The purpose of this article is to highlight the importance of parent involvement and intervention in early childhood education. What formulates the lock and key theory in early childhood programs is parental participa...The purpose of this article is to highlight the importance of parent involvement and intervention in early childhood education. What formulates the lock and key theory in early childhood programs is parental participation versus educational achievement. Upon the parents＇ vital involvement, it is perceived that social and cognitive development, aided by educators, will be significantly achieved. Furthermore, parent＇s early intervention is an added value to classrooms and schools, for it creates a dimension of involvement in the decisions which shape the children＇s education as a whole. Moreover, and due to parent/teacher cooperation in the classroom and at home, the child＇s interest in learning will be triggered, yielding other positive outcomes. Therefore, people must emphasize the parent＇s role in order to aid children＇s complex and evolving multi-cultural and global nature.展开更多
For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, perfo...For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, performing arts centres and other institutions. This article discusses the study and teaching situation of musical arts in South Africa, based on the research of nine institutions of higher learning. The major objective of this article therefore is to explore the extent to which South African institutions of higher learning and performing arts centres have incorporated the arts and culture of the historically marginalised people of South Africa in their respective curricula. From the results, it points out that music departments at South African institutions of higher learning have not yet fully transformed their programmes away from European models to programmes that affirm and embrace all the musical styles and genres practiced in the country. The article provides an advocacy for a strong androgynic approach in the study and teaching of performing arts in South Africa： the incorporation of both African indigenous and Western art forms in the respective curricula.展开更多
文摘The purpose of this article is to highlight the importance of parent involvement and intervention in early childhood education. What formulates the lock and key theory in early childhood programs is parental participation versus educational achievement. Upon the parents＇ vital involvement, it is perceived that social and cognitive development, aided by educators, will be significantly achieved. Furthermore, parent＇s early intervention is an added value to classrooms and schools, for it creates a dimension of involvement in the decisions which shape the children＇s education as a whole. Moreover, and due to parent/teacher cooperation in the classroom and at home, the child＇s interest in learning will be triggered, yielding other positive outcomes. Therefore, people must emphasize the parent＇s role in order to aid children＇s complex and evolving multi-cultural and global nature.
文摘For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, performing arts centres and other institutions. This article discusses the study and teaching situation of musical arts in South Africa, based on the research of nine institutions of higher learning. The major objective of this article therefore is to explore the extent to which South African institutions of higher learning and performing arts centres have incorporated the arts and culture of the historically marginalised people of South Africa in their respective curricula. From the results, it points out that music departments at South African institutions of higher learning have not yet fully transformed their programmes away from European models to programmes that affirm and embrace all the musical styles and genres practiced in the country. The article provides an advocacy for a strong androgynic approach in the study and teaching of performing arts in South Africa： the incorporation of both African indigenous and Western art forms in the respective curricula.
