugodna. Prema
istraživanjima koje smo proveli ranijih godina na većem uzorku učenika srednjih škola
na području Slavonije i Baranje dominantne emocije su dosada i nervoza, zabrinutost
i uplašenost, što su modaliteti anksioznosti i straha (Bognar i sur., 2004).
Tablica 1.
Ako usporedimo ugodne i neugodne emocije, onda je odnos 75% prema 25% u
korist neugodnih emocija. Postoji stereotip da škola i mora biti neugodno mjesto jer
„bez muke nema nauke“, a „šiba je iz raja izrasla“, da je škola skalinada po kojoj se i
penje i pada te da škola priprema za život koji nije neka idila nego okrutna borba za
opstanak.
Zabrinuti zbog takvog stanja, pokušali smo promijeniti stanje u nastavi za buduće
učiteljice i učitelje i to tako da smo nastavu prilagodili njihovim interesima i potrebama
te unijeli elemente kreativnosti. (Vidi detaljnije http://kreativnost.pedagogija.net/mod/
resource/view.php?id=8. ) Došli smo do spoznaje da nastava koja potiče i omogućava
kreativnost ima posebno povoljan utjecaj na emocije u nastavi. Naša ispitivanja
emocionalne klime u četiri sveučilišna kolegija Didaktika, Pedagoška komunikacija,
Teorija glazbe i Metodika glazbene kulture, na kojima je sustavno poticana kreativnost,
pokazala su da se naši studenti na takvoj nastavi osjećaju lijepo, znatiželjno i sretno
te da je odnos ugodnih i neugodnih emocija 92% prema 8% (grafikon 1), što se može
vidjeti po osmjesima na licu, ali i velikoj zainteresiranosti za te aktivnosti. Iako takvu
nastavu i nije jednostavno ostvariti, jer traži jednu novu filozofiju i bitno drugačiji
pristup, mi je ipak toplo preporučamo.
Grafikon 1.
Iz ovoga možemo zaključiti da nastava ne mora biti dosadna već zanimljiva i

atraktivna, da strah nije emocija na kojoj se zasniva uspješno učenje nego upravo
suprotno, da strah ometa uspješno učenje. Emocije su popratna pojava i različitih
socijalnih odnosa u odgojno-obrazovnom procesu, kako između učiteljice/učitelja i
učenika tako i među učenicima. Drukčije se emocije razvijaju u odnosima kompeticije
i nadmetanja, a drukčije u odnosima kooperacije i međusobnog pomaganja. Drukčije
su emocije u atmosferi demokratskih odnosa, nego li u atmosferi autoritarnih odnosa
ili u anarhičnoj nastavnoj situaciji.
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Pitanja koja su učitelji postavili o emocionalnoj klimi odnose se na dva problema.

Prvi problem su neugodne emocije koje se javljaju kod učenika i kako se s njima
nositi: Kako u nastavi što povoljnije utjecati na razvoj pozitivnih emocija? Kako riješiti
bijes u razredu? Čime učinkovito zamijeniti strogoću? Kako postupati s učenicima koji
svakodnevno izražavaju negativne emocije? Drugi je problem vlastitih emocija: Kako
se kao učitelj oduprijeti navali vlastitih negativnih emocija na nastavi? Mogu li emocije
(ako se pokazuju) biti smetnja u nastavi? Koliko pred djecom mi možemo pokazati svoje
emocije? Je li dobro pokazivati svoje emocije? Kako da postanem sve ´toplija´ učiteljica s
više razumijevanja?
Neugodna emocionalna klima može biti pokazatelj da nastava nije u skladu s
interesima i potrebama učenika pa bi trebalo u etapi dogovora uvijek porazgovarati
i o tome. Postoji niz postupaka kojima možemo ispitati dječje interese i potrebe.
U etapi realizacije važno je da bude zastupljena aktivnost učenika i da to budu
prvenstveno produktivne i kreativne aktivnosti. Veliko značenje ima i stvaranje
demokratske klime u učionici. Ona se može jednostavno ispitati tako da učiteljica/
učitelj nakratko izađe iz učionice u vrijeme samostalnih aktivnosti učenika. Ukoliko
je klima demokratska, učenici će nastaviti samostalno obavljati započete aktivnosti.
Ako pak izlaskom učiteljice/učitelja aktivnosti prestaju, to je znak da još treba raditi
na razvoju demokratske klime koja razvija i povoljnu emocionalnu klimu.
No nemaju učitelji problema samo s učeničkim emocijama, nego i sa svojima.
Mišljenje, kako učiteljica/učitelj pri ulazu u učionicu treba svoje probleme ostaviti
pred vratima, nije vjerodostojno. Najlošiji odnos je pokušaj prikrivanja emocija jer
s emocijama nema laganja, a iskrenost je odnos koji ima posebno veliko značenje u
međuljudskim odnosima. Ako nam se na putu u školu dogodila prometna nezgoda
u kojoj je stradao naš automobil, ili imamo problema s bolesnim djetetom, ako smo
čuli vijest da su nam nalazi o bolesti pozitivni… nije li ljudskije to na primjeren
način podijeliti sa svojim učenicima, nego se praviti da nemamo problema, a onda
eksplodirati pri prvom malom konfliktu. Sigurno je da će oni znati tog dana biti
posebno pažljivi prema nama i pružiti nam podršku, kao što ćemo i mi njima u
takvim situacijama.
Postoji više načina da obratimo pozornost na emocije u nastavi. Nastavu bi trebalo
češće početi razgovorom o tome kako se danas osjećamo, a nastava se može i završiti
evaluacijom u kojoj će učenici na jednostavan način izraziti kako su se osjećali na
današnjoj nastavi. Na početku dana možemo uvesti praksu da svatko svoju karticu
s imenom može staviti na žutu stranu ukoliko se ugodno osjeća ili na plavu ako se
neugodno osjeća. To svakako treba učiniti i učiteljica/učitelj.
Emocije u odgoju imaju posebno značenje i možemo bez pretjerivanja reći da odgoj
i jest prvenstveno emocionalni odnos. Nas odgajaju samo osobe koje nas vole i koje
mi volimo. Od njih primamo i sustav vrijednosti i životnu filozofiju, mi na neki način
nosimo te osobe u sebi. Prema istraživanju koje smo proveli sa studentima, te značajne
osobe su uglavnom članovi uže obitelji i bliske rodbine (69%), ali i učitelji ulaze u te
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značajne osobe (12,5%). Ove osobe imaju posebno naglašene emocionalne kvalitete
kao što su vedra narav, veselost, osoba puna razumijevanja, optimistična, puna ljubavi
i topline, zabavna, osjećajna, sretna, nježna (Bognar, 2004). Dakle, radi se o ugodnim
emocijama. Osobe kod kojih prevladavaju neugodne emocije ne privlače mlade ljude
i najčešće ih se izbjegava.
Grafikon 2.
U nastavi je posebno važno da učiteljica/učitelj voli svoje učenike. Takvi učitelji

uvijek nalaze nešto pozitivno kod svakog djeteta. Nasuprot tome učitelji koji ne vole
djecu stalno im traže mane. Posebno je opasno ako učiteljica/učitelj ne voli neko
dijete jer onda to dijete ni sva ostala djeca ne vole. Zato je odgovornost učitelja u
tom razdoblju posebno značajna. Koliko je taj emocionalni odnos učiteljice/učitelja
značajan za cijeli život vidimo iz jednog komentara koji smo dobili uz pitanja polaznika
seminara: Imala sam učiteljicu, danas je to moja radna kolegica za koju me ni dandanas
ne vežu lijepe uspomene. Kad ju sretnem na nekom sastanku, uvijek osjetim neki strah i
neugodu. Svakako da ona nije bila razlog moje odluke da postanem učiteljicom, ali kako
si pomoći u susretu s njom?
Posebno treba voljeti tzv. „zločestu“ djecu jer je to najbolji način da problemi
postupno nestanu. No, uvijek će se naći i poneko dijete koje nam jednostavno nije
simpatično. Što tada uraditi? Možda bi odgovor mogli pronaći u priči o čovjeku koji
nije volio maslačke. Angažirao je mnoge vrhunske stručnjake da mu pomognu da ih
eliminira iz svog lijepog travnjaka. Nakon što su iskušali sve moguće pristupe i svi su
se pokazali neuspješnima, stručnjaci su mu predložili – neka ih zavoli! O važnosti
ljubavi u odgoju govori priča „Učiteljica“ kojom smo se koristili na skupu učitelja
http://ladislav-bognar.net/drupal/files/Učiteljica.pdf.
Pitanja koja su sudionici postavili vezana su uz problem discipline u razredu,
prevelike aktivnosti ili pasivnosti učenika i njihovo „uklapanje“ u razrednu strukturu.
Ovu skupinu čine dvije vrste poremećaja koji uključuju depresivna ponašanja
(usmjerena prema unutra) i agresivna ponašanja (usmjerena prema van). Kako
pomoći djetetu koje izgleda emocionalno nedostupno – hladno? Kako pomoći učeniku
kojeg je izolirao ili odbacio njegov razred? Kako uključiti dijete koje sve ignorira? Kako
pomoći hiperpasivnom djetetu da izrazi svoje emocije, da se otvori i priča? Kako pomoći
introvertiranoj djeci u razredu? Na koji način treba pristupiti djetetu koje se ljuti na
drugu djecu i burno reagira, viče, svađa se te optužuje sve oko sebe pa čak i odrasle? Kako
uspješnije rješavati odgojne probleme djece? Učenik se voli prepirati. Misli da je uvijek u
pravu. Kako riješiti takve probleme? Učenik koji često izaziva sukob i konfliktne situacije
reagira šutnjom kada želim riješiti problem?
Kao pokušaj odgovora na ova pitanja iznijeli smo opis dviju odgojnih situacija iz
vlastite prakse (Bognar):
a) Dva dječaka prvog razreda igraju se kockama. Veću kutiju s kockama su istresli
na pod i podijelili svakom podjednak dio. Svaki za sebe slaže svoju građevinu
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gledajući pritom što radi onaj drugi. Nakon nekog vremena jedan od njih,
nazvat ćemo ga Mladen, potrošio je sve kocke sa svoje hrpe, a nije uspio završiti
započeto i počeo se derati – Ne ću, on je uzeo više! Onaj drugi, nazovimo ga
Đani, gleda ga pa uzme šaku svojih kocaka i gurne ih na njegovu stranu. Mladen
iznenađen neočekivanim ishodom začuđeno zastade, a zatim nastavi graditi
svoju građevinu. Ja to sve promatram i osjećam potrebu da Đanija zagrlim i
pohvalim, ali procjenjujem da je bolje da sad ne reagiram jer je situacija i tako
vrlo emocionalno ispunjena. No, kasnije tog dana, kad se sve već malo sleglo, ja
kažem pred svima – Što si ti mene danas obradovao kad si Mladenu dao one
kocke. Baš sam bio ponosan na tebe. Kasnije ja opet pričam kako mi je Đani
danas uljepšao dan. On se ne svađa, nego velikodušno daje Mladenu dio svojih
kocaka. O tome smo razgovarali i kad je na kraju dana došla njegova mama. On
je tog dana gotovo lebdio od sreće. Đani je bio inače manji i mlađi od ostalih i nije
u početku bio najbolje prihvaćen od ostalih. Ovo je znatno promijenilo njegov
status u grupi.
b) Dječaci se pod odmorom igraju skrivača. Jedan od njih, nazovimo ga Marijan,
sakrio se u ormar. Kad se ormaru približio onaj koji ga je tražio, on naglo lupi
rukama i nogom po vratima ormara kako bi postigao iznenađenje za onoga koji
ga traži, ali se pri tome otkine šarka na ormaru i vrata otpadnu. Ja vrlo burno
reagiram izražavajući svoju ljutnju zbog takvog ponašanja. Želim na taj način dati
do znanja da ne prihvaćam takvo ponašanje. Vrata sam privremeno pričvrstio
i više tog dana nisam to spominjao. Kasnije smo radili projekt o dinosaurima.
Čitali smo o njima, gledali slike, arheološke nalaze, a mogli su i naslikati nekog
dinosaura. Marijan je naslikao prekrasnu sliku koju smo svi pohvalili i izložili je
na vidnom mjestu. Na kraju dana došla je Marijanova mama i pitala - Kakav je
danas bio moj sin?
Pitali smo sudionike seminara – Što učitelj treba reći mami?
a) Za otkinuta vrata na ormaru.
b) Za lijepo naslikanu sliku.
c) I za ormar i za sliku.
Većina se odlučila za posljednji odgovor. A evo što sam ja učinio: Ja sam mami
rekao – Pogledajte kakvu je lijepu sliku naslikao Marijan. Sve nas je opet oduševio.
On je pravi mali umjetnik. Marijan i mama su zagrljeni otišli kući. Sutradan Marijan
se mota oko mene i pita kako bismo sredili onaj ormar. Pokazujem mu da sam ja to
već popravio. (Ovaj dio izlaganja dostupan je na http://www.vimeo.com/5858004.)
U odgoju učitelj se služi emocionalnom inteligencijom. To znači da promišlja načine
i vrijeme kad će i kako izraziti svoje emocije vodeći računa pri tome i o emocijama
učenika. Emocionalna inteligencija jest (prema Salovey, Sluyter, 1999) sposobnost
uočavanja emocija, pristup i priziv emocija kao pomoć mišljenju, sposobnost
razumijevanja emocija i emocionalnih spoznaja te mišljenska regulacija emocija u
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svrhu promicanja emocionalnog i intelektualnog razvitka. Odgojitelj, dakle, ne reagira

samo spontano i intuitivno, nego istodobno i promišlja svoje reakcije kako bi one imale
pozitivan učinak na proces odgoja.
Roditelje ne treba uvlačiti u rješavanje disciplinskih problema koji se javljaju na
nastavi jer oni to i ne mogu riješiti, a time samo rušimo emocionalne odnose između
roditelja i djece ili i nas i djece (djeca ne vole tužibabe). Roditelje u pravilu treba
pozivati samo kad se dogodilo nešto lijepo kako bismo radost i s njima podijelili. U
razgovoru s roditeljima treba se držati pozitivnog pristupa. Umjetnost odgajanja i
jest u tome da tražimo i razvijamo ono pozitivno u svakom djetetu pa je važno da i
roditeljima to pokažemo na vlastitom primjeru.
Neugodne i teške emocije također su prisutne u nastavi. Težnja da u odgojno-
obrazovnom procesu prevladavaju ugodne emocije ne može se u potpunosti ostvariti
jer su i neugodne i tzv. „teške“ emocije dio svakodnevice. Učitelji se pitaju što poduzeti
i kako reagirati u konkretnim situacijama u kojima su se oni susretali i još se uvijek
susreću u svakodnevnom kontaktu sa svojim učenicima: kada učenik izgubi jednog ili
oba roditelja, ukoliko proživljava stresne situacije u obiteljskom domu, školi ili okolini.
Koliko je problem ozbiljan govore pitanja učitelja:
Učenici je umrla mama prije godinu dana. Počela je lagati i krasti. Shvatila sam razlog i
nisam nastavljala s optužbama. Pitanje: Je li neumjesno na kraju školske godine u rubriku
vladanje napisati ´dobro´? Kako obilježiti Majčin dan kad u razredu imamo učenika
kojemu je majka umrla? Učeniku je poginuo otac. Kako se odnositi prema njemu? U
kojoj mjeri biti popustljiv kada je u sukobu s učenicima? Kako pomoći hiperaktivnom
djetetu koje je zlostavljano i kod kuće i u okolini, a u školi zlostavlja ostalu djecu? Kako
reagirati kad se dijete zatvori u sebe, a nalazi se u teškoj situaciji? Kako i kada riješiti
emocionalne probleme učenika koje donosi iz obitelji? Kako teške emocije preobraziti što
prije u suprotne?
Neugodne se emocije prvenstveno javljaju u sukobima i važno je znati kako se s
njima nositi. Ako se te emocije ne stišaju, teško je naći rješenje sukoba. Zato postoje
razne tehnike „hlađenja“ kao što su „kutić za hlađenje“, „vreća za ljutnju“, „upitnik o
tučnjavi“, ali pomaže i prepoznavanje vlastitih emocija te njihovo jasno izražavanje.
Djecu treba učiti i načine nošenja s vlastitim neugodnim emocijama kao i procesu
nenasilnog rješavanja sukoba. (Dio izlaganja o ovoj problematici je dostupan na http://
www.vimeo.com/5870052.)
Posebno „teške emocije“ nastaju nakon smrti bliske osobe ili nekog traumatskog
iskustva koje dijete ima. Obično se misli da djetetu treba pomoći da to sve što prije
zaboravi, ali to je pogrešno. Nakon smrti bliske osobe počinje proces žalovanja koji
treba djetetu omogućiti i podržavati, a izgubljenu osobu ne treba zaboraviti nego češće
omogućiti djetetu da na razne načine evocira sjećanje na tu osobu. O traumatskom
iskustvu treba pričati ili na razne druge načine proraditi te emocije. Može se koristiti
slikanje, pisanje, aktivno slušanje te postupak „desenzitivizacije“, koja se sastoji od
faze opuštanja, faze prisjećanja i autosugestije da je to prošlo i neće se ponoviti.
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Postupak se ponavlja desetak i više puta u jednoj seansi, a obično se radi nekoliko
dana. Važno je da se traumatska iskustva ne potiskuju jer izazivaju različite poremećaje.
(Detaljnije: Bognar, 2001). Ponekad treba tražiti pomoć psihologa ili psihoterapeuta,
ali je uloga učiteljice/učitelja i u toj pomoći vrlo značajna. No, djecu bi trebalo i
pripremati za snalaženje u traumatskim situacijama u kojima se mogu naći. Za to su
vrlo pogodne priče i opisi stvarnih događaja u kojima sudjeluju djeca. Jedan takav
slučaj šestogodišnjeg Samuela opisuje Carolyn Saarni (u Salovey, Sluyter, 1999), a našu
interpretaciju (Kragulj) ovog teksta na seminaru za učitelje može se vidjeti na http://
www.vimeo.com/5859453.
Opis slučaja straha od škole (Bognar):
Kao mladi učitelj suočio sam se s pojavom straha od škole koji se javio kod
jedne plahe i ljupke djevojčice, učenice prvog razreda – nazvat ćemo je Klara. Ona
jednostavno nije htjela ostati u školi bez svoje dvije godine starije sestre. U dogovoru s
roditeljima dopustili smo da sestra boravi s njom u školi, ali problem je bio što je sestra,
koja je išla u suprotnu smjenu, morala boraviti po cijeli dan u školi. Klara je potpuno
normalno funkcionirala i bila vrlo uspješna učenica, ali kad bi se poveo razgovor da
sama ostane bez sestre, panično bi se uhvatila za nju i pokazivala vrlo izrazit strah. Ja
nisam znao riješiti taj problem pa sam se obratio ravnatelju. On je došao u učionicu i
pokušao silom otjerati stariju sestru i vikanjem uvjeriti Klaru da sestra mora ići kući.
Klara se uz glasan plač panično držala za sestru i ravnateljevo nastojanje da ih silom
razdvoji ostalo je bezuspješno. Cijela se situacija poslije toga još pogoršala. Tada sam
naučio da je ravnateljev pristup bio totalno pogrešan. Danas mislim da se radilo o
procesu emocionalnog sazrijevanja koji je kod ove emocionalno labilnije djevojčice
tekao nešto sporije. Jednostavno joj je trebalo dati vremena. Nakon nekoliko mjeseci
i ona je sama ostajala u školi.
Danas postoje različite igre kojima se djeca mogu vježbati „na hladno“ kako se nositi
s pojedinim teškim emocijama kao što su strah, ljutnja, stresne situacije, konflikti.
Ovdje donosimo opis jedne od takvih igara.
Igra „Strah“
Igra je namijenjena djeci od 6 do 12 godina za uspješnije nošenje s emocijom straha.
U ovoj igri djeca se susreću sa strahom od odvajanja, strahom od iznenadnih i jakih
zvukova, strahom od uniformiranih i naoružanih osoba, strahom od nepoznatih ljudi
te osobnim tjeskobama kao što su ružni snovi. Na ploči za igru označen je put kojim se
kreću igrači, a pritom se susreću s različitim oblicima straha. Kad dođu na polje koje
označava neku vrstu straha, uzimaju karticu i čitaju zadatak, npr.: „Opiši svoje osjećaje
za vrijeme ružnog sna.“ Kad dođe na polje ohrabrenja, uzima karticu ohrabrenja i čita
neku od uputa kao npr. „Promijeni kraj ružnog sna.“ Nakon igre djeci se preporuča
da s odraslom osobom porazgovaraju o strahu i hrabrosti ako to žele. (Igra je dio
kompleta „Igre nenasilja“ koje je, uz dopuštenje Američkog društva psihologa, izdao
Evanđeoski teološki fakultet u Osijeku, a prilagodio koautor ovog teksta.)
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Emocije u obrazovanju možemo promatrati na nekoliko načina. Emocije

su popratna pojava učenja i različitih aktivnosti vezanih uz učenje kad je riječ o
znanstvenom i tehnološkom obrazovanju. Neke emocije, kao što su različiti modaliteti
straha, su inhibitori učenja i ometaju ga u većoj ili manjoj mjeri. Ugodne emocije
kao što su radoznalost, oduševljenje, radost pomažu proces učenja i čine proces
uspješnijim. Intenzivne emocije pomažu i intenziviranju spoznajnog procesa.
Wunderer (2008) navodi mogućnosti korištenja filma u prezentiranju povijesnih
sadržaja i naglašava upravo kako emocije koje su rezultat gledanja filma intenziviraju
proces učenja. Mi smo u realizaciji ove teme s učiteljima koristili priče jer često
snažnije govore o ovoj temi. Za emocije u obrazovanju izabrali smo priču „Tri Tedijeva
pisma“ E.S.Ballard. Priča je dostupna na http://www.ladislav-bognar.net/drupal/files/
Tri%20Teddyjeva%20 pisma. pdf.
Emocije pak imaju posebno značenje u umjetničkom obrazovanju. Umjetnost je
način emocionalnog komuniciranja, ali i izražavanja vlastitih emocija. Umjetnost
ima za cilj i razvoj senzibiliteta za pojedine grane umjetnosti, ali i emocionalno
bogaćenje učenika pomoću umjetničkih aktivnosti. Iako su emocije povezane i s
našom kognicijom i u susretu s umjetnošću uvijek imamo i misli i osjećaje, ipak je
osjećaj ovdje dominantan jer je umjetnost okrenuta našoj afektivnoj prirodi. Različiti
oblici umjetničkog izražavanja su najbolji načini izražavanja emocija.
„Na satima književnosti, na kojima među ostalim čitaju zanimljive priče, djeca počinju
učiti o osjećajima likova. Likovi iz priča neizbježno su sretni, prestrašeni, ljubomorni i tako
dalje, i djeca mogu primijetiti i ono zbog čega se ti likovi osjećaju kako se osjećaju te kako
se likovi nose s osjećajima. Takvo učenje traje tijekom cijelog obrazovanja; i kako priče
postaju složenije, tako postaje složenije i emocionalno učenje. Načini na koje osjećaji likova
motiviraju njihova djela, što, pak, pokreće radnju, za mlade je ljude pouka iz emocionalne
percepcije koliko i iz konstrukcije radnje… Književnost je vjerojatno prvi dom emocionalne
inteligencije. No to su i slikarstvo, glazba i kazalište.“ (Salovey, Sluyter, 1999, str.40).
O našim emocionalnim doživljajima teško je racionalno raspravljati i najlakše ih je
izraziti pokretom, glumom, mimikom, slikanjem, glazbom, pričom ili poezijom. Kad
sam kao mladi učitelj (Bognar) nakon likovnih aktivnosti pitao nekog od učenika da
odabere rad koji mu se sviđa, a zatim pitao – zašto, dobivao sam odgovore kao – zato
što ima sunce, ili – zato što se djeca igraju. Kasnije sam shvatio da je moje pitanje
besmisleno jer se doživljaj ne može racionalno izraziti.
„Umjetničke aktivnosti u školi kao glazba, slikanje, igre mašte i drama mogu višestruko
pridonijeti emocionalnom kultiviranju. Mogu pomoći učenicima da izraze i suoče se s
emocijama koje su bolne i prikrivene i prodiskutiraju ih (na primjer gubitak roditelja), one
im mogu pomoći da se stave u tuđe cipele (pretpostavljajući u mašti njihove emocije), one
mogu imati balansiran i organiziran utjecaj na učenički emocionalni život.“ (Kristjansson,
2000, str. 11).
Pitanja koja postavljaju učitelji uglavnom otvaraju problematiku neugodnih emocija
prilikom ocjenjivanja obrazovnih postignuća. Progovaraju o starom pitanju straha od
ocjenjivanja i od roditelja prilikom dobivanja loše ocjene.
161
Mislite li da je način ocjenjivanja jedan od najvažnijih uzroka straha u školi? Kako

provjeriti usvojenost informacija kod slabijih učenika, a ne izazvati stres? Što s
djetetom (djetetovom ocjenom) ako je dalo sve od sebe, a zna za ´jedva dva´? Kako biti
objektivan, a opet uključiti i emocije u ocjenjivanje? Kako riješiti problem testiranja
znanja bez emocija? Kako pomoći djetetu da se nosi s lošijom ocjenom? Kako svladati
strah od ispitivanja ili testova u nastavi? Kako postupiti kod djeteta koje je jako tužno
kada dobije negativnu ocjenu? Što učiniti kad je dijete po pritiskom roditelja zbog
ocjena? Kako pomoći roditelju da se nosi s lošom ocjenom svoga djeteta? Što učiniti
kada dijete svakodnevno dolazi u školu u strahu od roditelja jer svakodnevno nema
napisanu zadaću? Kako pomoći djetetu čiji roditelji traže od njega više nego ono
može postići?
Možemo se složiti s učiteljima da je sadašnji način ocjenjivanja jedan od glavnih
uzročnika neugodnih emocija u nastavi. Umjesto da evaluacija kao završna etapa
odgojno-obrazovnog procesa bude slavljenje učenja, ona se u funkciji međusobnog
rangiranja učenika (ali i škola) pretvara za dio učenika sa slabijim mogućnostima u
izvor traumatskih iskustava. Dok didaktika ne izađe iz paradigme represivne škole i
pronađe humanija rješenja, evo što učitelji već danas mogu učiniti:
– Učitelji mogu napustiti davanje negativnih ocjena. One postoje, ali se ne daju.
Dijete se hrabri da postigne maksimum prema svojim mogućnostima, a za to se
daju samo pozitivne ocjene – dobar, vrlo dobar i odličan. To su iskustva naših
eksperimentalnih škola iz druge polovine osamdesetih i pokazala su se dobrim
rješenjem, a i mi imamo isti pristup u radu sa studentima.
– Treba težiti visokim postignućima, ali prema interesima i mogućnostima svakog
učenika. Na jednom seminaru učitelji su imali zadatak kreirati nove nazive za ocjene.
Njihovi su prijedlozi da postoje dvije ocjene – izvrsni i oni koji će postati izvrsni.
– Na kraju godine učiteljica/učitelj može napisati pismo učenici ili učeniku u kojem će
najprije iznijeti kvalitete koje je zapazila/zapazio kod učenice/učenika, zatim može
kratko prikazati proces suradnje i uspjehe koje su postigli te eventualne probleme
koji još postoje i sugestije za njihovo rješavanje (vidi detaljnije Bognar, 2001).
– Osim ocjenjivanja treba koristiti i sve druge aspekte evaluacije. Koristeći i
formativnu i sumativnu evaluaciju, treba veće značenje pridavati formativnoj
evaluaciji jer kvaliteta procesa uvjetuje i rezultate. Ukoliko je to zajednička
aktivnost učitelja i njihovih učenika, onda to prestaje biti nešto što ugrožava i što
je upereno protiv bilo koga.
Na kraju seminara koristili smo postupak formativne evaluacije koji smo nazvali
„Likovi iz bajki“ (Prema: Bognar, Bagić, Uzelac, 1994.). Svi sudionici seminara dobili
su popis likova iz bajki Ivane Brlić-Mažuranić kojima smo pridodali simbolično
emocionalno značenje. Na listiću koji su dobili trebalo je naslikati jedan od likova koji
odgovara njihovom emocionalnom odnosu prema današnjem seminaru. Rezultati su
vidljivi na grafičkom prikazu. Značajno prevladavaju ugodne emocije. Većina je ovaj
pristup doživjela kao podršku i ohrabrenje, kao razvoj samopouzdanja i povjerenja
162
u druge, kao vedru igrovnu aktivnost. Iako su mnoge okolnosti bile nepovoljne
(velik broj sudionika, loše ozvučenje, vrućina, neudobne stolice), samo 2% je izrazilo
neugodne emocije.
Tablica 2.
Zaključak
Koristeći se pristupom lateralnog mišljenja možemo zaključiti da se proces koji
smo primijenili baveći se problematikom emocija u nastavi pokazao produktivnim.
Koristeći se kreativnim postupkom lateralnog mišljenja na seminaru za učiteljice
i učitelje na tu temu stvorila se poticajna klima čiji rezultat je bila velika aktivnost
sudionika koja se događala u raspravama u parovima, pjevanju, pisanju pitanja,
rješavanju emocionalnih problema, slikanju.
Prikupili smo veliki broj informacija o izazovima pred kojima se nalaze praktičari
kad je riječ o emocijama u nastavi. Iz prikupljenih pitanja se vidi da učiteljima
poseban problem predstavljaju nekontrolirano i burno izražavanje emocija, nošenje
s teškim emocijama koje su posljedica osobnih gubitaka i traumatskih iskustava, kao i
neugodne emocije koje su posljedica tradicionalnog ocjenjivanja. Prikupljena pitanja
ne samo da su bila osnovna orijentacija u pisanju ovog rada, nego će se koristiti u
nastavi sa studentima budućim učiteljicama i učiteljima, ali i na narednim seminarima.
Budući da zagovaramo uvažavanje emocija u odgojno-obrazovnom procesu, osim
znanstvenih izvora koristili smo i priče, glazbu, slikanje. I sami smo se iznenadili kako
su naše tri priče, od kojih je ona o Tediju uvijek izmamila suze, dublje govorile o biti
emocija u nastavi nego li racionalno izlaganje. Poslije svake priče uslijedio je aplauz.
Rezultat koji smo dobili na kraju, da je 98% izrazilo ugodne emocije, sličan je onom koji
dobivamo i sa studentima s kojima prakticiramo ovakvu nastavu (vidi Kragulj, 2011).
Kreativnost je ovdje bila prisutna u pripremanju ovog pristupa. Samo stvaranje
scenske slike je trajalo mjesecima i imalo je različite faze koje ovdje ne možemo
prepričati. Cjelokupni odgojno-obrazovni proces ovog seminara bio je kreiran kao
nešto novo i drukčije. Budući da smo polaznicima stalno davali mogućnosti za
njihove aktivnosti, nastojali smo da i to budu kreativne aktivnosti. Spomenimo samo
smišljanje izmišljenog imena i zanimanja koje je trebalo podijeliti sa svojim parom,
što je razbuktalo maštu i izazvalo osmjehe na licima. Način prezentiranja ovog rada
uz korištenje lateralnog mišljenja je nov i neuobičajen.
Naš optimizam posebno su poticali iskreni izrazi zadovoljstva mnogih koji su
imali potrebu da nam se dođu zahvaliti, da podijele s nama svoja osobna iskustva i
oduševljenje, da još priupitaju ponešto i iznesu neku dilemu i da nam kažu kako im
je ovo bio jedinstven i poseban doživljaj. Nama koji smo sve ovo realizirali bila je ovo
još jedna potvrda, u nizu, da je moguće realizirati humanistički pojam „učenja o biti“
jer mi to često doživljavamo na nastavi sa svojim studenticama i studentima.
163

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Croatian Journal of Education

Vol: 14 (1/2012), pages: 135-163

lateral thinking or parallel thinking which, as defined by Edward de Bono (2009),

We faced problems we prepared on our own. At each of the three conferences,

Results and discussion

Rank Feeling Frequency

Graph 1. Relation between pleasant and unpleasant emotions

Graph 2. Share of important persons in upbringing

In teaching, it is of particular importance that the teacher loves his/her students.

Svarožić Joy, happiness 21 (7%)

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Salovey, P. & Sluyter, D. J. (1999). Emocionalni razvoj i emocionalna inteligencija, pedagoške

pozitivistički pristup koji se svodi na konstatiranje postojećeg stanja i na šablonske

čitatelji lako prepoznati. Najčešće ćemo se služiti informacijama, emocionalnim i

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