Critical thinking (CT) emerges as a fundamental higher-order thinking skill in mathematics education. Teachers’ beliefs, perceptions, and definitions regarding CT shape their classroom practices and directly influence students’ levels of CT. The aim of this study is to examine in depth mathematics teachers’ perceptions of CT, the reflections of these perceptions in their instructional processes, and the meanings constructed in their experiences related to the phenomenon of CT. Design of the study was descriptive phenomenology. The participants consisted of 25 elementary mathematics teachers. As data collection tools, a personal information form and a semi-structured interview form were used to identify the participants’ experiences concerning CT. The data obtained through the semi-structured interviews were analyzed using inductive thematic analysis. According to the findings, teachers primarily defined CT as involving questioning, analysis, independent decision-making, and generating alternatives, while metacognitive and affective aspects were less emphasized. CT was seen as essential for moving beyond rote learning and promoting creative problem-solving. Teachers reported that discussion, open-ended questions, and real-life connections fostered CT, though time limits, low motivation, and inadequate assessment tools posed challenges. Using rubrics and materials was noted to ease assessment, with CT viewed as a skill that develops over time.

This study aims to investigate the effects of fascia-focused exercises on students' bodily and vocal awareness, perceptions of voice production, and learning experiences during vocal training. The study was conducted with 13 undergraduate voice students (10 female, 3 male, ages 20–30) from a state conservatory. Using a phenomenological design, data were collected through weekly written feedback forms, semi-structured interviews, and observational notes over a six-week exercise program. Thematic analysis revealed five core themes: (1) Bodily awareness and postural transformation, (2) Increased breath awareness and control, (3) Contribution to voice production and technical performance, (4) Psycho-physiological relaxation and well-being, and (5) Contribution to the learning process and professional sustainability. Students reported improvements in recognizing muscular tension, postural alignment, diaphragmatic breathing, and producing a more open and supported sound. The exercises were also found to reduce performance anxiety and enhance confidence. Some students indicated that they transferred the exercises to their own students, highlighting pedagogical benefits. This study contributes a holistic framework that integrates fascia awareness into vocal pedagogy.