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UDC: 378:[392:159.91]
DOI https://doi.org/10.34142/27091805.2025.6.01.01
TRAINING FUTURE MUSIC ART TEACHERS TO USE
ETHNIC-FAMILY TRADITIONS IN OVERCOMING WAR
TRAUMA IN SCHOOL YOUTH
© Rastrygina Alla
Doctor of Pedagogical Sciences, Professor
of the Department of Art Education in
Volodymyr Vynnychenko Centralukrainian
State University
Kropyvnytskyi, Ukraine
email: rastrygina.alla@gmail.com
https://orcid.org/0000-0002-4393-2831
© Klepar Maria
Doctor of Pedagogical Sciences, Professor
of the Department of Pedagogy of Primary
Education in Vasyl Stefanyk Prykarpattia
National University
Ivano-Frankivsk, Ukraine
email: mklepar10@gmail.com
https://orcid.org/0000-0003-4923-8696
The article considers the problem of training future music art teachers to use ethnic family traditions
in overcoming war trauma in school youth. An analysis of modern scientic research in the eld of ethno-
pedagogy, art history and psychology is presented. The content and structure of training a specialist-musician
capable of trauma-informed assistance through art to overcome post-traumatic psycho-emotional disorders
in schoolchildren are analyzed. The main directions of training future music art teachers for trauma-informed
assistance through ethnic-family traditions on pedagogical principles are identied. It is proven that the
phenomenon under study works more effectively according to the cross-cutting principle, since it is integrated
into the educational process at the content, methodological and practical levels. The possibilities of its effective
use in art and pedagogical education are revealed.
The possibilities of using components of trauma-informed art in future professional activities by
university students are outlined. The importance of creating safe environment for schoolchildren based on trust,
mutual understanding, and art-communication interaction through ethnic-family traditions is emphasized.
Keywords: artistic-pedagogical education, trauma-informed care, ethnic- family traditions, university
music students, art-communication interaction, mental health.
Problem statement and its connection
with important scientic or practical tasks. In
the context of socio-humanitarian challenges in
Ukraine caused by Russian military aggression,
the problem of preserving mental health of
schoolchildren is becoming of paramount
importance. In this process, special attention
is paid to the appeal to traditional resources of
recovery, among which ethnic-family traditions
occupy a leading place. Therefore, the focus
of modern training of applicants for higher
professional and pedagogical education is not
only the familiarization with ethnocultural and
folklore heritage, but also the integration of ethnic
and family heritage into the process of training
teacher musicians of the ability to provide trauma-
informed assistance through art in their future
professional activities.
Such a statement of the problem makes it
possible to apply in the system of artistic and
pedagogical education new approaches to the
theoretical and practical training of future
specialist-musicians, related to the restoration
and support of the psycho-emotional state
Volume 6 (1) 2025
Professional Art Education
© Растригіна Алла & Клепар Марія
of schoolchildren in war and post-war times.
Therefore, the professional activity of a modern
teacher-musician should be aimed not only at the
formation of the musical culture of schoolchildren,
but also at the restoration and support of their
mental health on the basis of trauma-informed
assistance through art and ethnic-family traditions
as well.
This is conrmed by domestic and foreign
scientists research that each culture has its own
unique ways of experiencing pain, loss and stress,
which are often an important tool for preserving
a person’s psycho-emotional integrity. And the
deepest emotional impact on schoolchildren is the
art directly related to family rituals, folk songs,
epics, legends and fairy tales, music of the family
circle, which often have a therapeutic effect.
They reect hope, renewal, connection with past
generations and help schoolchildren who have
survived the war to restore a sense of stability
and support, as well as provide emotional relief
through empathy.
Therefore, we consider the preparation of
future music art teachers to use ethnic and family
traditions in overcoming the trauma of war to be
a relevant and socially signicant theoretical and
practical task.
Analysis of major research and publications.
Recent years have been marked by a growing
scientic interest among researchers in the role of
national ethnocultural heritage and, in particular,
ethnic-family traditions in conditions of social
upheavals and military challenges. The works of
G. Lozko (2011), I. Kolyada (2011), L. Ryban (2022)
trace the idea of restoring traditional family rituals
as the basis for the formation of national identity
and spiritual self-healing. The authors emphasize
that it is musical practices, songs, rituals, and
family music-making that are capable of creating
the space of emotional security for a child in crisis
circumstances. The latest publications that touch
on the topic of using ethnic-family traditions in
art and pedagogical education deserve special
attention.
Signicant in this direction is the work of
N. Sulaeva, who in her research reveals the role of
ethnic components in the formation of the spiritual
world of a future music art teacher. The author
emphasizes that the family song tradition should
be included in the practical block of educational
and professional programs for applicants for
higher education in arts sphere (Sulayeva, 2025).
Lu Baowen emphasizes the need to integrate ethnic
and music history material into the process of
training a music art teacher, because it is precisely
such knowledge and understanding that allow a
future specialist to identify himself as a bearer of
cultural and family heritage (Lu Baowen, 2021).
The importance of ethnic-family traditions
as a therapeutic tool is discussed in the works of
S. Bassa, where the idea of restoring the child’s
psyche through ritual family forms of musical
communication is traced. The author proves the
effectiveness of family music-making as a means
of compensating for emotional destruction in
children who suffered from the war (Bassa, 2025).
Nabok M. (2020) raises the problem of forming
professional readiness for teaching Ukrainian
folklore as a component of art therapy in schools.
Her publications focus on the fact that knowledge
of ethnic-family musical traditions is a key
component of the content of professional training
(Nabok, 2020).
In the context of the problem stated in the
article, works that highlight the role of trauma-
informed assistance through art in restoring the
psycho-emotional state of children affected by
war, deserve special attention. For example, Nigel
Osborne, a professor at the University of Edinburgh,
a composer and a world-renowned specialist
in overcoming war trauma through art and
communication, whose author’s methodology is
based on practical experience working in hot spots
around the world, proves that involving children
in music related to their ethnocultural background
signicantly contributes to reducing the level
of stress, anxiety, and isolation (Osborne, 2023).
Similar conclusions are drawn by Henry Redwood
(2024) and Darren Abraxas (2024), who point to
the need to use ritual song and family traditions in
working with traumatized adolescents.
A signicant contribution to the above-
mentioned issues is the work of Yu. Nikolaevska
(2023), who explores trauma-informed support
through art in educational environment. The
author focuses on the pedagogical potential of
family songs as a factor of emotional stabilization
and self-expression.
A modest contribution of the authors of the
article to the study of this problem is a number
© Rastrygina Alla & Klepar Maria 7
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8
of publications related to art-communication
interaction in overcoming war trauma and
restoring mental health of people of Ukraine. In
particular, regarding the value foundations of art
communications in art and pedagogical education
(Rastrygina, 2023); art and communication
interaction of future teacher-musicians with
children to restore their psycho-emotional state
(Rastrygina, 2024); trauma-informed art as a
spiritual ecosystem for restoring mental health of
the Ukrainians and the organizational principles
of preparing future teacher-musicians for trauma-
informed care through art (Rastrygina, 2024);
musical and creative potential of extracurricular
activities of higher education students in acquiring
the ability to provide trauma-informed care (Klepar,
2024), folk song traditions in the development
of spirituality of future teachers (Klepar, 2017);
features of using ethnocultural traditions to
overcome war trauma in schoolchildren.
Therefore, the authors emphasize the
importance of family musical experience, which
preserves ethnic memory and contributes to the
psychoemotional recovery of children, and proves
that preparing future teacher musicians for art-
communication interaction through art, including
ethnic-family traditions, increases their empathetic
and facilitating ability to overcome war trauma in
school youth.
At the same time, in the above-mentioned
studies (both domestic and foreign), the problem
of using ethnic-family traditions as a means of
trauma-informed assistance in overcoming war
traumas among schoolchildren is not suciently
researched. In particular, G. Lozko (2011) and
I. Kolyada (2011) emphasize the importance
of family rituals in the formation of national
identity, but their works are of the general cultural
nature and do not contain specic pedagogical
mechanisms of trauma-informed assistance. The
same applies to the works of L. Ruban, who focuses
on the family song tradition, but does not consider
it as a resource in overcoming war traumas
(Ruban, 2022).
In the studies of N. Osborne (2023),
G. Redwood (25.05.2024), D. Abraxas (2024),
despite high level and density of scientic and
humanitarian content, there is no focus on the
Ukrainian ethnic-family context as a means
of trauma-informed care. The conclusions of
foreign scientists are universal and therefore
require adaptation to domestic educational
practice. Publications by Y. Nikolaevska, which
directly relate to trauma-informed pedagogy in
generalized reading, nevertheless prove that
trauma-informed care is based on the principles
of empathy, trust, understanding of the cultural
context and individual experience of each person
(Nikolayevsʹka, Andrushchenko, Pryhunkova,
2023).
Previous publications of the authors of this
article, although they correspond to the topic
stated in the article, are, nevertheless, aimed at
somewhat different perspective of its presenting.
In particular, the concept of trauma-informed art
as a spiritual ecosystem supporting the mental
health of students and the existential value of
Ukrainian ethnocultural heritage were revealed
(Rastrygina, 2024); the signicance of lullabies,
ritual songs, and family narratives in the formation
of spiritual and moral values of schoolchildren
and the empathic competence of the teacher was
substantiated (Klepar, 2017).
Thus, the analysis of scientic literature in
recent years indicates at intensication of research
in the eld of professional art education with an
emphasis on ethnic-kinship musical practices.
However, the focus of this article is on identifying
the possibilities of using ethnic-kinship traditions
in the training of future teachers of music art as a
means of trauma-informed assistance through art
to school youth in overcoming war trauma.
Formulation of the goals and objectives
of the article. Given the above, the purpose of
the article is to present the possibilities of using
ethnic and family traditions in the training
of future teachers of music art as a means of
trauma-informed assistance to young students in
overcoming war trauma. To achieve the goal, a
number of tasks are provided. Namely: a thorough
analysis of the modern scientic discourse on
trauma-informed care through art and the use of
ethnic-family traditions in the training of future
teacher-musicians; disclosure of ethnic-family
traditions as a means that works on a cross-cutting
principle and is integrated into the educational
process at different levels: content, methodological
and practical; highlighting methodological
techniques that determine the effectiveness of
using ethnic-family traditions in the preparation
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© Растригіна Алла & Клепар Марія
of a future teacher-musician for trauma-informed
care through ethnic-family traditions; outlining
promising areas of further scientic research on
the problem under study.
Presentation of the main material. We
consider the application of ethnic-family traditions
in the preparation of music art teachers for trauma-
informed care as a means that contains a number of
pedagogical opportunities, in particular, available
means, knowledge, understandings and methods
of action that are used to achieve the goal set in
the article and their effective application in future
professional activities. Such a resource works as a
cross-cutting principle that is integrated into the
educational process at different levels: content,
methodological and practical. The systematic
nature of this approach ensures the integrity of
the training of a specialist-musician who is able to
act in war and post-war times to overcome post-
traumatic stress disorders in children.
To use ethnic-family traditions as an
effective professionally directed means, rst of
all, it is important to develop their artistic and
educational content that reects the richness of
the family musical heritage. This is not only about
mastering authentic folklore material (lullabies,
ritual, calendar-ritual songs, family instrumental
traditions), but also about realizing their art-
therapeutic effect. That is, student musicians must
learn to interpret these types of ethnic-family
traditions not as archaic elements, but as living
mechanisms for restoring the internal balance and
psycho-emotional stability of children.
Secondly, the use of ethnic-family traditions in
working with children requires mastering modern
art-therapeutic, digital and event technologies
and methods as components of trauma-informed
care through art-communication interaction.
This involves the inclusion in the educational
process of special modules aimed at developing
art-communication competencies in the eld of
empathetic listening, recognizing the emotional
state of the child, and using musical practices to
relieve psycho-emotional tension. Thus, ethnic-
family traditions become not just a topic of
the lesson, but a means of art-communication
interaction on pedagogical principles.
The third important component is the creation
of a safe educational environment in which
students can test their own projects aimed at the
psycho-emotional recovery of schoolchildren.
These can be integrated forms of work: joint family
holidays, evening parties, folklore workshops
prepared by students in cooperation with children
and their parents. Such intensive art-educational
events, where all participants actively participate
in the process of their implementation, allow future
specialists to apply the knowledge and methods
of action acquired by them in trauma-informed
care through art-communication interaction. It
is important that such events carry not only an
entertainment function, but also an art-therapeutic
one. In this case, an emotional connection with the
traditions of one’s family is recreated, evoking the
image of the family home of many generations as a
place of protection and love.
Note that during such events, the students
are to master the skills of diagnosing the condition
of schoolchildren: their emotional state, need for
support, sensitivity to the emotional changes of
each child, and creating a space of trust and open
communication (Nikolayevsʹka, Andrushchenko,
Pryhunkova, 2023).
No less important is the reective component
of preparing students for a meeting with
schoolchildren, when it is necessary to record
and rethink the acquired experience of applying
ethnic-family traditions in working with children.
These can be diaries of pedagogical and art-
therapeutic practice, oral reections at seminars,
inter subjects’ discussions with teachers and group
mates, etc. Reexivity forms the ability to self-
correct, ethically comprehend pedagogical action,
and also contributes to the internal growth of a
specialist (Rastrygina, 2024).
Thus, the combination of diagnostic,
educational-creative and reective practices create
the basis for high-quality professional training
of a music art teacher for trauma-informed care
through ethnic-family traditions.
The application of ethnic and family traditions
in the professional activities of a music art teacher
should be developed not only at the level of general
cultural training, but primarily in the form of art-
therapeutic pedagogical practice aimed at specic
interaction with a school audience in a state of
post-traumatic stress.
Models that combine emotional and gurative
understanding of family heritage with creative
reection in a safe school environment are
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particularly effective. One example of such work
is the implementation of an interdisciplinary
integrated course «Family Song Heritage and
Musical Creativity» within the framework of the
variable component of artistic and pedagogical
education. Within the framework of such a
course, schoolchildren not only get acquainted
with the genre diversity of family music (lullabies,
laudatory, wedding, funeral songs), but also work
on their own family musical research: they record
the songs of their grandparents, create booklets,
audio and video archives, present family song
traditions during «family music evenings» at
school, etc.
Another example is the technology of the
«musical family tree». Each student works on
creating his own musical portrait of the family:
nds songs that were performed in his family
at important moments in life (birth, wedding,
farewell), describes their meaning, compares them
with local traditions. The teacher-musician acts as
a moderator of the process, helps to nd a musical
form for the presentation, forms an appropriate
emotionally safe atmosphere. According to
educators, this form of activity activates the child’s
internal connection with family values and helps
restore internal support (Baoven, 2021).
Another promising direction is the use
of ethnic and family song heritage within the
framework of the work of school vocal and folklore
groups. Here, the art-communication emphasis
shifts to collective performance, which forms in
schoolchildren not only the skills of ensemble
singing, but also collective support, trust, and a
common emotional eld. Songs are selected taking
into account the regional origin of students and the
emotional context (lullabies - to create security,
freckles - to activate life resources, harvest songs -
for a sense of completion and gratitude).
Methodologically justied is also the holding
of «family song workshops», within the framework
of which the students and their parents jointly
prepare and present family musical numbers.
These can be evenings «My Grandmother’s Song»,
«My Parents’ Wedding», «Lullaby from Childhood».
Such a format is extremely valuable in view of
the art-therapeutic power of family interaction: it
activates memory, creates a space of trust, allows
the child to see parents in a new, valuable role
(Lozko, 2011).
The launching of a permanent active media
project «Living Family Song» at the school
deserves special attention. It involves the creation
of a digital archive of family musical heritage, in
which each child preserves his or her own piece
of cultural memory. Materials (audio and video
recordings of songs, performance histories, photos
of performers) are posted on the school website,
social networks, or YouTube channel. The creation
of such an archive is not only an educational but
also a socio-psychological act of preserving family
identity. The phased implementation of practices
for involving schoolchildren in ethnic-family
musical heritage involves taking into account
several methodological principles: integrity,
emotional security, cultural identication, and
individualization.
Special attention deserves the methodological
support for the implementation of ethnic-family
traditions in musical and pedagogical education,
the content of which requires updating on the basis
of a trauma-informed approach. This involves
the creation of educational and methodological
complexes that include audiovisual samples of
authentic ethnic-family folklore, interpretive
exercises, adapted scenarios of traditional actions,
the practice of creating one’s own art projects
based on family songs, rituals, etc. Such materials
should take into account the age and psychological
characteristics of children who have experienced
traumatic experiences and contribute to their safe
inclusion in the educational process.
An important component of the
methodological toolkit is the development of
pedagogical cases and educational situations that
model interaction with students in conditions of
post-traumatic stress disorder. For example, the
use of a lullaby as a calming exercise, the creation of
individual “musical diaries” by the schoolchildren,
the integration of elements of family rituals into
the scenarios of school holidays. Such forms
contribute to the formation of future teachers’
experience of art-communication interaction as a
resource for restoring the psycho-emotional state
and supporting the mental health of students.
It is also advisable to include into the
educational and vocational program the
educational components focused on the theory
and practice of trauma-informed care through
art, art communications in secondary education
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institutions through art and music therapy, digital
technologies and events. This allows students
to acquire not only professionally oriented
competencies, but also to master the possibilities
of their application in the context of ethnic and
family traditions. As well as to extrapolate their
elements into their own family experience, which
is important for the development of empathy and
reection in future music teachers.
As practice shows, the most effective in this
aspect are narrative methods: compiling family
stories through music, reconstructing family song
traditions, discussing musical memories in small
groups. Thus, art-communication training, which
integrates ethnic-family traditions in the context
of trauma-informed action, appears not only as
a professional duty, but also as a cultural and
spiritual mission of a modern music teacher, which
expands the boundaries of his or her professional
activity.
The effectiveness of training for the use of
ethnic-family traditions as an effective tool largely
depends on the personal involvement of students
in the art-communication artistic environment. An
important tool in this context is eld ethnographic
practices, in particular folklore expeditions,
meetings with bearers of song family traditions,
participation in live folk performances. It is such
activities that allow not only to immerse themselves
in the source of ethnic-family traditions, but
also to realize their importance as a resource for
internal integrity and support in crisis situations.
As evidenced by the results of our international
projects implemented within the framework
of cooperation between Ukrainian and British
universities (Rastrygina, 2023), such a form of work
contributes to a deeper students’ understanding
of the role of national culture and family-ethnic
traditions, including in overcoming war traumas
through art-communication interaction.
Special attention should be paid to the
development of indicators of students’ readiness
to use ethnic-family traditions in their future
professional activities to overcome war traumas in
schoolchildren. Such indicators include: the ability
to creatively interpret ethnic-family material; the
level of empathetic interaction with a child; the
formation of skills in modeling art-communicative
situations; the ability to adapt traditional forms
to the modern educational context. These
parameters can be used when assessing the results
of art-communication practice and students’
academic achievements within the framework
of certicate programs in trauma-informed care
through art-communication interaction, which
are implemented at the V. Vynnychenko Central
State University for bachelor’s and master’s degree
applicants in the specialty «Musical Art».
A particularly important professional
resource for training student musicians is the
ability to engage in art-communication interaction
based on dialogue with a child in order to build
trust, understanding, recognition and a sense of
their inner experience, which is practiced during
practical training work with a school audience.
In this context, it is appropriate to use methods
of non-violent communication, art conversation,
elements of music therapy interviewing, which
allow the future teacher-musician to act not only
as a translator of knowledge, but also to be a
facilitator of the child’s emotional stabilization.
Such means are especially in demand in situations
when schoolchildren cannot verbalize their
experiences, but are able to express them through
musical improvisation, rhythm, intonation, and
ritual form.
An innovative direction in the acquisition by
students-musicians the ability to provide trauma-
informed care through ethnic-family traditions
can be the development of integrated courses that
combine elements of music pedagogy, trauma
pedagogy, ethnic psychology and art therapy. An
example is the educational course “Music of the
Family: Art-Communication Aspects”, in which
theoretical material (history, functions, genres of
family folklore) is combined with the practice of
creating events, art albums, and interactive event
scenarios for children who have experienced
post-traumatic stress. Such courses serve as a
platform for creative search, development of an
individual style of trauma-informed care through
art and contribute to the development of students’
motivation to preserve and transform traditional
ethnic-family culture as a means of trauma-
informed care.
It should be noted that the use of ethnic and
family traditions as a means of trauma-informed
care also requires the development of stress
resistance in future music teachers themselves.
Therefore, students should receive not only tools
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for inuencing others, but also acquire the ability to
maintain their own motivation and emotional self-
preservation in dicult and uncertain conditions.
To this end, educational components related to
trauma-informed care through art should include
trainings using supervisory practices, as well
as create reective groups where students can
process their own experiences and prepare for
work on trauma-informed care for schoolchildren.
In addition, in expanding the potential of
training musicians for trauma-informed care
through ethnic-family traditions, it makes sense
to create thematic laboratories, pedagogical
workshops, and creative studios in which students
develop, test, and implement original methods
for using ethnic-family traditions in working with
children. These platforms should function not only
as a space for practical work, but also as a center for
art-communication interaction with communities,
families, and cultural and artistic centers, ensuring
continuity between academic training and the real
needs of the community.
The outlined possibilities of acquiring the
ability to provide trauma-informed care through
the use of ethnic-family traditions in working
with children who have experienced war trauma
in the process of training future teachers of
music art involve interdisciplinarity, practice-
orienteers, spiritual and cultural reection, and
emotional empathy. And their implementation is
possible provided that educational standards are
updated, innovative approaches are supported by
the leadership of higher education institutions,
and students are actively involved in the creative
rethinking of ethnic-family traditions in the format
of art-communication interaction.
Therefore, we believe that ethnic-family
traditions are an effective means of trauma-
informed assistance to children with psycho-
emotional disorders and contribute to the
restoration of their mental health. This requires
rethinking the role of trauma-informed art in the
structure of the educational process of higher
education institutions as a whole. Since, in our
opinion, in conditions of war and in post-war
times, trauma-informed art should function as
a full-edged component of educational and
professional programs not only in the training
of future teachers of musical art, but also in the
training of future teachers of other pedagogical
specialties of an artistic prole. Since it is ethnic-
family traditions, being the carrier of stabilizing
meanings, rhythms and images, can become the
basis for the creation of a new scientic direction:
trauma-informed artistic and pedagogical
education.
In the context of presenting the possibilities
of using ethnic-family traditions as a means of
trauma-informed assistance to schoolchildren,
attention should be focused on the importance of
inter-university cooperation. Involving teachers
from other regions, partner universities, and
participating in international projects contributes
to the exchange of experience and improving the
quality of training for trauma-informed assistance
through art.
For example, within the framework of
cooperation in the international programs «Art
and Communications» and «Trauma-informed
Assistance through Art», such training models were
tested that include elements of national folklore
in combination with innovative art-pedagogical
methods (Osborne, 2023; Nikolaevskaya, 2023;
Rastrygina, 2024). Such projects lead to the
creation of a transnational trauma pedagogy
of memory, in which ethnocultural and ethnic-
family traditions, among others, are considered as
a factor in restoring human mental health in the
international humanitarian dimension.
Conclusions. Thus, in the process of achieving
the goal set in the article, we came to the conclusion
that the problem of using ethnic-family traditions
in the preparation of a future music art teacher for
trauma-informed assistance to schoolchildren still
remains open to scientic research. This allowed
us to consider the phenomenon under study as
one that works on a cross-cutting principle and
is integrated into the educational process at the
content, methodological and practical levels and to
reveal the possibilities of its effective use in artistic
and pedagogical education.
Prospects. We see prospects for further
research in the development of variable curricula,
practical cases, and educational and methodological
materials for the further development of the ability
to provide trauma-informed care through art and
the formation of art-communication competencies
in future music teachers.
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стецтва. Мистецтво у кризові періоди: навчання і терапія. Art in times of crisis: teaching and therapy
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Рубан, Л. (2022). Роль колискової пісні у духовному вихованні дитини. Актуальні питання
гуманітарних наук. Вип. 55, том 2. https://doi.org/10.24919/2308-4863/55-2-49
Сулаєва, Н. (2025). Українська народна пісня в системі професійної підготовки майбутніх вчи-
телів музики: культурно-творчий потенціал. Витоки педагогічної майстерності, (35), 218–222.
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art communication]. Suchasna osvita v Ukrayini: osoblyvosti rozvytku v umovakh voyennoho stanu ta
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Надійшла до редакції / Received: 04.04.2025
Рекомендовано до друку / Accepted: 23.06.2025
Professional Art Education Volume 6 (1) 2025
Scientic Journal
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© Rastrygina Alla & Klepar Maria
ПІДГОТОВКА МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО
МИСТЕЦТВА ДО ВИКОРИСТАННЯ ЕТНІЧНО-
РОДИННИХ ТРАДИЦІЙ У ПОДОЛАННІ ВІЙСЬКОВИХ
ТРАВМ У ШКОЛЯРІВ
© Растригіна Алла
доктор педагогічних наук, професор ка-
федри мистецької освіти Центрально-
українського державного університету
імені Володимира Винниченка,
Кропивницький, Україна
email: rastrygina.alla@gmail.com
https://orcid.org/0000-0002-4393-2831
© Клепар Марія
доктор педагогічних наук, професор ка-
федри педагогіки початкової освіти При-
карпатського національного університету
імені Василя Стефаника,
Івано-Франківськ, Україна
email: mklepar10@gmail.com
https://orcid.org/0000-0003-4923-8696
У статті представлено можливості використання етнічно-родинних традицій у підготовці
майбутніх учителів музичного мистецтва до травмоінформованої допомоги учнівській молоді
через арт-комунікаційну взаємодію.
Методи та методологія. Представлено нові підходи до теоретичної та практичної підго-
товки майбутніх фахівців-музикантів, пов’язані з відновленням та підтримкою ментального
здоров’я школярів засобами мистецтва й зокрема, через застосування етнічно-родинних тра-
дицій; розкрито можливості етнічно-родинних традицій як засобу, що працює за наскрізним
принципом та інтегрований у освітній процес на різних рівнях: змістовному, методологічному
та практичному; виокремлено низку технологій і методів, що визначають ефективність засто-
сування етнічно-родинних традицій у підготовці майбутнього вчителя-музиканта до травмоін-
формованої допомоги школярам.
Наукова новизна полягає у визначенні основних напрямків підготовки майбутніх учи-
телів музичного мистецтва до травмоінформованої допомоги учнівській молоді через етніч-
но-родинні традиції на засадах арт-комунікаційної взаємодії.
Результати. Проаналізовано зміст і структуру підготовки фахівця-музиканта, здатного до
травмоінформованої допомоги через мистецтво для подолання посттравматичних психоемо-
ційних розладів у школярів. Ефективність запропонованого підходу зумовлена системністю за-
стосування етнічно-родинних традицій в опануванні як автентичного фольклорного матеріалу
(колискових, обрядових, календарно-обрядових пісень, сімейних інструментальних традицій),
так і реалізацію сучасних арт-терапевтичних, цифрових та івент-технологій і методів як скла-
дових травмоінформованої допомоги через арт-комунікаційну взаємодію (розпізнавання емо-
ційного стану дитини та використання музичних практик для зняття психоемоційної напруги).
Одним із складників травмоінформованої допомоги через мистецтво школярам визначе-
но створення безпечного освітнього середовища, в якому студенти разом з дітьми можуть апро-
бувати власні проекти, спрямовані на психоемоційне відновлення школярів через інтегровані
форми роботи: спільні сімейні свята, вечори, фольклорні майстер-класи, підготовлені студента-
ми у співпраці з дітьми та їхніми батьками.
Висновки і перспективи. Проблема використання етнічно-родинних традицій у підго-
товці майбутнього вчителя музичного мистецтва до травмоінформованої допомоги школярам
все ще залишається відкритою для наукових досліджень.
Доведено, що досліджуване явище працює ефективніше за наскрізним принципом, оскіль-
DOI https://doi.org/10.34142/27091805.2025.6.01.01
16 © Растригіна Алла & Клепар Марія
Volume 6 (1) 2025
Professional Art Education
ки інтегровано в освітній процес на змістовному, методологічному та практичному рівнях. Роз-
крито можливості його ефективного використання в мистецько-педагогічній освіті.
Перспективи подальших досліджень убачаємо у розробці та впровадженні у підготов-
ку фахівців мистецького профілю варіативних навчальних програм, практичних кейсів та на-
вчально-методичних матеріалів задля розвитку у них здатності до травмоінформованої допо-
моги через мистецтво та відновлення і підтримки ментального здоров’я школярів у майбутній
професійній діяльності.
Ключові слова: мистецько-педагогічна освіта, травмоінформована допомога, етнічно-ро-
динні традиції, студенти-музиканти ЗВО, арт-комунікаційна взаємодія, ментальне здоров’я.
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© Rastrygina Alla & Klepar Maria
