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UNIVERSIDAD NACIONAL DE SAN CRISTÓBAL DE HUAMANGA FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE FORMACIÓN PROFESIONAL DE EDUCACIÓN FÍSICA
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TABAJO MONOGRÁFICO
EXPRESIÓN CORPORAL Y AUTOESTIMA PAQUIYAURI MENESES, William Wilson CABRERA CÁRDENAS, Leonardo
AYACUCHO – PERÚ 2011
1
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A los docentes de la especialidad por impartirnos los conocimientos necesarios para nuestra formación profesional, y a nuestros padres por el apoyo moral y económico.
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PRESENTACIÓN
El presente trabajo de investigación aborda sobre las influencias de la expresión corporal en la mejora de la autoestima del ser humano, primero es importante que el hombre reconozca su expresión corporal y cómo éste puede modificar positiva o negativamente la autoestima y la construcción de su identidad personal. El presente trabajo de investigación está dirigido fundamentalmente para todas aquellas personas, que por diversas razones manifiestan la autoestima y por tanto, las actividades actividades cotidianas profesionales no no tienen un rendimiento óptimo. Así mismo, para todos los profesionales dedicados a la educación de la futura generación, quienes tienen la responsabilidad de formar personas de bien con autonomía y alta autoestima. El propósito de la presente monografía es contribuir, cómo la expresión corporal influye en elevar la autoestima de las personas; esperamos que nuestra contribución sea positiva para el bienestar de los estudiantes, profesionales y las personas en general. LOS AUTORES
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ÍNDICE
INTRODUCCIÓN ………………………………………………………………….vi CAPÍTULO I: ANTECEDENTES DE ESTUDIO Y PERCEPCIÓN investigación……………………………………………8 ……………………8 1.1. Antecedentes de la investigación……………………… 1.2. Percepción……..……………………………………………………………...9 percepción……………………………………………….…10 …….…10 1.2.1. Tipos de percepción………………………………………… 1.2.2. Sensación……………………………………………………………..11 1.3. Los órganos de los sentidos………………….……………………………..11 1.3.1. La visión……………………………………………………………...11 1.3.2. La audición…………………………………………………………..13 1.3.3. El olfato………………………………………………………………14 1.3.4. El gusto……………………………………………………………...15 1.3.5. El tacto……………………………………………………………….15
CAPÍTULO II: EXPRESIÓN CORPORAL 2.1. Definición de la expresión corporal……………………..………………….17 2.2. Importancia de la expresión corporal………………………………….…..18 2.3. Presencia de la expresión corporal……………………………….……….19 2.4. Propuesta en la expresión corporal…………………………….………….21 2.5. Manifestaciones expresivas asociadas al movimiento corporal.……… 23 2.5.1. El gesto…………………………………………………………………23 2.5.2. La postura………………………………………………………………23
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2.5.6. La expresión dramática………………………………………………..25
CAPÍTULO III: AUTOESTIMA 3.1. Aproximaciones conceptuales…………… conceptuales……………………………………………….27 ………………………………….27 3.2. Niveles de autoestima………………………………………………………...28 3.2.1. Autoestima baja……………………………………………………….. 28 3.2.2. Autoestima alta………………………………………………………….31
3.3. La autoestima en el desarrollo…………………….………………………….32 3.4. Autoconcepto …………………………………………………………………..33 CAPÍTULO IV: RESULTADOS DE CAMPO 4.1. Análisis e interpretación de datos de autoestima.……………………… ..35 4.2. Análisis e interpretación de datos percepción de expresión corporal …… 37 4.3. Resultados de la encuesta…………………………………………….…..…39
CONCLUSIONES……………………………………………………………………40 BIBLIOGRÁFÍA………………………………………………………………………41 ANEXOS: Encuesta ……………………………………………………………….. 44
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INTRODUCCIÓN
Expresión cultural y autoestima se investiga, porque es un tema que busca una educación integral del hombre a través del cuerpo y el movimiento. Para ello, se hace imprescindible que el ser se exprese y manifieste su capacidad creativa, imaginación, espontaneidad, etc. La Expresión y Comunicación Corporal se va a encargar de potenciar y desarrollar las cualidades citadas y elevar su autoestima. El hombre desde su infancia a lo largo de su desarrollo trata de conocerse y poder situarse en su medio. Necesita primero conocer su cuerpo, luego mejorar su autoestima y la construcción de su identidad personal. La exigencia del mundo actual de la sociedad del conocimiento y la presencia de baja autoestima de las personas en el desenvolvimiento de las actividades cotidianas, profesionales y otros, nos motiva en realizar el presente trabajo de investigación, que contribuirá en mejorar la autoestima (la valoración positiva de uno mismo) de las personas y cuyo propósito propósito fundamental fundamental del ser humano, conozca sus expresiones corporales (mensajes o signos que transmite nuestro cuerpo en todas sus manifestaciones), con la finalidad que le permitan ejecutar con autonomía en su vida diaria. Teniendo en cuenta esta situación, el estudio del presente trabajo tiene por objetivo objetivo analizar las influencias de de la expresión corporal en la autoestima del hombre.
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cuarto referido a los resultados de trabajo de campo. Finalmente se presenta las conclusiones. Se empleó el analítico y sintético que permitió analizar y componer los conocimientos científicos, luego el método hermenéutico interpretar desde diferentes puntos de vista de los conocimiento científicos y los datos de la encuesta. Las técnicas empleadas fueron análisis documental y la encuesta dirigida a los estudiantes y profesionales. En la realización del presente estudio se ha tenido dificultades como, falta de bibliografía actualizada referido al tema, falta de colaboración de los profesionales en la entrevista, que algunos no aceptaron, finalmente limitaciones de carácter económico para la elaboración de la presente monografía Para terminar; expresamos nuestra gratitud a todas aquellas personas que con su valiosa colaboración contribuyeron a la exitosa realización del presente trabajo de investigación.
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CAPÍTULO I ANTECEDENTES DE ESTUDIO Y LA PERCEPCIÓN 1.1. ANTECEDENTES DE ESTUDIO A continuación se hacen mención de las siguientes investigaciones similares: Cabrera (1998), (1998), en su trabajo de investigación titulado: “Nuestra Vivencia Cotidiana es Expresión Corporal”, estudio realizado en la Universidad Nacional de Educación “Enrique Guzmán y Valle” – La Cantuta, llegó a la conclusión que al movernos en el espacio y en el tiempo, realizamos determinadas actividades lo que nos permite crear, interactuar, sentir, percibir, descubrir sensaciones, sentimientos, emociones en la realidad objetiva, lo cual viene hacer la expresión corporal. Según Cabello (2004), en su trabajo de investigación titulado " La Expresión Corporal una Alternativa para Desarrollar Habilidades Comunicativas" Comunicativas", estudio realizado en la Universidad Nacional Mayor de San Marcos, llegando a concluir que el uso de técnicas en las que se potencie el trabajo consciente con el cuerpo, y específicamente con la expresión del mismo ofrece una posibilidad de potenciar la
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Schinca (2003), investigación titulado “Expresión corporal y desarrollo de la habilidades comunicativas” investigación en la Universidad de la Habana, concluye que el trabajo corporal, en particular la expresión corporal utilizado en la metodología cualitativa, (incluido el dibujo, la vivencia y reflexión en grupo) constituye no solo un mediador, sino que llega a ser un vehículo importante para el desarrollo psicológico. Además de la labor pedagógica, el estudio Schinca agrupa y coordina diferentes actividades artísticas, de estudio e investigación sobre el lenguaje de movimiento, promoviendo publicaciones, espectáculos, conferencias y relaciones con diferentes instituciones españolas o extranjeras que desarrollan su labor en el campo del movimiento. Reasoner (1984), “la buena autoestima de los niños ", la clave para desarrollar la autoestima en los niños está en cómo se sienten los profesores con respecto a sí mismos. Supuesto que es confirmado por los mismos docentes al afirmar uno de ellos que: “la buena autoestima de los niños“, requiere de adultos que también
tengan una alta autoestima: profesores y padres. 2.2. PERCEPCIÓN Han llegado a nuestro cerebro las señales o estímulos y ahora hay que formar una imagen de la sensación lo que tenemos en la mente de cada una de las sensaciones (visuales, auditivas. táctiles, etc.). Los cognitivistas plantean que sólo hay una etapa (las cosas las vemos de golpe sin que haya sub. etapas).
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1.2.1. TIPOS DE PERCEPCIÓN La constancia del tamaño y del brillo, tienen que ver la constancia del tamaño del objeto en nuestra retina en función de la distancia a la que estamos del objeto en nuestra retina se ve el objeto más o menos grande pero psicológicamente lo vemos como una constancia en el tamaño. La constancia del brillo a luz viene a ráfagas pero psicológicamente vemos siempre una luz homogénea pero el estimulo físico sale a ráfagas o por trozos (fotones). 1) La tridimensionalidad tridimensionalidad los objetos objetos tienen tres tres dimensiones pero lo que que llega a nuestra retina llega como en una pantalla de cine es plana pero a pesar de esto lo vemos en tres dimensiones hay una especie de traducción del estimulo físico hay algo psicológico que pasa en el proceso no se sabe cómo ni porque. 2) El proceso de distinción de los colores o formamos los colores. Dentro del oído se investigan como se crean los tonos a partir de las Frecuencias (recordar el ejemplo del tema de la sensación con los estímulos de sonidos distintos), podemos percibir distintas frecuencias con los mismos tonos. Nosotros cuando estamos oyendo hacemos un mapa cognitivo sonoro de lo que nos rodea alguien nos habla sabemos más o menos capaces aunque no lo veamos de dónde proviene la fuente sonora sabemos localizarla. Fisiológico y el otro psicofísica En el fisiológico se estudia 108 108 mecanismos mecanismos biológicos de la percepción cómo funciona el ojo, el cristalino los nervios ópticos, el cerebro etc. Por ejemplo. Se estudia la actividad eléctrica del cerebro en
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1.2.3. SENSACIÓN Matlin y Foley (1996a), la sensación se refiere a experiencias inmediatas básicas, generadas por estímulos aislados simples. Feldman (1999a), la sensación también se define en términos de la respuesta de los órganos de los sentidos frente a un estímulo. Por consiguiente, la sensación es un acto de experiencia que el hombre experimenta frente a los estímulos que percibe de la realidad.
1.3. LOS ÓRGANOS DE LOS SENTIDOS “A
continuación se presenta un esbozo general de los órganos de los sentidos, sus partes y funciones. Considerando que en el curso de Neurofisiología se estudiaron con profundidad las principales tareas de transducción e intercomunicación nerviosa, sólo se hará una corta mención de los aspectos más esenciales de cada sentido, a fin de contextualizar los demás temas subsiguientes en esta guía”2 1.3.1. LA VISIÓN Sensación consciente producida por la luz, que permite apreciar los objetos y sus cualidades. Se distinguen dos tipos de visión, de acuerdo a las condiciones de luminosidad: escotópica, la que se percibe cuando el ojo está acostumbrado a la oscuridad; fotópica, la que se percibe cuando el ojo está acostumbrado a la luz. Estructura y Función del Ojo.Ojo.- La función del sistema visual es transformar la
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la esclerótica y protuye ligeramente. La luz que proviene del exterior debe enfocare en la superficie posterior del globo ocular, y la córnea inicia este proceso. Las células de la córnea reciben sus nutrientes y el oxígeno del humor acuoso. Este líquido llena la cámara anterior, que se encuentra inmediatamente detrás de la córnea. La entrada de luz al ojo es regulada por un anillo de músculos pigmentados llamado iris. La pupila es una abertura en el centro del iris por la que pasa la información luminosa. El iris tiene dos clases de músculos, unos que lo contraen, cierran y otros que lo dilatan, abren. Cuando la luz es brillante, el iris se cierra y viceversa. En los humanos, la pupila es redonda, aunque en algunos otros animales puede ser como una línea vertical en la mayoría de casos. El cristalino es un cuerpo esférico, transparente, localizado exactamente detrás de la pupila. Es ligeramente amarillento y se compone de una capa externa que contiene fibras organizadas como las capas de una cebolla. Luego de que la cornea desvía los rayos luminosos conforme entran al ojo, el cristalino completa esta tarea de enfocar las ondas luminosas sobre los fotorreceptores localizados
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visión más clara. En el disco óptico, el nervio óptico abandona el ojo. El nervio óptico representa el haz de neuronas que lleva la información que se origina en la retina. El disco óptico carece de fotorreceptores y en consecuencia crea un punto ciego que se puede detectar a través t ravés de un sencillo experimento.
1.3.2. LA AUDICIÓN El oído consta de tres regiones anatómicas: oído externo, oído medio y oído interno. La parte más visible del oído externo es el pabellón auricular; son importantes debido a que incrementan ligeramente la amplitud del sonido e intervienen en cierta medida con la detección de la posición de la fuente sonora. Le sigue el conducto auditivo externo, que se dirige hacia adentro a partir del pabellón auricular y funciona como una caja de resonancia, amplificando sonidos muy débiles. El sonido llega al tímpano, o membrana timpánica, una membrana que vibra en respuesta a las ondas sonoras. El oído medio es el área que se encuentra después del tímpano. Consta de tres huesecillos u oscículos, que son los más pequeños del cuerpo humano: martillo, yunque y estribo. Estos huesillos aumentan la eficiencia con la cual el sonido es transmitido al oído interno:
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ventana oval también lo hace, y produce cambios de presión en el líquido que se encuentra dentro de la cóclea. El conducto coclear es el más pequeño de los tres canales de la cóclea, alberga a los receptores auditivos y contiene un líquido llam ado endolinfa. Cuando el estribo hace que la ventana oval vibre, la vibración es transmitida a la membrana basilar, sobre la cual descansan los receptores auditivos. Esta vibración, a su vez, estimula los receptores auditivos.
1.3.3. EL OLFATO “En
la anatomía de la nariz se observa en primer lugar la cavidad nasal, un espacio vacío que se encuentra por detrás de cada narina. El aire, que contiene los olores, llega a la cavidad nasal a través de dos vías: proveniente de la inhalación o de la garganta cuando masticamos, bebemos o respiramos por la boca. En la parte superior de la cavidad nasal se encuentra el epitelio olfativo, en cuya superficie se encuentran los receptores que captan los olores”3. En el olfato y el gusto, a diferencia de los otros órganos de los sentidos, los receptores están en contacto directo con el estímulo. Las células receptoras del
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de las mujeres y que las feromonas pueden estar relacionadas con los ciclos menstruales de éstas. Barón (1988), Los efectos de diversas esencias sobre el comportamiento humano pueden no ser tan directos como los encontrados en animales inferiores, pero algunas investigaciones recientes sugieren que las esencias pueden tener cierto impacto sobre la percepción de la gente en situaciones sociales.
1.3.4. EL GUSTO “El
gusto se refiere sólo a las percepciones que resultan del contacto de sustancias con los receptores especiales en la boca. En psicología, el gusto se refiere a una porción muy, limitada de las percepciones involucradas en el uso cotidiano de la palabra gusto ”4.
El receptor primario para los estímulos del gusto recibe el nombre de corpúsculo gustativo. Se localizan por toda la boca, mejillas, paladar y garganta, principalmente en la lengua. Los corpúsculos gustativos se localizan en forma de pequeñas protuberancias sobre la lengua y son consideradas como papilas.
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bajas. Otros sentidos relacionados como son el cinestésico y el vestibular, indican si se está de pie erguido o inclinado, en dónde se encuentran las partes del cuerpo y en qué relación. El tipo de piel delgada, es la que cubre gran parte del cuerpo y contiene pelos, notables o invisibles. Otra clase, llamada piel gruesa, se encuentra en las plantas de los pies, las palmas de las manos, y en las superficies lisas de los dedos; carece de folículos pilosos. La piel gruesa es parecida a la delgada, salvo que su superficie es más gruesa y tiene una mezcla de receptores, complejidad que probablemente se relaciona con la destinación exploratoria de las partes donde está presente. La piel se divide en tres partes: la epidermis, o capa externa, que tiene muchas capas de células de la piel que se descaman y mueren; la dermis, que es la capa que reemplaza con células nuevas a las que se descaman. Estas células nuevas se mueven hacia la superficie y toman el lugar de las células epidérmicas conforme estas se eliminan. Bajo la dermis se encuentra el tejido subcutáneo, que contiene tejido conectivo y grasa. La piel también contiene una gran cantidad de venas, arterias, glándulas
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CAPÍTULO II EXPRESIÓN CORPORAL
3.1. DEFINICIÓN DE LA EXPRESIÓN CORPORAL.
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sentimientos: "La expresión corporal nos hace tomar conciencia de inmensas nostalgias que hemos relegado a los más profundo de nosotros mismos. Moverse libremente supone expresar nuestros sentimientos más ocultos, hacer compartir lo que pensamos, pero que no sabemos expresar, reencontrar el contacto con la naturaleza y con el otro, darnos cuenta un poco de nuestra necesidad de autenticidad". Gardoqui y Sierra (1994: 66), "contenido de Educación Física caracterizado por el tratamiento específico y diferenciado de todos los aspectos del movimiento en sus vertientes formales y expresivas en función de los objetivos de expresión, comunicación y creatividad que caracterizan a esta materia", cuyo objetivo es: "el tratamiento del movimiento desde un punto de vista expresivo, comunicativo y
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va a limitar en el futuro la capacidad de valoración y utilización de otras formas de expresión. Por eso es importante que las situaciones de enseñanza y aprendizaje en primaria deban contemplar contenidos propios de la expresión corporal, que en estas edades se dan muy relacionados con los contenidos de habilidades perceptivas y esquema corporal. Knapp (1980), la participación de todo el cuerpo del niño en el proceso educativo es muy importante, principal. El niño toma como punto de partida el conocimiento que tiene de las diferentes partes de su cuerpo y del de los demás, pasando del movimiento global al segmentario y afirmando el proceso de lateralización. Toma conciencia de su propio cuerpo, pasando de la acción a la representación. Diferencia ya las partes de su cuerpo que intervienen en el movimiento, lo que le
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Renovados de 1981-82 y por la LOGSE, hasta llegar hasta el más reciente Real Decreto el 3 de agosto agosto de 2001 que modifica el currículum de la E.S.O. y del Bachillerato. En Educación Infantil, la presencia de la expresión corporal es grande y fundamental. Esto es debido, por una parte, a la importancia del juego simbólico en todo el proceso de aprendizaje en las primeras edades, y por otra, a que la falta de dominio del lenguaje oral hacen, que el corporal, sea el canal principal de comunicación del niño. Haciéndose mención específica en el área de Comunicación y Representación, en la que uno de sus contenidos es al "Expresión Corporal". En Educación Primaria, esta presencia se sitúa, de forma mayoritaria, pero no
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2001. En Educación Secundaria, tanto en la E.S.O., como en Bachillerato, existe también la expresión corporal como materia optativa. En la enseñanza universitaria, dentro de las escuelas de Magisterio y facultades de Ciencias de la Educación, la expresión corporal se incluye en el currículum del maestro especialista en Educación Física, siendo la asignación de créditos, la obligatoriedad y denominación de esta materia muy variada. Teniendo, en las facultades de Ciencias de la Actividad Física y el Deporte, de carácter obligatorio en la mayoría de los programas de formación del profesor de Educación Física. 2.4. PROPUESTA EN LA EXPRESIÓN CORPORAL Para la confección del filtro pensamos en basarnos en los pilares o elementos
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1.-Investigación. 2.-Expresión y Comunicación 3.-Creatividad Ortiz (2002: 151), estructura los contenidos de expresión corporal en tres bloques:
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“Las
manifestaciones expresivas se dan principalmente en el campo de la expresión corporal y son resultado de la percepción reflexiva y del movimiento expresivo. Gracias al desarrollo evolutivo, el niño logra la conciencia de su propio cuerpo, lo que posibilita la expresión y comunicación de forma intencional y creativa. El valor educativo de las manifestaciones expresivas radica en la posibilidad de actuación y en la libertad de expresión, donde la creatividad, la
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Comunicar factores de tipo cultural y social.
2.5.3. LA MIRADA Contiene gran poder expresivo y es un medio muy eficaz para la comunicación. Es implicativa, ya que denota el estado emocional y afectivo del sujeto en ese determinado momento. Con la mirada, se refuerzan los mensajes verbales y se
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(sexo, guerra, religión,…) que se expresaban a través del ritmo, la mímica y la
coreografía. La danza se ha ido transmitiendo de generación en generación y ha ido evolucionando con la llegada de las distintas civilizaciones. Ésta explica la necesidad del hombre de expresarse a través del movimiento, implicando un
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b) JUEGO DRAMÁTICO Cañas (1992), afirma que el Juego Dramático o Dramatización es la representación de una situación, donde se reúne un grupo de jugadores que improvisan colectivamente en base al tema elegido de antemano. Podemos decir que el Juego Dramático es una forma sencilla de iniciarnos en el juego teatral,
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