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
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
2
40
42
Using observation (formal and informal) to plan stimulating creative
experiences
42
Using children’s interests in a creative framework
43
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
Creating enriching learning environments for children
Present aesthetic experiences that encourage appreciation of
diversity including cultural diversity
Reflecting our diverse communities
References
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
45
48
48
50
3
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 development
Creativity 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:
•
•
•
4
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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 thinking
Here 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?
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
5
Aesthetics
You 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.
6
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
program
Creativity 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 twodimensional 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
7
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 NSW Curriculum Framework—The Practice of Relationships, can be found at
http://www.community.nsw.gov.au. ‘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)
The National Childcare Accreditation Council (2005) QIAS Quality Practices
Guide. Available at: http://www.ncac.gov.au The Quality Practices Guide is the
primary resource for management, staff and families who are participating in their
centre's progress through the Quality Improvement and Accreditation System
(QIAS). At the time of writing this guide was under review, but it would be
expected that any update of this resource would reference the importance of
creativity and of an environment that fosters possibilities.
Of particular interest is Principle 4.5: Staff promote each child’s enjoyment of and
participation in the expressive arts.
Publications are available at:
http://www.ncac.gov.au/resources/resources_index.htm
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
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?
All of these guiding principles are essential to reference when we are providing a
rich and diverse visual arts program for children.
8
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
Values children acquire through visual art experiences
As 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 art
When 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
9
Developmental sequences in artistic expression and
aesthetic and creative development
There 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
10
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
11
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, nonslippery 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:
•
•
•
•
12
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
A word on stencils
Try 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 provocations
This 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
13
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?
Experiences
As with drawing, the provision of painting experiences is only limited by your
imagination. Some ideas for you to consider are:
•
14
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
•
•
•
•
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
Clay
In 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!
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
15
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.
Materials and tools needed:
•
•
•
•
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
Dough
Dough 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.
Printing
Print 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
16
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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.
Materials and tools needed:
•
•
•
•
•
•
•
•
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.
Rubbings
Rubbings 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.
Materials and tools needed:
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
17
•
•
•
•
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.’
Materials and tools needed:
•
•
•
•
•
18
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
•
•
•
•
•
•
•
•
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.
Bookmaking
Bookmaking 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
19
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.
20
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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.
Materials and tools needed:
•
•
•
•
•
•
•
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
21
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 maché
Papiér 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.
Materials and tools needed:
•
•
•
•
•
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 experiences
Aesthetic 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.
22
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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 carers 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!
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
23
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
24
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
for wonderful ideas on setting up and selecting visual art resources and
environments
An attractively and thoughtfully set up painting area
Activity 10
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
25
Provide work and play areas
promoting aesthetic qualities for both
children and adults
Theoretical perspectives
The 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.
26
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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 places
Consider 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 children
You 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
27
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.
28
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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?’
Safety
All 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
29
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 psyche
The 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 colour
There are several factors that need to be considered when using colour within the
play space and environment:
•
30
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
•
•
•
•
•
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.
Mood
Mood 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 carers 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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
31
Soft spaces
Soft 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.
Lighting
Lighting 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
32
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
with different light. Make sure provisions are presented out of direct sunlight
which could be too glary.
Ventilation
Ventilation 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/cooling
These 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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
33
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 carer and the children.
Sound
When 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.
Outdoors
We 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?
34
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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 experiences
Children 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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
35
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:
•
•
•
•
36
laughing at someone’s efforts
comparing one person to another
focusing solely on the product—‘Is that all you have done?’
making negative comments
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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 product
Being 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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
37
•
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 art
Edwards (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.
38
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
39
Respond to children’s interests that
arise spontaneously as they
participate in aesthetic experiences
Spontaneous play situations
Spontaneous 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 carers 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
carer announces “Pack up time in 5 minutes”. How does that child feel?
40
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
41
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.
42
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
framework
In 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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
43
Use evaluations and reflections to suggest follow-up
strategies
Evaluation 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
44
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
Creating enriching learning
environments for children
How children learn
There are differing pedagogical or educational theories about how children learn
best. Current terms and approaches are many and varied and include: interestbased 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 approach
Useful 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 curriculum
In 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 carer.’
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
45
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.
46
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
47
Present aesthetic experiences that
encourage appreciation of diversity
including cultural diversity
Reflecting our diverse communities
Visual 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.
48
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
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.
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010
49
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 Classrooms
http://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 Services
http://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
50
Diploma of Children’s Services: CHCFC508A: Reader LO 9324
© NSW DET 2010