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CHCFC508A: Foster children’s aesthetic and creative development

Plan and provide aesthetic experiences for children

Contents

Identify and select a range of developmentally appropriate visual, musical and other sensory stimuli to provide children with experiences of art and beauty 4

Factors influencing creative and aesthetic development 4

The importance of a visual arts program 7

Selecting appropriate visual arts experiences 11

Provide a range of visual arts experiences and materials 11

Provide a range of musical and other sensory experiences 22

Select appropriate materials and present them attractively 24

Provide work and play areas promoting aesthetic qualities for both children and adults 26

Theoretical perspectives 26

Aesthetic visual arts environments 27

Planning and managing the creative environment 28

Group and individual experiences 35

Formulate strategies for fostering creative development and aesthetic awareness in children 36

Strategies that foster an awareness and enjoyment of visual arts 36

Strategies that foster creative development and aesthetic awareness in children 38

Respond to children’s interests that arise spontaneously as they participate in aesthetic experiences 40

Spontaneous play situations 40

Design a program of aesthetic experiences in response to emerging skills, abilities and interests of individual children and groups of children 42

Using observation (formal and informal) to plan stimulating creative experiences 42

Using children’s interests in a creative framework 43

Creating enriching learning environments for children 45

Diploma of Children’s Services: CHCFC508A: Reader LO 9324 © NSW DET 2010

Present aesthetic experiences that encourage appreciation of diversity including cultural diversity 48

Reflecting our diverse communities 48

References 50

Diploma of Children’s Services: CHCFC508A: Reader LO 9324© NSW DET 2010

Identify and select a range of developmentally appropriate visual, musical and other sensory stimuli to provide children with experiences of art and beauty

Factors influencing creative and aesthetic developmentCreativity draws on our store of life experiences of feeling, hearing, doing and thinking in order to follow a process and perhaps resulting in something new. The creativity is in the doing. It does not always involve a finished product. Our experiences and responses to them provide each of us with the means to be as creative however we choose. Everyone has the means to be creative.

The Macquarie Dictionary, (edn 2004), defines 'create' as 'to bring into being; cause to exist; produce' or 'to evolve from one's own thought or imagination'. To be 'creative' is further defined as 'having the quality or power of creating' or 'resulting from originality of thought or expression'.

Definitions of creativity are many and varied but all certainly contain the following elements:

• being open to a new experience • exploring and experimenting with materials • exploring and discovering for oneself • permitting one thing to lead to another • being curious, imaginative, innovative and inventive • trying new ways of looking at things • manipulating, questioning, exploring, testing and modifying.

Creativity can also have the following properties:

• the ability to find new solutions to a problem• expressing itself through cognitive (thought) and imaginative processes• emerging from our experiences and a sense of freedom.


Whenever the term creativity is mentioned, the arts come to mind. However, creativity can occur in all aspects of everyday life. It certainly includes the arts, (traditionally music, literature and visual art), but goes beyond this. It should not be thought of as a separate part, but as characteristic of our thinking, being and responding to the environment and our feelings.

What does creativity mean to you?As adults, we sometimes confuse creativity with talent. It is important to remember that creativity is a way of thinking—an attitude that helps us explore new ways to do something.

Understanding your own creativity and how you approach problems and new situations will assist you to become sensitive and responsive to creativity in young children. Recognizing how you feel when you are being creative will help you support children’s efforts at trying out new ideas.

Activity 1

Exercises to stimulate creative thinkingHere are some exercises you can do to help stimulate your own creative thinking.

• How do you get to work or study each day? Can you think of an alternative route to work or mode of transport? What would happen if you took another route?

• Think of some unusual ways to use a common object, e.g. an egg carton, a biro or a newspaper.

• Think of three ways to make a sandwich without using bread.• Sit in front of a friend or colleague. Take turns to draw each other with

charcoal. While drawing your colleague do not look onto your paper. Take as long as you like to complete this activity.

After you have finished each activity answer the following questions:

• How did you feel when you were asked to undertake this task?• How did you feel when completing the task?• What are the skills you could develop through this task?• Were you being creative during this task?• What was your final outcome in terms of creativity

Albert Einstein stated that: “It is the supreme art of the teacher to awaken joy in creative expression and knowledge”. How do we fulfil that intention in our work with young children?


AestheticsYou have probably heard the words ‘aesthetically pleasing’ used a great deal during your studies, but what does it actually mean?

The word ‘aesthetics’ comes from the Greek word aisthetikos which is the ability to perceive thorough the senses.

We never know when inspiration may alight upon us!

Eaton and Shepherd, AECA (1998), state that:

aesthetics simply refers to a value or judgment relating to what is considered pleasing within nature and is a response through the senses of sight, touch, smell, taste and sound.

What each person sees as beautiful is subjective. Have you heard of the saying: ‘beauty is in the eye of the beholder’? It refers to the sense of pleasure we get from the act of seeing something as beautiful rather than the object or subject of the artwork being beautiful.

We all have some sense of aesthetics, and use this in our everyday experiences. We arrange our homes in a way that satisfies us, buy clothes that feel and look good or play music that we enjoy or think is beautiful.

The Danish philosopher Soren Kierkegaard (1813–1855) saw the aesthetic stage as one of the three different forms of life, along with the ethical and the religious. He saw the person living at the aesthetic stage as living for the moment and looking for every moment of enjoyment; living for whatever is beautiful, satisfying or pleasant. This person lives in the world of the senses. How much do you live through your senses?

Activity 2

If you feel inspired to reawaken your creative spirit visit either of the below two websites for some wonderful ideas and strategies on developing and enhancing your own creativity.

http: //www.creativityfor life.com


or

http://www.changeyourstate.com

Read any of the following for further inspiration:

• Golden, B (2006) Unlock Your Creative Genius, Prometheus Books, New York

• Gregory, D (2006) The Creative License: Giving yourself permission to be the artist you truly are, Hyperion, New York, USA

• Sark (2005) The New Creative Companion, Celestial Arts, Celestial Arts, Millbrae, CA.

The importance of a visual arts programCreativity and aesthesis are words we will use often when describing a visual arts program. Visual arts can be defined as:

The United States Copyright Office defines ‘visual arts’ as

…original pictorial, graphic and sculptural works, which include two-dimensional and three-dimensional works of fine, graphic and applied art.

Visual arts must be visible. They are:

• an expression of beauty• an expression of what is aesthetically pleasing or satisfying to the eye• an expression of craftsmanship.

Visual art creations can be spontaneous or planned, simple or complex, intricate or bold. They might involve individuals, small groups or even large groups of children. Being involved in visual art experiences allows for representation of children’s feelings, ideas and thoughts about the world around them. Our services are full of opportunities for children to participate and enjoy visual art opportunities. You might instantly think of drawing, painting and sketching… but there is much more to offer her as well.

Activity 3

Documents to reference in designing a visual arts program There are a number of documents that guide Children’s Services in designing, developing and implementing developmentally appropriate programs for children.


These have been developed in conjunction with state and federal government departments and are essential documents to be familiar with during your studies and within the profession.

The Australian Children’s Education & Care Quality Authority (ACEQA) (2011) National Quality Framework (NQF). Available at: http://acecqa.gov.au/home/

The Guide to National Quality Practices Standards is the primary resource for management, staff and families who are participating in their centre's progress through the National Quality Framework (NQF). Of particular interest is;

Quality Area 1: Educational program and practice; Element 1.1.1, Element 1.1.2 and 1.2.2. and

Quality Area 3: Element 3.2.2

Publications are available at: http://acecqa.gov.au/links-and-resources/national-quality-framework-resources/

A child-focused program is a crucial component of a creative curriculum. It is also useful to reference Belonging, Being and Becoming, the recent publication endorsing the Early Years Learning Framework from the Australian Government Department of Education, here. This essential document provides a framework of principles, practices and learning outcomes for children’s early learning experiences. You can read more about this publication at http://www.deewr.gov.au/earlychildhood/policy_agenda/quality/pages/earlyyearslearningframework.aspx

This document acknowledges the fact that children are ‘Children are confident and involved learners’ (pp 33-37) and that ‘childhood is a time to seek and make meaning of the world’ (p7) It goes on to state that ‘Children are confident and involved learners’ (p33) How do these outcomes influence the creative and aesthetic opportunities we provide for children?

Of particular interest is;

Learning Outcome 5: CHILDREN ARE EFFECTIVE COMMUNICATORS: Children engage with a range of texts and gain meaning from these texts (p. 41)

The NSW Curriculum Framework—The Practice of Relationships, can be found at www.community. nsw .gov.au/docswr/_.../childcare_ framework .pdf

‘The Creative Child’, pages 71 and 72 is of prime interest here. The framework discussed how creativity is a valid form of communication and self-expression. Creative thinking and problem solving are viewed as ‘Creativity as the highest order’ and Child Care Workers are viewed as ‘Caretakers of children’s creativity’ (p 72)


http://www.community.nsw.gov.au/docswr/_.../childcare_framework.pdf

http://www.deewr.gov.au/earlychildhood/policy_agenda/quality/pages/earlyyearslearningframework.aspx

http://www.deewr.gov.au/earlychildhood/policy_agenda/quality/pages/earlyyearslearningframework.aspx

http://acecqa.gov.au/links-and-resources/national-quality-framework-resources/

http://acecqa.gov.au/links-and-resources/national-quality-framework-resources/

http://acecqa.gov.au/home/

All of these guiding principles are essential to reference when we are providing a rich and diverse visual arts program for children.

Values children acquire through visual art experiencesAs well as experiencing the elements of art, participation in visual art experiences encourages children to:

• explore and stimulate thinking• problem solve, create and imagine• experiment with and master tools and materials• explore different methods of self-expression• organise their ideas and express their feelings• respect themselves and their accomplishments• work with a purpose• maintain a focus• appreciate and explore cultural diversity• develop and extend sensory awareness• gain an appreciation of both the process and product of creativity• work in a team, or work alone• develop a sense of beauty and appreciation for art• develop and extend individual preferences and tastes.

Activity 4

Theoretical perspectives: the elements of artWhen we provided and discuss visual art opportunities with children, it is important to use the ‘special language’ of visual arts. This is especially vital if we are to see children as artists and explorers and interpreters of their environment. We might discuss:

• texture• shape and form• colour• balance• space• pattern

Activity 5


Developmental sequences in artistic expression and aesthetic and creative developmentThere is a general developmental sequence that illustrates the stages of children’s creative development in the areas of art, drawing and painting.

Children’s creative development in the areas of art, drawing and painting

Name of stage Typical age Characteristics of stage

Manipulative stage 0–18 months Experiments with and explores media through all senses

Makes random marks

Begins to scribble which develops from disordered to controlled scribble

Symbolic stage 18 months to 3 years

Children can describe what their pictures are about; the symbols represent mental images; unable to be recognised by adults initially but leads to becoming recognisable

Pattern making and shape making is evident at this stage

Representative stage

3 years onwards Pictures are identifiable and images are clearly represented

Involved pattern making

Children’s development in other creative media

Creative media Stage 1 Stage 2 Stage 3

Clay Patting, stroking, squashing, pinching, squeezing, breaking pieces off, putting pieces on top of each other

Making coils, ’snakes’, balls, making clay stand up

Sculpting and moulding the clay, making objects and figures, adding features

Collage Random use of glue, glues many pieces on top of each other

Places pieces in patterns or rows, may add drawn features

Mosaic, uses selected pieces to make a design or picture

Woodworking Lays with tools, pounds boards or table, pounds nails

Attempts to connect pieces, often nails pieces at right angles

Plans project, then assembles it, measures, adds details to project

Block play and construction

Carrying, filling, dumping, beginning block building, making rows, laying blocks end to end

Making pillars, making bridges, making spaces and areas, pattern making, naming structures

Reproducing real-life structures, incorporates dramatic play


Selecting appropriate visual arts experiences

We have discussed visual arts experiences as including:

• drawing • painting • modelling • printing • collage• bookmaking • puppetry • construction • stitchery • weaving.

A successful visual arts program will be one that provides a diversity of experiences, arises and extends from the children’s interests and provocations, is thoughtfully set up and accessible and provides a range of spaces and places for children to explore, create and imagine.

Provide a range of visual arts experiences and materials

Drawing

Drawing is an ideal and immediate way to express oneself


In her seminal text, Rapunzel’s Supermarket, Ursula Kolbe (2002, p 42) states: ‘Of all the visual arts, drawing is the quickest and most direct way of making ideas visible. It is an incredibly powerful tool—a language—that enables children to explain things to themselves and others.’

There is a large range of tools and materials that we can provide for children to draw. These can be presented for children in many different ways with many different mediums. Begin with only a few materials—too much choice can be confusing and bewildering. Make sure the materials are able to make clear, strong marks, and are large enough to hold comfortably.

Some of the drawing tools that are suitable to use with young children include:

• oil pastels and wax crayons—thicker kinds are easier to hold and do not break as easily; oil pastels are softer with stronger colours than crayons

• chalk—use wet or dry on different coloured paper (large or small) or on chalkboards

• non-toxic water-based felt-tip pens or textas—these make clear an precise marks. Offer young children thick, short textas in a few colours and older children thick and thin textas in black and a range of colours. Arrange textas in different containers according to colours, ie shades of blues, reds, etc

• pencils—more suitable for older children. Use soft pencils in black and/or colours. Make sure they are sharp—provide sharpener for older children.

• charcoal—as charcoal snaps easily, perhaps break them into smaller pieces

• paper—white paper, brown paper, recycled office or architect’s paper, carbon paper, black or dark paper. Vary the shapes and sizes of the paper so as to invite different kinds of drawings. Paper with a smooth, non-slippery texture is better for textas. Paper with a little texture is better for crayons. Use a long roll of paper or very large sheets for collaborative drawing.

The provision of drawing experiences is only limited by your imagination. It is important to provide a wide range of materials and tools at all times. Some additional tools and ideas could include:

• scissors, sticky tape, glue, pencil sharpeners, clipboards for outdoor drawing, staplers and hole punches in the drawing learning centre

• cut-out drawings—encourage children to cut out their own drawings or photocopies of them. As children play with these they may see other possibilities such as using them as puppets, making them stand up to create a scene or arranging them and pasting them onto paper. A story may be created.

• wax resist—draw with crayons or pastels, then with a soft brush spread water paint (edicol or food dye) over the top of the drawing

• pen and water colour—as above, using textas and water paint.


A word on stencilsTry not to use stencils in your drawing and creative experiences with children. They give just one way to draw a castle, a bird or a flower. To draw freely, without boundaries gives countless ways.

Many of us grew up with stencils, so it can be hard to let go of them-but think of all the possibilities free drawing can provide.

Children colouring pictures they themselves have sketched or drawn is another matter. Often children derive great joy in ‘colouring’ their own pictures; they may even wish to cut these out and use them as collage pieces.

Ursula Kolbe raises some interesting points on stencils and colouring books in her inspiring 2007 book: Rapunzel’s Supermarket (2n edn, See ‘Colouring-in Books’ page 118).

Drawing from observation or provocationsThis kind of drawing means drawing something while you are looking at it. It was previously thought that this would inhibit the child’s imagination and fantasy and discourage creativity. Many Early Childhood Educators now agree that drawing from observation invites children to look at things more closely and make more detailed drawings.

Lillian Katz (1998) states:

a third lesson from the Reggio Emilia preschools experience is that children’s extensive experience of drawing from observation does not appear to inhibit their desire or ability to draw and paint from the imagination or fantasy.

It is worth noting that each person sees things differently and will therefore draw them differently. Ensure you select interesting and appealing objects for the children to draw, base your ideas on their interests.

Drawings from life


Activity 6

Painting gives children limitless potential to express themselves

Painting provides opportunities to explore and make discoveries through manipulating, combining colours and experimenting with patterns and designs. Painting is a creative way of expressing and representing events, objects and emotions. ‘At times words are inadequate: a painting is about making visual magic.’ (Kolbe 2001, p 53)

Materials and tools needed:

• homemade paste (see additional resources for recipe)—use edicol dyes or food colouring with this. remember you only need a little edicol dye!

• tempera paint—mix with water• acrylic paint• finger paint—this can be purchased or you can make a thick form of

home-made paste. whenever possible, use finger paint directly on a white table top rather than on paper. This gives lots of room and emphasises experimenting with paint and fingers.

• paper—firm paper; try offering different sizes and shapes• brushes—size and width of brushes influences children to experiment;

fine brushes encourage more detailed work• rollers, pads, cotton buds, string—these offer alternatives but do be

aware that over reliance on these tools may inhibit creativity. When you are offering tools to children for painting always ask first: would an artist use this?

ExperiencesAs with drawing, the provision of painting experiences is only limited by your imagination. Some ideas for you to consider are:

• colours and how many—an idea is to start with a limited amount of colours and increase the choice as you observe the children’s preferences and interests.

• colour mixing—let children explore the mixing of primary colours to create secondary colours; use white to make pastel colours

• painting from observation—as for drawing


• mixed media—combine painting with collage• paintings on cloth, murals on large rolls of paper can be collaborative and

ongoing projects.

All can be used in various forms and with varying tools to create different consistency and effects.

Activity 7

Modelling

Modelling can take various forms

ClayIn the resource book Clay and Children: More than making Pots, Ursula Kolbe (1997, p 3) states:

Claywork is as essential for symbol making as drawing and painting. But expressing an idea in three dimensions is different from expressing it on paper. Clay enables children to depict an object in the round—with a ‘back’ and ‘sides’ as well as a ‘front’ and even an ’inside’ and ‘underneath’.

Working with clay enables children to make their ideas visible in three dimensions. Clay can be used indoors and outdoors. The clay must be soft and easy to use. It is a good idea to use a table covered with a cloth—plastic or canvas are good. Other ideas are wooden or plastic boards that children can leave their work and take it up again at a later stage.

Children experiencing clay for the first time will often pat, stroke, squash, break pieces off and bang it on the surface they are working on. Always let children explore the texture and feel of the clay first, before attempting to make something out of it. Clay is a very different medium to play dough!

Using clay:

• Children learn how to roll balls and coils.• Children learn how to create stories with lumps of clay.• Children often pile pieces on top of each other.• Children begin to make figures and join pieces together.



• bags of clay (from art shops or potters’ studios)• clay cutter—you can use a knife or a piece of fishing line with buttons,

wooden pegs or small sticks attached to each end• aprons• wooden boards and covering for table

Caring for clay

• After use, make the clay into a ball or square shape.• Make a hole with your thumb and fill this with water. Cover with a damp

towel.• Keep in an airtight container.

Activity 8

DoughDough is made from flour, salt and water. It is a sensory and modelling material. Dough is soft and easy to manipulate. Dough invites children to make and remake forms.

Given dough for the first time, children may smell, taste and poke! Give children lots of time to explore this new material. This will enable them to see what it can do and what they can make it do.

Present the dough at first without any other tools such as rolling pins or cutters. Some children, particularly infants and toddlers, will like to stand; others will want to sit down. Present a generous amount of dough.

Helping to make dough becomes another creative experience. Find recipes for play dough in the Additional resources list for this unit.

PrintingPrint making happens by itself, in ways such as footprints on the beach or in the muddy ground. Nature is full of prints and patterns.

Printing enables children to see shapes in a different and extraordinary manner. When we print we often do not know what we will see—children feel this excitement. Printing gives toddlers a greater awareness of pattern and design as well as helping to develop their pincer grip and other fine motor skills.

When children begin to print they often concentrate on the procedures involved such as holding the printing object. At this stage the printing often does not have a pattern or design. As skills develop, children organise and arrange the shapes.


For handprints, let the children print their hands on white paper in one or two colours. For footprints, spread a long sheet on the floor and hold toddlers' hands as they press their feet onto the stamp pad or in the paint, then walk along the paper. This experience will help develop children's self-concept and body awareness.


• tables and chairs—young children tend to concentrate more easily if they are sitting, but be aware of their preferences

• objects to print with—eg small blocks, lids, corks, firm foam, and textured blocks. There are many more objects to print with—try not to use food items for printing, it can be seen as wasteful and may offend some. Food is precious and for eating. why use food when there is much other material available! Again, ask that question: would an artist use this?

• direct contact prints such as hands, feet and fingers• paints—use any of the paints described previously; each different type of

paint will produce a different result• paint pad—a thin sponge • printing area—cover a table with a towel, blanket or cloth to produce a

soft, even underlay; this will produce results that are clearer• paper or cloth for printing on• leaf prints—put paint on to the underside of the leaf with a brush or a

sponge and press onto the paper. Use leaves and plants that have large veins for a clearer result.

Make a printing pad by soaking a sponge in watery paint and sitting it in an ice cream lid or similar container, or by putting fairly thick paint in the bottom of a baking tray.

RubbingsRubbings offer opportunities to see detail and patterns in objects.

The method is to place a piece of paper over an object and rub it with a crayon, preferably held on the flat, broad side rather than the point. The paper needs to be held at the same time as the rubbing. This may be better for older children.


• paper—use paper that is light, but not so light that it tears• crayons and oil pastels • surfaces—surfaces should be reasonably flat so that it is easier to rub and

the paper does not tear. Examples could be leaves, bark on a tree, pieces of wood, brick and stone walls and pavements, tyres, keys, coins. You may be able to think of many more.


• wax resist—children could use a water paint to make the rubbings stand out

Collage

Collage provides a wealth of opportunities for exploration of materials, forms and shapes

A collage is a pasted arrangement of materials onto a surface—this could be paper or cardboard of different textures, shapes, sizes and colours, bark, boxes and many other surfaces. The term ‘collage’ comes from the French coller, meaning to stick or paste.

When children first experiment with collage, they may simply use a great deal of paste and nothing else. When they do paste things it is often on top of each other. With exposure to collage, children begin to make patterns and stories. Children may combine collage with drawing to make recognizable pictures. Kolbe (2007 p 77) suggests that ‘choosing, cutting and pasting enticing materials is an absorbing experience. Choosing is in itself a creative act.’


• paste—think about the type of glue needed; using a small amount of pva glue in paste will make sure materials stick onto the surface

• scissors which cut easily• paper of different types (coloured paper, tissue paper, cellophane, shiny

paper, textured paper, patterned paper) that can be torn, cut, folded, scrunched or have holes made in it. For children who are not yet skilful with scissors, provide small pieces in geometric or irregular shapes. Do not use recognizable shapes as this could limit the use of imagination.

• appropriate-sized brushes• paddle-pop sticks—these can also be used to apply glue• soft items—small pieces of fabric, felt, lace, ribbon, net, wool and pieces

of leather• found natural objects—leaves, grasses, twigs, bark• wood shavings, small wooden sticks, (not matches)• plastic and metal items—bottle tops, lids• sticky tape and masking tape• stapler and staples• paper clips


• cardboard with different textures

Let children discover for themselves how to use these materials. Ensure you set up and arrange collage items in a way that is aesthetically pleasing and accessible.

BookmakingBookmaking can be seen as an extension of drawing, collage or painting. This can be with or without writing. Pages or sheets can be put together after the drawings are finished or assembled before the child begins. Pages should be attached on the left-hand side. The books can be large or small—there is a certain delight in small pages of a book.

Children can write their own stories or an adult can write according to what the child wishes to say about the drawings.

Materials and tools needed

• paper• tools with which to draw, paint or make collage• putting the book together—staples, wool or thread (if using hole

punching), to thread the pages together, sticky tape

Activity 9

Puppetry

Exploring puppets

Puppets have the capacity to enthral, fascinate and delight children. Children's facial expressions often reflect the feelings being portrayed by the puppet. Puppets then can be used as highly motivating tools to either gain children's attention, to get a particular message across or to entice children to participate in some type of language activity.

Puppets can be used by the adult as a motivating force either with a group or with individuals. The adult can use a puppet to give an added dimension to either a story, finger play or discussion. It can also be used to invite children to imitate it


or talk to it as an accepting companion. In this way they provide variety in the presentation of ideas and words and can help children to express themselves.

When puppets are used by the children themselves, either with adult or other children, they provide an opportunity which encourages speech and motor coordination as well as helping children to express themselves and build on their vocabulary.

Materials and tools needed

• collage material, such as curly wool for hair, small pieces of fabric for clothes, paddle pop sticks and pipe cleaners for limbs

• firm paper or cardboard to make stick puppets• small cardboard cylinders, pieces of wood, wooden spoons that can al be

transformed into puppets with felt pens, quality paste and interesting collage materials

Construction

Blocks have a whole world of potential

Kolbe (2002, p 84) states:

At the heart of children’s construction work is the power of imaginative play. As children build and construct, the flow of pretend play helps shape what they make. They use their constructions to stand for things as they play out what they know and understand about their world.

Construction for children of any age can provide immense enjoyment and satisfaction. Construction begins early and children use whatever is nearby. Materials such as blocks, boxes, cushions, cardboard and furniture provide many opportunities to create things.

Children require a lot of time to participate in construction and create their own work. We need to be flexible with time and space allocation and the routines of the day to enable children to return to construction experiences. Presenting provisions for long, uninterrupted periods of time will encourage exploration, imagination and creativity.


Blocks are quite likely to be the earliest construction materials. Toddlers begin by carrying them from place to place. Blocks of all kinds are useful. It is a good idea to have a substantial amount of blocks so that children can repeat roads, walls, towers and floors. When we think of what happens in the real world then we can add materials that can be combined with construction, such as people, animals, signs, trees, forms of transport, pulley systems and many other things.


• blocks—wooden, both solid and hollow, large and small• accessories for blocks—animals, people, vehicles, shells, signs, small

carpet pieces, pieces of fabric, wool, ribbon• boxes and cardboard—containers, cylinders, egg cartons• manipulative equipment—lego, duplo and others• woodwork• dioramas-these are scenes with three-dimensional objects which can be

built in a box; let these develop from the ideas of the children• paper and cardboard construction—children draw figures and land, sea,

forest or streetscapes. children could be creating stories or observing and recording the real world.

Stitchery and weaving

Weaving can start with simple experiences—weaving in and out, over and under, using, for example, fabric weaved through a fence. As children become more proficient, introduce other materials.

Materials and tools

• firm strips of fabric, leather, vinyl, plastic mesh• naturally found objects—branches, twigs, palm fronds, grasses• pipe cleaners, feathers, paddle-pop sticks, wool, thin rope• longer pieces of wool for weaving several rows at a time• weaving looms of different shapes and sizes

Stitchery materials and tools:


• threading with a flat, blunt needle on paper or trays• hessian• wool• closely woven fabric • variety of wools and yarns, buttons, beads, buckles and twigs

Papiér machéPapiér maché is a process using torn newspaper and cornflour paste. This provision is more appropriate for children who are able to revisit their experience over and over again. It is idea for project work.


• old newspaper• cornflour paste• a model to work with, such a blown up balloon• somewhere to store the creations whilst you wait for each layer to dry• lots of time and patience!

Provide a range of musical and other sensory experiencesAesthetic experiences are not confined to the visual arts, although we have focused upon them in this topic. Aesthetics involves all that occurs in our services, whenever we are using our senses there is opportunity to support and encourage aesthetic awareness.

You might think of the aesthetics involved in a cooking activity. The firm, shiny paste of the flour dough, the runny, smooth, gloss of the chocolate icing. What about sand or water play? The feel of the wet cold sand, the cool, refreshing water of a water play activity.

Music is brimming with sensory and aesthetic possibilities. The soft lulling tones of a lullaby, the crisp clear sound of the chime bars, the gentle, melancholic mood of a classical piece if music you have chosen for creative movement.

Becoming aesthetically aware means we are open and receptive to what we hear, see and feel. In our role as educators we are providing opportunities and provisions that also alert children to these possibilities. Children naturally learn and discover through their senses and have an innate enthusiasm for their environment. Often it is a case of them teaching us, to just explore experience and discover!


Select appropriate materials and present them attractively

How we select and present visual art resources, materials and tools says much about our regard and appreciation for Visual Art programs. It is essential to choose good quality media, tools and resources and display them in a way that entices children to explore, select and engage in the experience.

Imagine you are browsing in a supermarket or department store. You are looking for something in particular; a special brand of biscuits, a scarf to match a shirt or top, a favourite brand of perfume. We are attracted to organised environments that allow us to look, examine and select.

Would Myer sell as much perfume if it was heaped in a pile somewhere forgotten in a dimly lighted area of the store? Would Woolworths sell so many chocolate biscuits if they were left in a dusty corner of the supermarket and stacked on top of one another? Our eye naturally seeks order, sequence, pattern and accessibility.

That does not mean all the environments we provide for children need to be immaculately ordered and defined. There is beauty in randomness and chance as well. Yet, we need to be intentional and thoughtful in our preparations and selection. Our materials need to entice and excite children. Our environments need to encourage exploration, experimentation and self expression.

Children have an instinctive capacity to sort, arrange and classify items. You will often see children lining up toy farm animals or arranging items in a long line. The way we set up our visual art experiences can compliment this desire for balance, order and organisation.

Think about a collage tray with separate containers or baskets that classify items. Arrange pencils of similar colours and tones together in clear or natural coloured containers. Choose good quality strong and durable paper for painting. Use natural materials where possible to store and present items. Consider wicker, cane and wood here. Think about colour, texture and balance when you set up experiences and provisions. Always ask: Would I want to play here?

Have a look through Ursula Kolbe’s Rapunzel’s Supermarket and Kerryn Jones’ Simply Create: Providing opportunities for young children to express themselves


for wonderful ideas on setting up and selecting visual art resources and environments

An attractively and thoughtfully set up painting area

Activity 10


Provide work and play areas promoting aesthetic qualities for both children and adults

Theoretical perspectivesThe NSW Curriculum Framework for Children’s Services, p 101, states:

Human behaviour is influenced greatly by the physical environment. The environment includes physical spaces and materials, both indoors and outdoors. The environment teaches, affords opportunities to make meaningful connections, affects moods, guides children’s behaviour and influences interactions. The environment is a major contributor to children’s experiences in a children’s service.

The framework goes on to talk about the environment as the teacher. If you have access to this document read: ‘Physical Environment as Teacher’ on pp 101–107.

The organisation of the learning environment is an important aspect of any early childhood program. Shepherd and Eaton (1997) suggest that the environment should be regarded as ‘a window of opportunity for young children, a wellspring of inspiration and a source of wonder and delight’.

The philosophers and theorists of early childhood —Rousseau, Froebel, Pestalozzi, Montessori, Piaget and Vygotsky to name a few—placed great emphasis on the environment.

Contemporary theorists—Greenman and Malaguzzi (Reggio Emilia philosophy)—also value the learning environment and place great emphasis on it as the third teacher. They describe its ability to empower young children to explore, to be curious, to investigate, to aspire, to develop relationships with others and to dream of what could be and to make meaning of their world.

To read more about creativity and the environment visit the site for Early Child hood Research and Practice: http://ecrp.uiuc.edu and search under ‘creativity’. You will find some interesting and thought provoking articles on this site.


Aesthetic visual arts environments The places where children learn should be as beautiful as the children themselves. A beautiful environment informs children how to behave and interact with others. Surrounded by beauty, children are motivated to create beauty themselves. (Seefeldt, 2002, p 97)

The Macquarie English Dictionary (2004) describes the environment as:

the aggregate of surrounding things, conditions or influences

It can be said to include all the things around us—people, things, spaces and places, sounds and visual settings. What do you think of when you hear the word ‘environment’?

Activity 11

Spaces and placesConsider your own experiences and feelings about favourite environments, when you are setting up spaces and places for children to explore and create. Ensure you have spaces for privacy, places for social interaction, a balance of busy and contemplative, of light and shade of hard and soft.

The environment, both indoors and outdoors, is an integral component of a child’s learning and development. As well as physical aspects and the organisation of time, the environment includes objects and people and the ways they interact.

Children of all ages respond well to an environment where adults have taken the time, interest and effort to think about what might interest or motivate children. Both children and adults delight in objects that are stimulating and displayed in an interesting and aesthetically pleasing way.

Children and adults relate to the environment if they are empowered to make choices, move about freely and feel a sense of ownership and pride in the organisation and presentation of the environment. ‘Environments should be places of exploration, enjoyment, wonders of beauty and rich learning spaces.’ (Eaton and Shepherd)

Activity 12

Beautiful environments for childrenYou may have read a little about Reggio Emilia Philosophy already in your studies. Reggio Emilia refers to an area of Italy and a group of schools which began there in 1945. The late Loris Malaguzzi, (as cited in Nixon and Aldwinckle, Exploring pp 216–219) was instrumental in directing, guiding and supporting these schools


from their conception. Reggio Emilia has a strong focus on providing beautiful and child centred environments.

This is especially predominant in the Visual Arts area and includes the provision of Visual Art Studios for children. You can read more about this philosophy and how it can influence the environments you provide at your own service at http://www.reaie.org.au (Reggio Emila Australia) or http://ceep.crc.uiuc.edu/poptopics/reggio.html (Clearing House on Early Education and Parenting)

Planning and managing the creative environment

Aesthetics

An aesthetically interesting image, what does it encourage you to think about, imagine or create?

Consider this writing by Jim Greenman:

Imagine a room where there are bright splashes of color, often attached to moving bodies, and warm muted hues on carpet and walls. Sunshine catches the light of a prism in one corner, and there is a small patch of sunshine so bright you have to squint. There are soft indirect lights, shadows, and cool dark corners.

There are hanging baskets of trailing green plants, flowers, pussy willows and cattails, Angel hair and dried grasses. The beauty of life is captured by Monet and Wyeth and assorted four year olds.

There are the smells of fresh dirt, lilacs and eucalyptus, garlic and baking bread.

One hears laughter and singing, animated conversations, soft classical music and the back beat of reggae from somewhere in the corridor. There is a ticking of clocks, chirping of birds, and the squeaking and rustling of a guinea pig.


There is a breeze from an open window as one walks around feeling heavy dark wood and silky fabric; hard cold metal and warm fur; complex textures; and watery, slippery, gooey things.

Everything somehow fits together is a comprehensive way. The elements are not random. These are the aesthetic elements of life, of what makes the world a rich experience.

(from Caring Spaces, Learning Places: Children's Environments That Work by Jim Greenman, 1988 Exchange Press Inc. p 63)

We need to consider the aesthetic appeal of the environment when presenting visual arts provisions for young children. It is always useful to step back and consider ‘Would I want to play here?’

SafetyAll environments must be safe. Children need to feel safe in order to relax and be able to express themselves. Ensure the items you select for visual art activities are non toxic and cannot be swallowed by infants, if they are also in the room. It is also useful to check for allergies as well, especially if you are using items and found objects from the natural world.

Colour

Effective use of subdued colours on walls, floor and hangings

Colour can affect our moods and emotions. Research tells us that green, blue and pink can calm and red and orange can be stimulating.

The careful use of colour can unify spaces and create boundaries and sections. For example, white can make a space seem larger and is useful for display purposes.

Sometimes Children’s Services can appear cluttered, we tend to think that lots of bright, intermingling colours mean cheerfulness and business, but this is not necessarily the case. Children can wear bold coloured clothes, children’s furniture and equipment is often red or blue, art work and posters are also often brightly coloured, we are in danger of being over stimulated by colour!


Consider using neutral colours for backgrounds, walls and floors, this will allow the eye to concentrate on displays. Be mindful of the colours you select for visual art experiences. Resist the temptation to ‘fill the space’.

Children live in a colourful world, through their daily interactions within the home environment and early childhood environment. Colour is a powerful medium that can affect children’s and adult’s moods and invoke a range of emotions and feelings.

Activity 13

Colour and its effect on psycheThe following table describes the contribution colour can have on psyche, which gives us something to think about!

Colour and its effect on people

Colour Effect on psyche

Black Represents authority and power, morbid and gloomy

White Purity and innocence, reflects light, white room is a clean room

Red Intense colour, attracts attention, creates excitement

Blue Calming, relaxing and tranquil feelings

Green Symbolises nature, refreshing, healing and calming colour,

Yellow Cheerful, sunny colour, research has found that babies will cry more in yellow rooms, enhances attention, colour of peace, builds self confidence

Purple Symbolises wealth, luxury and sophistication, develops imagination

Brown Signifies earth and nature, invokes sad feelings, warm colour

Pink Tranquilizing colour, can decrease energy levels

Orange Joyous colour, stimulates the mind, renew energies and lifts the spirits

Grey Associated with independence, self reliance and self control,

Silver Harmonising and helps balance the mind

Using colourThere are several factors that need to be considered when using colour within the play space and environment:

• The size of the space—colour can enhance or decrease apparent size. For example, pale or neutral colours can increase the look of the space.

• The use of too many colours within the space can increase the busy feel and clutter of the space. Be selective in your choice of palette.


• Choose colours that will create a calming and relaxing feel. Avoid over using colours that are very bold and rich as they will heighten children’s behaviour.

• Let children have choice over the colours they use, and remember it is okay to use colours like black and grey. Not all the pictures we paint need to be bright and sunny. If a child is responding to a darker feeling, or even to the storm and rain outside, nothing says gloom, thunder and darkness like black!

• The amount of natural or artificial light can affect the way the colour may appear within the space.

• The colour of the furniture and other pieces of equipment can impact on the ambiance and aesthetic appeal of the space.

There is nothing more inviting to children than creating a space that feels fresh and inviting. It can enliven spirits and moods and enrich the quality of children’s lives.

Spaces can also be enhanced by the colour of props and features such as soft and colourful mats, cushions, display of paintings and other artwork, the use of plants and the organization of toys and equipment into baskets, colourful boxes and containers.

MoodMood is another important planning and design component of the environment. It can be created through the:

• aesthetic appeal of the furnishings, furniture and equipment• the organisation and cleanliness of the environment• general atmosphere of the environment—particularly the interaction

levels of the educators with each other, with the children, with the families and other support services

It can be enhanced by controlling the:

• interactions between the children• temperament and general behaviour of the children• noise levels of the environment• the professional presentation of signs and displays on the wall, notice

boards and entrance ways• the smells within the environment• the sounds wafting from the play environments.

Soft spacesSoft spaces are an essential part of the environment and children’s play space for young children.


Babies and young toddlers need lots of soft spaces to master gross motor movements such as rolling, sitting up, pulling and reaching, crawling and walking. Setting up areas with large cushions, mats, rugs, old blankets/quilts, cuddly toys and other soft elements provides the opportunity for safe exploration.

Older children also need to have soft spaces to unwind, read a book or ponder life. Providing adult size and child size lounges with cushions, hanging items from the ceiling, and lots of colourful mats and rugs, will assist in creating a harmonious and quiet area.

Soft spaces should also be a consideration within the outdoor environment. The general design of the trees, herbs, paths, location of fixed/non fixed equipment, types and colours of plants, colours of fences, the appeal of the sandpit and other sensory experiences.

LightingLighting can affect mood, colour and attractiveness. Some experiences require enough light to see clearly, such as drawing, detailed craft work, needlework, reading and construction.

The wrong type of lighting or too much or too little light can strain our eyesight or cause stress. For example, sometimes imperceptible flickering of the lights can cause epileptic fits or migraine headaches. Natural light is the best type of lighting provided the light is constant and not harsh or glaring.

Use of dimmers, spotlights, lava lamps, table lamps and small lights can enhance the aesthetic appeal of an environment and give the space warmth and appeal. Soft fabric hanging can diffuse direct light and create a mood.

Hanging of soft fabrics can instantly create mood and atmosphere

Be aware when outdoors of shade and bright sunlight. The light under trees can be very restful. Again, hanging soft fabric can have the effect of making a space with different light. Make sure provisions are presented out of direct sunlight which could be too glary.


VentilationVentilation refers to the air circulates in a room. Adequate ventilation is necessary for a comfortable, pleasant and creative environment.

Be aware of wind, both indoors and outdoors. Make sure that the wind does not mean the children are chasing papers around and losing focus on the provisions.

Lighting, ventilation and heating/coolingThese are vital elements of the environment that need careful consideration when planning and creating the play space. There are specific regulations and standards that guide early childhood services in the provision of appropriate heating/cooling, ventilation and lighting. The NSW Children’s Services Regulations (2004), available at http://www.commmunity.nsw.gov.au

Division 3, Section 43 states:

(1) The premises of a children’s service must have access to natural light and must be properly ventilated, lit and heated when children are being provided with the service.

(2) All heating and cooling units on the premises of a children’s service must be adequately secured and guarded to prevent injury to children through contact with hot surfaces or moving parts or the emission of any sparks or flames.

(3) The controls of all equipment on the premises that may be hazardous to children must be guarded to prevent access by children.

(4) Fans on the premises or the home must be placed in a position that is inaccessible to children.

In addition to the health and safety implications surrounding these elements, they can also be a source of wonder and enjoyment for the children. Children can be drawn to the natural properties of these elements including:

• sounds that are created by the heating/cooling systems• the natural feel of the warmth, coolness or the natural air on the body

and face• the magic of observing and wondering how the equipment works.

We can enhance this by:

• Discussing the natural sources of light that are in existence and determining how the light could be used to explore shadows, reflections and colour refractions.

• Thinking about how and where does the air flow through in the room and how can we incorporate this to maximize children’s sense of magic and wonder.


• Identifying additional ways of using artificial light and sounds to arouse curiosity. (Curtis and Carter (2003), p 122)

These elements can create vivid learning opportunities and provoke much discussion between the educator and the children.

SoundWhen children are absorbed in their play there tends to be a happy, ‘working buzz’ in the environment. We can model quiet, controlled movements by talking in a quiet manner, moving furniture quietly and moving near to the person we wish to interact with, rather than raising our voices.

Use recorded music thoughtfully and intentionally to enrich a particular mood or interest area. A lively jazz piece may further enrich children’s approach to a group mural.

External sounds such as traffic noise or building noise are more difficult to control. Planting trees and shrubs may cut down on this noise and produce an attractive barrier.

OutdoorsWe can think about how we make the most of the outdoor environment, not just in terms of running, climbing, throwing, kicking, sliding and other active pursuits. The provisions of the outdoor area are dependent on the constraints of space, any fixtures and the budget.

We need to reflect on the role of the outdoor environment so that it can become the ‘third teacher’.

Do we think about the aesthetics of the outdoors and encourage the children to collaborate in the planning of the outdoors environment?

Do we provide learning centres outdoors? Spaces for construction (woodwork, box building, blocks) that can be left arranged, a space for gardening, spaces for pretend or dramatic play, a space for investigation of water, creative expression, a space to discover machines?

Do we provide spaces to watch, wonder, discover and retreat to? Somewhere green, a place to rest away from the business of the general area with gentle sound-makers such as wind chimes, a designated area made so that children can escape?


A peaceful outside space

Group and individual experiencesChildren should have opportunities to play or work with others or by themselves. They need provisions, places and spaces to be busy or to be quiet.

Arrange the environment into learning centres or play spaces that allow children to have smaller spaces if they require this and spaces that support collaborative work. Low shelves can be useful dividers and are able to be used for storage and displays. Soft fabric hanging can produce a special space for children.

Activity 14


Formulate strategies for fostering creative development and aesthetic awareness in children

Strategies that foster an awareness and enjoyment of visual arts It is crucial to nurture our own creativity so that we can in turn support that of children’s. Are you beginning to see yourself as a more creative person?

If you have not already done so go to http://www.creativityforlife.com or htpp://www.changeyourstate.com

Spend some time reading some of the articles and exploring some of the activities.

There are many ways in which we can encourage creativity. Here are some:

• acknowledging that children are capable and resourceful • being encouraging• showing a genuine interest• providing inviting spaces• asking meaningful questions • being positive• displaying work thoughtfully and attractively• supporting children in their creative endeavours• appreciating children’s work.• acknowledging both the process and the product.

Some attitudes and comments discourage creativity. You may have experienced them yourself:

• laughing at someone’s efforts• comparing one person to another• focusing solely on the product—‘Is that all you have done?’• making negative comments


All children develop at different times and have unique interests and needs. We need to understand this and be able to provide the appropriate levels of support and encouragement to each individual child.

The process and the productBeing creative does not necessarily mean that you have a finished piece of work at the end of your endeavours. The process, the actual doing is just as important, and often much more valid, especially for young children.

Children are often more interested in the actual act of painting rather than designing a perfect picture. The physical motion of sliding and feeling finger paint on a table, beating clay into shape or splattering dollops of blue paint onto paper may say much more about what the child is feeling than what is produced at the end.

Producing something becomes more important as the child grows older, but even adults enjoy “mucking about in the garden” for instance, without actually producing anything! Never under estimate the work and effort involved in the actual process of creativity and discovery.

Value both the process and product of all creative endeavours. Give the child space and time to finish their work and take it home or display it on the wall in your gallery. Alternatively, allow them to discard it, go onto something else or come back to it later. Creativity has many paths, give children permission, space and time to explore these.

Strategies to stimulate creative work

When you are setting up provisions to stimulate creativity consider the following:

• Organize and sort materials; group similar objects and colours together in separate containers or areas.

• Keep collage items well stocked and invitingly arranged. • Present open-ended provisions. These will allow for individual,

imaginative and creative responses—there is no right way or in-built correct solution.

• Present provisions according to children’s abilities and stages of art work. • Use quality materials—by providing these we show respect for the child

as an artist.• Be close at hand, watch and observe and listen with real interest while

children are involved in creative experiences. • Affirm what children have done—describe what you see or hear, e.g. ‘I

see you have made a lot of circles.’• Share delight in what the children have done. A simple smile can show

this well, we do not always need to use words here.


• Show interest in what the children are doing. Take photographs (with permission)—this shows the child you are interested and it becomes part of the documentation process.

Organise separate areas: this one is for infants

Organise separate areas: this one is for construction

Strategies that foster creative development and aesthetic awareness in children

Introducing and displaying quality adult visual artEdwards (2000, p 1) describes how children learn:

In Reggio Emilia, Italy, home of some of the best preschools in the world, children grow up surrounded by centuries-old masterpieces of architecture, painting and sculpture. Citizens are especially proud of their artistic heritage, and art becomes a natural vehicle in educational approaches for helping children explore and solve problems.

As Gonzalez-Mena and Eyre (1997, p 4) suggest: ‘Children are more likely to grow up with an eye for beauty if the adults around them demonstrate that they value aesthetics.’

Display works of art in the environment. It may be a display of adult pottery near the clay centre; or if the children have shown an interest in birds, arrange pictures, photographs and sculptures nearby. Also, art works can be hung throughout the centre.Collect and display, in attractive ways, objects of beauty and interest in both the indoor and outdoor environment. Natural objects such as flowers, empty bird’s nests, leaves, twigs and seed pods can be displayed in vases or shadow boxes.


A group of photographs of similar objects such as trees, buildings or flowers could be displayed on low shelving or on a table. Consider what the children are interested in and provide a stimulus that enhances and enriches their interests, that provides provocation and talking points.

A collection of precious and fascinating ornaments could be arranged in a special space. Sculptures, tapestries and wall hangings could be displayed.

Display of ornaments

Activity 15


Respond to children’s interests that arise spontaneously as they participate in aesthetic experiences

Spontaneous play situationsSpontaneous play situations occur constantly as we respond to the children’s cues and follow their interests. Infants may show interest by staring intently, while an older child may ask you questions.

Having discovered that a child or group of children have an interest in something, we need to find out what it is that intrigues them and develop the interest through the provision of experiences. It is important to do this immediately—this may be by providing books, extending the provisions in a learning centre, asking questions or creating a space for further exploration and investigation.

We need to be responsive and observant educators that take time to respond with thought and care to children’s discoveries, interests and musings.

The gift of time Creativity does not follow a clock. Children need extended, unhurried time to explore and do their best work. They should not be artificially rotated, that is, asked to move to a different learning centre when they are still productively engaged and motivated by a piece of creative work. (Pope, Edwards and Springate, 1995)

Giving children time to create, to mull, to idle, to explore and discover is essential. Creativity does not happen instantly! Children, just like adults, need time to think, to plan, to consider, to hypothesize, to discard, to revisit, to question, to ask, to be silent, to imagine, to change their minds.

Yes, our services are also built upon rituals and routines, lunch needs to be eaten, and rest needs to be had. But consider the child who is immersed in box construction. Just a few more pieces and they will have a fantastic robot! The educator announces “Pack up time in 5 minutes”. How does that child feel?

Does your service have flexibility for a child’s work to continue? Is there somewhere safe to keep ongoing projects and art works? Is the program flexible


enough for the child to continue working on their construction whilst the remainder of the group has ‘Story Time’? The child will join you when they are ready. Does your program give space, time and permission to honour a child’s endeavors and work in this way?

The creative child needs time to mull and to idle, to explore and discover

Activity 16


Design a program of aesthetic experiences in response to emerging skills, abilities and interests of individual children and groups of children

Using observation (formal and informal) to plan stimulating creative experiences You are probably well versed in the skill of taking observations of children and using then to construct your program. Here is a brief summary:

Observational method or techniques

Information or documentation

Portfolio This will contain samples of children’s work on an ongoing basis to document creative development.

This is a record for children, families and workers to reflect on and thus make future plans.

These could be kept in individual folders, books or boxes.

Anecdotal or running records

These are written descriptions of what a child or a group of children are involved in at a given time or in a particular situation.

These transcripts could be used as recordings of what children say about their interests and art work—their thoughts, viewpoints, reactions and behaviours while they are creating.

Work samples These include photographs and sketches of clay and dough, drawing and painting art works, collages, bookmaking, stitching, weaving, block constructions, projects, murals.

These need to be dated and gathered periodically and should have some documentation about their work.

Remember children may not wish you to keep their work so photographs, photocopies and sketches are appropriate.

Media Use video tapes, audio tapes and photographs to document the process and work produced. This will become a record of each child’s involvement. Remember to date these.


Transcripts or narratives Record dated transcripts of individual and group discussions and further research ideas.

Child self-reflections Brainstorming sessions involve the children in reflection of their interests and play (enjoyment, pride in accomplishment).

Observations, documentation, interpretations and information from families and other adults assist in the planning and implementation of the Visual Arts program. Once we have completed the observations and compiled the documentation we interpret the information we have gathered. Deciding how to do this is based on the observations of children’s interests, capabilities and needs.

Observations and the documentation of these are processes that provide opportunities for adults to revisit the experiences of children. Documentation may be of everyday experiences, as well as projects which children and adults may be exploring.

A small notebook and pen are useful tools for documenting and noting children’s interests.

Activity 17

Using children’s interests in a creative frameworkIn terms of interest-based learning, what do observations tell us about the child? Having observed children’s interests and documented these, we discover possible topics for investigation. The process then involves trying out the topic, talking to and questioning to find out what the children already know about it and what they want to know about it. This is called ‘webbing’.

In the text Programming and Planning in Early Childhood Settings, 4th edn, 2008 Arthur, Beecher, B, Death, L, Dockett, S and Farmer, S, provide an insightful chapter on curriculum approaches including webbing. Webbing is described as a ‘tentative plan’ (p 185) that involves brainstorming and the extension of connections on previous ideas. It is a useful tool for reiterating and extending children’ interests and one you will use again and again in your work with children.

Use evaluations and reflections to suggest follow-up strategiesEvaluation or reflection is an ongoing, continual process. Consider:


• Did you provide a rich learning environment?• Did you help the children link prior knowledge to current knowledge—

revisit experiences?• Is there documentation to represent children’s learning?• Were the children involved in the documentation process and encouraged

to reflect?• Did you feel like you were learning with the children?• Is there something else, another topic that has emerged for further

investigation?• Have the children developed new visual arts skills that could be taken

further?• Were the children developing problem-solving strategies and skills?• Did the children experience satisfaction and pleasure in their work?• Did the children explain or show the adults what they wanted to do?• Did the children work with others?• Did the children talk about their ideas with others—were they

collaborative?• Were all children involved in the learning process in some way?• Is there anything you would do differently?

Consult with others about program development Parents and other members of the child’s family are important members of the children’s services community. Not only are they welcomed and invited to become involved, but also most importantly they are collaborators with professionals and the child in the provisions made for the children.

The family is the most powerful influence on children’s learning and development; therefore it is crucial that children’s experiences in their family and the family’s perspective on the child are taken into account and that professionals operate in partnership with parents on behalf of their child.’ (NSW Curriculum Framework for Children’s Services, 2002, p 79)

Activity 18

Creating enriching learning environments for children

How children learnThere are differing pedagogical or educational theories about how children learn best. Current terms and approaches are many and varied and include: interest-


based learning, the emergent curriculum, the Reggio Emilia approach, project approach, child-initiated approach and child-centred approach. These are not all new and have integrated approaches. Some Children’s Services have been utilizing these methods and approaches for many years.

The Reggio Emilia approachUseful articles and links regarding the Reggio Emilia approach can be found at: http://ceep.crc.uiuc.edu/poptopics/reggio.html (Clearinghouse on Early Education and Parenting)

or

http://www.youngchildrenslearning.escd.net and click on Reggio Emila

or

http://www.reaie.org.au (Reggio Emila Australia)

You will find information upon The Hundred Languages of Children the emergent curriculum, project work, documentation, the environment, studios and other features of the approach.

The emergent curriculumIn the emergent curriculum the focus of learning is from the child’s perspective, areas of learning are based upon things the children find interesting and stimulating. The curriculum ‘emerges’ naturally from the children’s interests.

An interesting article in Rattler (Winter 2002) entitled ‘Creating Better Learning Environments’ states: ‘ (the) Emergent curriculum takes the child’s interest and turns it into a learning process and allows the child to be not just learning but sharing and developing their own knowledge with the child educator.’

The word ‘curriculum’ here is about spontaneous learning and teaching. There is no set curriculum. This style is based on children demonstrating an interest in things and asking questions.

The questions are not answered by the teacher—rather, both the child and the teacher become facilitators of learning as they discover possible answers together. This approach focuses on the idea that children are competent and resourceful rather than in the purely developmental approach that concentrates on weaknesses that need to be developed or that children need to develop certain skills according to their age and stage of development.

General information on the emergent curriculum can be found by visiting: http://www.youngchildrenslearning.escd.net


Interest-based learning Interest-based learning occurs as children learn about things they are interested in. These interests come mainly from the children themselves and often relate to things that are happening in their own lives.

Children’s interests are usually very specific.

The facilitator of learning often starts with a ‘web’ of what children know about the topic and possible directions this may take. Children pose questions and decide what they want to find out. Children become involved in the investigation and decide which direction it will take. Interests are only followed for as long as the children are interested. Children work together with the teacher to explore ideas and suggest provisions and experiences

Many interests may be explored and investigated at the same time. Families become involved and provide resources and ideas. Following interests in this way is often referred to as ‘projects’.

The project approach The project approach is an in-depth study of a topic. This can be undertaken by a group of children or an individual child who has been observed showing an interest in the topic. This approach is integral in the Reggio Emilia philosophy and used extensively in the emergent curriculum and interest-based learning.

The project approach 1 The project approach 2

Go to http://ceep.crc.uiuc.edu/poptopics/project.html and click on ‘The Project Approach’ (by Lillian Katz). This is an excellent article and explains the project approach very clearly.

At this site there are many links for you to go to—other articles related to the project approach, tip sheets from completed projects and examples of projects. Take a look; they are most useful and contain quality information.

In all these approaches we can see that the adults in the situation follow the child’s lead to accommodate the child’s choices and interests. We do not determine the curriculum as in a developmentally appropriate program.


The adult’s role becomes more of an observer and documenter—a facilitator of learning and a co-learner. We facilitate children’s learning by asking questions that lead children onto other thoughts and possibilities. We then investigate these possibilities together using various provisions.

For more ideas visit:

http://www.creativeteachingsite.com

http://www.teachingstrategies.com

You will find further resource suggestions and websites in the Resource list.

Activity 19


Present aesthetic experiences that encourage appreciation of diversity including cultural diversity

Reflecting our diverse communitiesVisual arts and other aesthetic and sensory experiences need to be accessible and readily available to all children. Art, being universal in nature lends itself to the principles of diversity quite readily. We need to be ever conscious of inclusive principles and practices when choosing materials, experiences, tools and provisions for children.

It is essential to respect particular cultural and/or indigenous customs and traditions that may be associated with applicable visual art experiences. This is especially significant when we are exploring Australian Aboriginal and Torres Strait Islander culture. It is vital to confer with our local Aboriginal communities on how we might present Aboriginal art and painting experiences in a way that is meaningful and respectful. To consider the colours we use, how we paint, what we paint and the tools or provisions used.

The same applies to other culture and traditions. If we are celebrating Chinese New Year and making lanterns for example, consult with the local Chinese community. How do they make their lanterns? What are they used for? What materials could you use here? How are the lanterns displayed? Ensure the experiences you provide are authentic and non stereotypical.

Including materials and resources as ongoing components of our visual arts program shows children and families that we value differences and diversity. Make materials and resources from other cultures a regular part of the visual arts program- look at different ways of painting, printing, clay work and weaving for example. Consult with families here for ideas and suggestions.

Our respect, interest and appreciation for different cultural traditions are heightened when we chose from experiences, materials and resources that reflected within our own local community. Likewise, our links and relationships with the community are enhanced when we consult, share and collaborate regarding ideas and possibilities.

Activity 20


Any diverse cultural experience is more meaningful and valid when it involves the input from local communities. The richness of our services and the diversity of our families culture, (and of our staff’s) are often our best resource here.


References

Arthur, Leonie (2007) Programming and Planning in Early Childhood Settings, 4thedn, Thomson Social Science Press, Melbourne, Victoria.

Curtis, D and Carter. M (2003) Designs for Living and Learning: Transforming Early Childhood Environments, Readleaf Press, St Paul MN.

Eaton J and Shephard W (1998) Early Childhood Environments, AECA, Watson ACT.

Edwards, Carolyn Pope, and Springate, Kay Wright (2000) Encouraging Creativity in Early Childhood Classroomshttp://ceep.crc.uiuc.edu/eecearchive/digests/1995/edward95.html

Gonzalez-Mena J and Widmeyer Eyer D (2001) Infants, Toddlers and Caregivers (5th edn), Mayfield Publishing. California

Greenman J (1988) Caring spaces, learning places: Child environments that work, Exchange Press, Redmond, WA

Katz, Lillian ‘What can we learn from Reggio Emilia?’, Chapter 2 in Edwards, C, Gandini, L and Forman, G (1998) The Hundred Languages of Children: The Reggio Emilia Approach: Advanced Reflections, Ablex Publishing Corporation, Westport CT.

Kolbe Ursula (2001) Rapunzel’s Supermarket l st ed, Peppinot Press, Byron Bay NSW.

Kolbe, Ursula ( 1997) Clay and Children: More than making Pots. AECA research in Practice Series, AECA, Watson ACT.

Kolbe Ursula (2007) Rapunzel’s Supermarket, 2nd ed, Peppinot Press, Byron Bay.

NSW Curriculum Framework for Children’s Serviceshttp://www.community.nsw.gov.au/docswr/_assets/main/documents/childcare_framework.pdf

Rattler (No. 62, Winter 2002) ‘Creating Better Learning Environments for Children.’ http://ccccnsw.org.au/resource/rattl062/story10/story10.html


http://ccccnsw.org.au/resource/rattl062/story10/story10.html

http://www.community.nsw.gov.au/docswr/_assets/main/documents/childcare_framework.pdf

http://www.community.nsw.gov.au/docswr/_assets/main/documents/childcare_framework.pdf