After the presentation of Klára Kokas’ pedagogical methods and her own invented musical activities with children, I shall try to compare these methods with Zoltán Kodály’s music educational practices and innovations to emphasize the continuity and discontinuity of Hungarian music educational practice. Kokas centered her pedagogical conce...pt on children’s creativity, human relations, acceptance of and complete attention paid to others. This world view and ideology was constructed around a child-centered sensitivity, music being her primary pedagogical resource. The goal of this paper is to explore the main elements and characteristics of Klára Kokas’s pedagogy, which were revolutionary and new in the fields of personality development, music and complex art education. I will draw out those elements, which show similarity between his work and Kokas’s, then I will point out those components in which Kokas offered excess for personality development. The main elements of this concept is music, dance improvisation, motions, imaginative stories, visual arts, painting and drawing, but it’s most important component is that very specific and intimate relation, which connected her to the children. My purpose is to highlight the contours of the Kokas’ pedagogy. In my comparative research I mention the reform pedagogical elements of the Zoltán Kodály’s concept, and I seek the common and different elements of their music educational ideas and innovations. The importance of her beliefs and moral convictions in the art of education will be outlined then.
Klára Kokas was a music teacher and music psychologist (1929-2010). Her method is based on music, motion and manual arts, therefore it can be defined as a form of reform pedagogy, otherwise it is called complex art pedagogy. The main elements and characteristics of Klára Kokas’s pedagogy were revolutionary new ideas in the fields of persona...lity development, and music education – compared to the practices of reform pedagogy trends in the 20th century Europe and the United States (Pukánszky-Németh, 1996). The main elements of this concept are music, dance improvisation, motion, imaginative stories, visual arts, painting and drawing. However, its most important component is the very specific and intimate relation, which connected her to children. This distinctive feature of the Kokas-method is hard to teach. Klára Kokas approached to people with problems, suffering and disabilities, especially to marginalized and disadvantaged children with utmost empathy. She struggled to develop the social-cognition skills and affectionate behavior of the handicapped children through her own invented musical method.Her writings reflected her relationship with God, namely the presence of Him which can be felt behind the scenes. His name was mostly unspoken, yet when she named Him, it was to reveal that God was always in her mind, like in her words and musical activities too.The goal of this paper is to search and frame that text corpus, which can outline the spirituality of Klára Kokas with the aim of drawing up her relationship with God and children – according to her publications, writings, essays, books, short-film compilations, movie archives and interviews (Kokas, 1992; 1999; 2002; 2007; 2012; 2013). The contours of her spirituality from her teachings, manuscripts and publications couldn’t be attributed to any religious denomination. Also, to be presented are her notions about youth and teenage spirit and a unique relation with the world, her own students, the talents, the music and the holiness: the spirituality of Klára Kokas. The importance of beliefs and moral convictions in the art of education will be outlined.A single paragraph of about 150-200 words maximum. For research articles, abstracts should give a complete overview of the work. We encourage authors to use the following style of abstracts: background, methods, results and conclusion. The abstract should give an objective representation of the article.