chcfc508a: foster children’s aesthetic and creative ... · web viewolder children could look at...

CHCFC508A: Foster children’s aesthetic and creative development

Provide a variety of experiences to develop children’s creativity, imagination and self-expression

Contents

Provide a variety of experiences to stimulate children’s awareness and develop their creativity, imagination and self-expression through play 4

The aesthetic and creative nature of the environment 4

Play areas and spaces to develop children’s creativity, imagination and self expression 7

From a child’s perspective 10

Other factors to consider in designing the play environment 11

Elements in the outdoor space and sensory spaces 11

Creativity and problem solving 14

Intelligence and creativity 14

Stimulating children’s awareness 15

Provide materials and experiences that stimulate different senses and promote body awareness 17

‘Good settings’ 17

Aesthetics 18

Selecting materials to support children’s creativity 19

Providing objects that stimulate the senses 21

Using a range of materials and experiences 22

Special places to encourage creativity 26

Support self expression through movement 29

The principles of movement 30

Stimulating the five senses 31

Enriching routine and every day experiences 32

Diploma of Children’s Services: CHCFC508A: Reader LO 9327© NSW DET 2010

Provide a variety of experiences to stimulate children’s awareness and develop their creativity, imagination and self-expression through play

The aesthetic and creative nature of the environmentAesthetics is a worthy but often unconsidered goal when designing a visual environment for infants and toddlers (and preschoolers). Children are more likely to grow up with an eye for beauty if the adults around them demonstrate that they value aesthetics.

It is important to young children’s learning and development that an environment fosters a sense of wonder and of magic, promotes curiosity and creativity and ultimately is aesthetically pleasing in its appeal.

The aim of any play space and environment should be to:

• create a sense of belonging for the child and the family• creates different moods —soft, hard, dark, light, cold, warm, colourful• be organised and uncluttered• have materials and resources accessible to the children• cater for the different age groups and developmental abilities and

strengths• provide a mixture of experiences such as: science, maths, technology,

dramatic play, blocks, manipulation, creativity, sensory play, books and literacy.


A comfortable chair to sit and cradle a child

‘Deinstitutionalising’ our environmentsAs already discussed, creativity doesn’t happen on a piece of paper with drawing mediums. Creativity is a thought process. It is being able to think of ideas, solve problems and develop solutions or ideas which satisfy the mind.

It is a sense of wonder that we are all born with. It is being sensitive and aware our environment. It is taking the time and space to notice things. These principles matter a great deal to young children and their learning processes. The more children see, the more they discover and learn about the world around them. Feeding, stimulating and satisfying the senses helps young children’s minds to develop.

‘Creativity involves breaking out of established patterns, in order to look at things in a different way’ Edward de Bono

Children are naturally curious. They wish to explore their environment and to discover more about themselves and ways of being in the world.

Shepherd and Eaton (1997) in their article ‘Creating Environments that Intrigue and Delight Children and Adults’ discuss how services and programs can deinstitutionalise the environment. They identify several ‘trappings of an institution’:

• noticeboards that are brimming with notices that are out of date or not relevant

• coloured footprints or arrows leading to notices which may be written in a negative and harsh tone

• notices that are not removed after the event• displays of children’s paintings that are displayed on ‘washing lines’ across

the environment• lockers with symbols• overflowing amounts of lost property • equipment in poor shape • disorganised environment—arranged in line with adult expectation• images of cartoons, posters and charts, birthday charts and so forth

encompassing the wall space


• bright fluorescent lighting• institution colour schemes or primary colours• inadequate storage such as storage of beds and mattresses, easels and

excess chairs in the play environment• bins placed within the play environment• shelving units covered with curtains and other fabrics to prevent children

from touching the equipment and resources• furniture and tables and chairs moved to accommodate the sleep-time

routine• incomplete books, puzzles and other equipment still in use• pot plants and garden beds struggling to survive• limited amount of soft spaces for children and adults• the same pieces of equipment in use outdoors.

How does your service compare here?

The series of videos by Mia-Mia Child and Family Study Centre at Macquarie University, NSW—Mia-Mia: A New Vision for Day Care: Part 1: The Program for 2–5 years olds, and Part 2: The Infants Program (under Twos)—shows examples of:

• aesthetic appeal of the environment• types of equipment, materials and resources available to the children for

exploration and experimentation• the arrangement of the equipment into aesthetic appealing boxes,

baskets and particularly at the ‘child’s level’• types of lighting that is within the play space• provision of soft spaces to accommodate the needs of the developing

child• provision of choice and open ended experiences • organization of the environment including the structure and set up of

routines • use of colour within the play space• the relationship between the program, educators and families• display of children’s creations• incorporation of cross cultural and inclusive materials and resources

within the program• incorporation of the natural environment into the program• how the adult supports and facilitates children’s play, learning and

development.


A soft space for infants to enjoy Equipment at child's level

Activity 1

Play areas and spaces to develop children’s creativity, imagination and self expression‘Children are miracles. Believing that every child is a miracle can transform the way we design for children’s care. When we invite a miracle into our lives, we prepare ourselves and the environment around us. We may set out flowers or special offerings. We may cleanse ourselves, the space or our thoughts of everything but the love inside us. We make it our job to create, with reverence and gratitude, a space that is worthy of a miracle. Action follows thought. We can choose to change. We can choose to design spaces for miracles, not minimums’. (Anita Rui Olds, 1999 in Curtis and Carter (2003))

The young children’s environment and play space is a critical aspect of young children’s learning and development. Due to the large amounts of time young children spend in early childhood programs, the environment needs to provide specific provisions for both the child and the adult.

Jim Greenman in the video Great Places for Childhood highlights some important considerations when designing and creating young children’s space. The environment needs to be:

• a great place day after day• a place where children can be themselves• a place where adults can feel welcoming and comfortable• a safe and healthy place• a place where children are encouraged to be responsible and competent.

It should also be a place where young children can:


• learn• move and be still• be alone and together• be noisy and quiet• spread out over space and time• connect to the real world and life of the childcare service such as cooking,

garbage and laundry• connect to the natural world • immerse in active thinking and problem solving• investigate, explore and play outdoors.

Greenman also recommends the following characteristics for infants, toddlers and preschoolers when creating and designing the play environment.

Infants Ensure you have:

• opportunities for movement and exploration in a predictable, safe and comforting environment

• surfaces and equipment allowing for rolling, crawling, reaching up, pulling up and exploring level changes

• child-accessible shelves which are securely attached• adequate adult storage• creation of defined play areas • lounges to sit and cuddle, read books, rest• pictures of family and familiar objects displayed low on walls, or in photo

albums or under Perspex or clear contact on tables• infant-scale tables and chairs• play areas defined by child-accessible storage, area rugs, low-level

platforms for exploring a variety of toys and materials• cosy areas with books and pillows• an area for active play equipment.

ToddlersEnsure you have:

• accommodation for children’s increasing mobility, competence and social awareness

• areas and routines that are reassuring and predictable• opportunities and plenty of things to move, collect, dump and fill • the environment structured into distinct areas• establishment of safe pathways for movement and play• spatial variety including cosy areas, raised platforms to organise the

environment and various separate activities


• dividers that are see-through, a variety of textures, platforms • storage for children’s own personal items such as a locker, a cupboard, a

special bag—all support increased independence and self-confidence• inviting areas including personal cubby space, familiar pictures on display,

sensory play area, art areas, construction area, reading area with lounge or large comfy chair, book area with pillows, cushions and book display shelf, dramatic play area

• child-height table area for routines and manipulating toys and equipment• open-floor play area for transportation toys, ride-on and push-pull toys.

PreschoolersEnsure you have:

• opportunities to demonstrate independence, problem solving and increased complexity in dramatic and cooperative play

• active play areas• lots of materials and opportunities for construction and block play,

creative play, woodworking• flexibility in the environment• child access to specific resources and materials for exploration and

discovery• a place for personal belongings• space for children to come together as a group • inviting entry area (personal cubby house, display area, aquarium, animals

and plants)• a sensory play area• an art area• child-height table for routine events and manipulation of equipment and

materials• floor-play manipulative area, block area, dramatic play area, book area,

science, environmental and mathematics area, technology area—tools need to be provided so the children can explore, experiment and solve problems.


A well-planned play area for preschoolers An open-floor play area

From a child’s perspectiveReflect upon this useful checklist when designing and providing play spaces. Perhaps you could use it within your own service or room.

Assess Your Room from a Child’s Point of View—developed by Carter and Curtis (2003).

Checklist: Assess Your Room from a Child’s Point of ViewDraw a floor plan of your room and think of a child walking through it. Rate your room with the components a child might have in mind using the number codes.

Put a (1) everywhere I can see who I am and what I like to do here, and at home.

Put a (2) in all the places where there are materials I can use to make things from my understandings and my imagination.

Put a (3) in all the places where my tired mummy or daddy, grandma or auntie can sit and talk with me or my teacher.

Put a (4) in all the places where the natural world can be found here (ie nature objects and animals).

Put a (5) in all the places where my teacher leaves a special thing out every day so I can keep trying to figure out how it works.

Put a (6) in all the places where there is something sparkly, shadowy and/or creates a feeling of magic or wonder.

Put a (7) in all the places where I can feel powerful and active in my body.

Put an (8) in all the places where I can learn to see things from different perspectives, literally and through creating dramatic play.

Put a (9) in all the places where I can see my name written or get to regularly write my name.

Put a (10) in all the places where I get to know who my teacher (educator) is—what s/he likes, how she spends time in her life, special people and things.

The number codes will help identify these critical aspects of the environment.

Activity 2


Other factors to consider in designing the play environment

Adult spaceThis is an important consideration when designing and creating the environment. Considering the adults within the play space provide benefits such as:

• the promotion of team work and harmony• encouragement of a good work ethic• maximisation of the supervision of the children• the provision of space for observations to be completed.

Appropriate occupational health and safety guidelines such as not expecting adults to share the same size chairs as children should also be taken into account.

Safety aspects of the environmentThis is a critical component of planning and implementing the program and creating an aesthetic, rich learning environment for young children.

Activity 3

Elements in the outdoor space and sensory spacesWe have focused on indoor play places and spaces in other topics; let’s take a closer look at the outside environment and how its provisions and our interactions can stimulate children’s imagination, creativity and self expression.

Interest areasInclude varied surfaces, varied heights, sand, water, mud, pathways, shade, varied vegetation, a cubby house.

Outdoor equipmentSamples of outdoor materials and equipment to promote participation in a wide range of learning experiences


For filling and emptying

Dump trucks, boxes, cartons, baskets, cans, buckets, crates, paper bags, sacks, shells, sand, mud

To crawl through

Barrels, open-ended boxes, collapsible tunnels, obstacles courses, tyres, hoops, tubes, ladders, tables covered with sheets.

To jump up and over

Foam mattresses, inner tubes, tyres, piled leaves, low boxes, rope.

To construct and build with

Wooden blocks, bricks and tins, tyres and tubes, crates and boxes, pulleys, ladders, pieces of PVC piping, wooden logs, canvas/ sheets /carpet pieces, string, rope. Use to pile in heaps, to stack, to carry, join, enclose with.

Balls of different textures, colours, sizes; balls hanging in stockings, punching bags, skittles, plastic bottles filled with sand, small rocks, bulls-eye painted on the fence, cardboard cylinders.


To kick, throw, catch, ounce, aim for

For collecting

Rocks, leaves, twigs, insects, grasses, nuts, seed pods, flowers. Be mindful of the size—small objects pose a choking threat.

To paint on

Walls, fences, large sheets of paper, trees, easels outside, buckets of water with brushes attached for ‘role playing’ painting

• Allow children to explore and be self-directed.• Allow for imagination and creativity—setting up experiences so that

children can work at their own level and pace.• Avoid stereotypes and bias in materials.• Encourage investigation, discovery and enquiry into the functions of the

play materials.• Use developmentally appropriate materials.

Creativity and problem solvingCreativity is a can be difficult concept to define, mainly due to its multifaceted nature. Creativity involves the application of our intelligence, plus the knowledge and skills we have acquired to a particular area in an imaginative manner. Creativity is an important part of problem solving, it involves taking a risk, experimenting, imagining alternatives and considering new approaches to commonplace and everyday ways of doing things.

‘Do not be too timid and squeamish about your actions. All life is an experiment. The more experiments you make the better. What if they are a little course and you may get your coat soiled or torn? What if you do fail, and get fairly rolled in the dirt once or twice. Up again, you shall never be so afraid of a tumble.’ — Ralph Waldo Emerson


Intelligence and creativityHoward Gardner (as cited in Nixon and Gould, ‘Extending’ pp 195-197) has coined the ‘Multiple Intelligence Theory’. Gardner’s theory consists of eight different intelligences that challenge the traditional view of the IQ test. He sees intelligence as existing in eight key areas, and believes that we think predominately in several of these, with overlap and collaboration between different areas.

These include ‘logical- mathematical’ to ‘musical’ and ‘linguistic’ to the more current ‘interpersonal’ and ‘naturalistic’ intelligence. Gardner sees creativity of different scopes existing across all intelligence types. He does not see these ‘intelligences’ as operating separately from one another, but rather complimenting and working alongside one another, (Nixon and Gould, Extending, pp 197).

Gardner does not believe that intelligence should be limited to our ability to complete certain types of linguistic or mathematical problems as presented in standard intelligence tests, he attests that we all have different ways of looking at the world, interpreting what we discover and coming up with ideas and solutions to problems

Edward de Bono, (as cited in Nixon and Gould ‘Extending’ pp 200-2001) is another more recent theorist who emphasized the terms ‘lateral’ and ‘parallel’ thinking. He has introduced the ‘Six Hat’ approach, which encourages us to examine a problem or a proposal from a diverse range of perspectives.

Problem solving is much more than puzzles, lotto games and other concept related structured activities. Children who perform brilliantly given a puzzle may be unsure and confused when faced with the problem of how to begin playing with a group of new children. Or respond to a creative piece of music. Children need to problem solve in a variety of areas and in a variety of ways and it is our responsibility to seize opportunities to develop creative and cognitive skills in all areas.

Visit the websites given below to read more about Gardner and Edward De Bono. You may want to try a Multiple Intelligence test, yourself!

http://www.thomasarmstrong.com (Multiple Intelligences)

http://www.edwarddebono.com (Six Thinking Hats)

Activity 4

Stimulating children’s awarenessSo far we have discussed the meaning of aesthetics as the appreciation of beauty. From your readings so far, you might have thought of some ideas of to:


• stimulate the children’s awareness of what is beautiful• go beyond the surface and understand the quality of things.

There are countless other ways to stimulate the child’s awareness of creativity and aesthetics. What other ideas can you think of?

An aesthetically pleasing environment has a myriad of opportunities for play and discovery

Activity 5

‘He who never made a mistake, never made a discovery.’ - Samuel Smiles


Display children's work with care, thought and forward planning, involving the children where possible


Provide materials and experiences that stimulate different senses and promote body awareness

‘Good settings’In his authoritative book, Caring Spaces, Learning Places, Jim Greenman (1988, p 6) sums up ‘good settings’. Good settings are ones that:

• respect children’s abilities to believe in active hands-on learning• recognise and respect children as individuals and understand their needs

for care• are established and maintained by adults who learn by observing children,

drawing from their own experiences as children and as adults• respect adults’ abilities to learn and adults’ needs for comfort• know and feel that ‘life has loveliness to sell’ and work hard to provide it.

The organisation of spaceThe planning of the space in the children’s service arises from its philosophy, as well as the building used, the available resources and the children who will attend.

Try to make good use of all available space

When you think about the multiple tasks which are undertaken in a children’s service—eating, sleeping, group times, individual times, loud activities, quiet activities, all types of creations and so on—it’s a daunting task to organise the space and the resources to cater for all these activities adequately. In this topic we will focus on the environmental factors of organising for creative activities. Other factors will have to be taken into consideration.


Anita Olds (Greenman, 1988, 136) says that:

… ultimately the ability of children to work competently and productively is affected by:

(a) the number and variety of things there are to do

(b) the number and variety of places there are in which to do them

(c) the organisation and accessibility of those things and places within the classroom space.’

It’s crucial to emphasise a child-centred philosophy. Encourage children to make choices regarding use of materials and involvement in experiences and provisions.

AestheticsWe can add elements to an environment which will inspire and encourage aesthetic awareness.

An area of the centre with different objects to stimulate the senses

Traditionally, classrooms would have a ‘nature table’. This often become dusty, neglected and disorganised with a mixture of forgotten items and pieces, but how can we take this idea and make it a valuable one?

We might have a ‘texture table’ or a ‘perfume spot’. In these places we could arrange a display of interesting textures that children can manipulate based on different themes: beach textures, plant textures and fabric textures. Children might bring in treasures which could be displayed in a thoughtful way, enhanced with fabric, plants, lighting and attractive containers.


Mirrors

Mirrors can be used to good effect in a centre

Mirrors can also be used to create space, reflect light and add extra dimensions and interesting effects to a room.

We all spend a lot of time looking at mirrors. We can tell if a child has developed a sense of themselves and other people by asking them questions while we look in a mirror. Later they could use a mirror to do a self-portrait, or to watch the shapes their body makes as they move to music. Children can see how they appear from behind. They can see around corners and over obstacles with periscopes. They can look up at the pattern the tops of the trees make against the sky while they are walking through the bush.

Selecting materials to support children’s creativityWe need to collect materials that are developmentally appropriate for all the age groups in our care. It is important to have enough materials for toddlers not to have to share, and it is preferable for older children too. The materials must allow for different levels of use and learning styles.

The more the materials are built into the environment, the more the children will see the possibilities of using them and the easier it is for the teachers to organise their use. Easels on the wall will be used more than easels packed away in a tight cupboard.

The use of the materials needs to be considered carefully. Too few choices could result in frustration or boredom; too many could overwhelm the child. It might mean that the child moves from activity to activity too quickly. The best materials for children to create and express are those with which they can play, experiment, manipulate, discover, imagine, invent and have fun.

Use authentic materials that adult artists use. It is unusual to see adults creating pictures with macaroni, potato halves or shaving cream. As noted elsewhere it is helpful to ask: ‘Would an artist use this?’


Art materials

A thoughtfully set up art space

Dodge and Colker (1999, p 16) recommend an art area that is stocked with something to:

• paint on (eg easel with paper)• paint with (eg brushes, tempera, finger paint)• draw on (eg a variety of paper, chalkboard)• draw with (eg crayons, markers, pencils, chalk)• put things together with (eg paste or glue)• cut with (eg scissors)• mould (eg clay, playdough)• clean up with (eg mops, sponges, brooms, towels).

Some of the materials in the above list can be made and not bought. It is also possible to recycle materials or ask businesses and parents for donations. For example, some companies will donate computer paper or newsprint. Parents might be happy to bring in plain wrapping paper or wallpaper off-cuts. The centre could send out regular appeals in the newsletter or post lists of items that would be useful. Requests could also be sent to local businesses and community organisations. This will save a lot of money, is good for the environment and will help to give the children an abundance of materials to choose from.

The construction corner


A well-stocked construction corner

Blocks are probably some of the best resources that can be acquired for creativity and other areas of development. Blocks of all kinds are useful. Wooden ones are pleasing to handle, durable and easy for the children to manipulate. Hollow blocks are open on the sides and can be carried more easily. With hollow blocks, children can create large structures, such as a boat or a bus, and get in them. Blocks could also be made of cardboard, foam or plastic.

It is probably better to invest in a substantial number of one type of manufactured blocks so that there is enough to go around and build with.

If we again apply the principle of ‘what happens in the real world?’, then we might find other materials that can be combined with blocks for construction: plastic sheeting, blankets, rugs, acrylic, paper and so on. People have built bridges, huts, igloos, domes and tee-pees from many different materials. Children can too.

We could use props to add to the imaginative experience: people, animals, forms of transport, wheelbarrows, pulley systems and wagons.

Again, the list is only limited by the extent of our imaginations.

Providing objects that stimulate the senses

Activity 6

Using a range of materials and experiences

Prop boxesProp boxes are boxes that contain materials and resources pertinent to a specific theme. They provide a wealth of opportunity for young children to extend their knowledge about the world around them. They are particularly useful in dramatic and imaginative play.

Prop boxes can be created from many different themes and include:

• hospital• supermarket• fairies• laundromat


• vet surgery• shoe store.

The list is endless!!!

Remember, prop boxes can contain magical treasures that create a sense of fun and wonder in young children’s exploration.

Here are some examples:

Fairies prop box

Wands Fairy books Poems on fairies

Fairy puzzles Glitter Flower petals

Skirts, tops and dresses Silky hair clips Wings

Dragon flies (stored in safe, tight containers)

Rings Necklaces

Magic spells (written on fancy and colourful cardboard)

Fairy houses Instructions on how to draw fairies

Wishing stones


Construction workers prop box

Hard hats Tools Tool box

Boots Climbing equipment Small step ladder (used under close supervision and dependent on the age group)

Overalls Books on construction workers

Posters of buildings and so forth (illustrating the role tat construction workers play in our community)

Tool belt Glasses

To ensure children maximise the use of the prop box, educators need to introduce the materials and resources in a simplistic and sequential manner, selecting one item prior to introducing all the contents and encouraging children to explore with that particular item.

Then introduce the entire prop box to the dramatic corner and observe the way that the children use the materials and the language that they will use to communicate their thoughts and ideas. Depending on the age group and capabilities of the young child, perhaps limit the number of items within the prop box.

Activity 7

CookingAlthough cooking can be quite prescriptive in that the cook follows a recipe, it can also be creative if the children are allowed some freedom to work with dough or to create shapes. Older children might even experiment with their own recipes. It is a satisfying sensory experience particularly if combined with home-grown herbs, fruits and vegetables. It is a ‘real life’ experience, and therefore intrinsically significant to the child.

You don’t have to have a complete kitchen available to do cooking. You can use a small electric stove, electric wok, frying pan or Dutch oven. You don’t even have to have a fridge. You could keep the food in a cooler. Kitchen utensils are cheap to buy or could be borrowed according to the recipe being used.

It’s better to use real kitchen equipment for cooking, under close and careful adult supervision. It can be very frustrating cutting with a plastic knife.


Washing up is part of the cooking experience

Activity 8

Gardening

A 'real life' garden experience in a centre

Gardening can be another satisfying, creative experience. It is another ‘real life’ experience. Children can feel the different textures and smell the plants and soil in the garden. They will love tending their own seeds and harvesting a crop of tomatoes, peas or capsicums—some to eat on the spot!

Older children could look at the design, shape and colour of their garden plots. Try easy-to-grow plants like marigolds, ivy, nasturtiums, geraniums and succulents (indoors or outdoors). A vegetable and herb plot can be grown outside, in a pot on the veranda or inside. Try avocados, beans, carrot tops, sweet potatoes and bean sprouts. Don’t forget to be mindful of local water wise rules and any water restrictions.

Activity 9

ComputersUsing computers thoughtfully and wisely can be a useful and rewarding creative and social experience


Using computers thoughtfully and wisely can be a useful and rewarding creative and social experience

There is no doubt that computers are a very real part of our lives and will become more so for this generation of children. Many children are computer literate from a very young age and have free access to them in the home. There is some creative software available, plus many new opportunities on the Internet. Children can create virtual communities, adventure games and fantasylands. They can use computers to create traffic systems and make robots move.

Computers are excellent writing tools with their ability to cut and paste, check spelling and grammar and collate information. Written work can look professional and attractive. With the right software, children could run a print shop that produces professional and attractive materials.

Children can create slide shows and websites and use computers to transform photographs. It’s an exciting tool.

Sadly, there are also many mind-numbing, even harmful, aspects to using modern technology. Computers are sometimes used as a baby-sitting service, the child passively playing some repetitive game which tests quick reflexes and little else. Use of the computer has to be carefully monitored, especially if the children have access to the Internet.

If the computer is used as a replacement for all the ‘real’ experiences we’ve been discussing in this topic, the child’s physical and cognitive development will be affected, especially when research shows that children are sitting for many hours in front of the television as well.

Activity 10

Special places to encourage creativityLet’s review and refocus on some of the key points we have been discussing in the provision of play spaces and places.


Places to watch, to wonder, to retreat

Provide green and quiet enclaves for nature to be enjoyed

Somewhere green, if possible, close to the sound of water. A place to rest and contemplate—literally to ‘smell the roses’. A playhouse could be a quiet retreat. It also encourages dramatic play.

Equipment for this area might include:

• some drawing or painting equipment • books• a tape recorder and relaxing music• some gentle sound-makers like wind chimes or a xylophone• some wooden poles or branches with a blanket to make a shade or

playhouse.

Places for building

Children can create a multitude of things withy wood

This might be a place with a workbench where children can do woodwork. Equipment might include:

• hammer and nails• soft wood (pine)• saws, hand drills, rulers• files and sandpaper.


Lots of building can be done without hammer and nails. Children can build shelters, barricades, sculptures and vehicles. They will create a whole kingdom in which to carry out their dramatic play. They could use planks, blankets, tyres, crates, boxes, rocks, rope, dead trees and canvas.

Places for creative expression

The sandpit is an ideal place for creative expression

The sandpit allows for dramatic play, encouraged by props such as kitchen equipment, farm equipment and other types of vehicles.

Soil, mud and sand are great places to dig and bury and to create a whole river system and ocean!

Children, supplied with brushes and paint (or even just water) could paint outside, sometimes on paper, sometimes on wood, stone or other materials found outside. Children could be encouraged to create miniature landscapes with rocks, dirt, plants and wood.

Children will enjoy creating and planting a garden area. The contact with the earth is an important sensory experience. There are many ‘loose parts’ in a garden: leaves, twigs, flowers, wood chips, water and so on.

Equipment could include:

• garden tools• wheelbarrow• seeds and plants• dirt and fertiliser• water• watering cans, hoses• string and wood to landscape and mark off the areas.


Places to pretend

Simple structures can be used to stimulate dramatic lay

Dramatic play is easy to stimulate with suggestions in the form of an old boat or the shell of an old car. Other simple structures that instil the imagination could include a tower, a platform, a secret garden and logs that can be hollowed out or carved.

Beyond the four wallsIf we look beyond the boundaries of the Children’s Service, many opportunities for learning and creative expression present themselves. Children can only work with what they know, so we need to expand their horizons and facilitate new experiences for them.

Consider the following case study:

A group of younger school-aged children had been keen on painting for the first part of after-school care. Phillipa noticed that they painted a strip of blue at the top of the paper for the sky and a strip of green at the bottom for the earth. Instead of telling them about the horizon, Phillipa decided to organise a walk down to the beach that was close by. She organised it on an afternoon when a student and a work experience student were available to help with supervision. They each took a sketchpad and some watercolours. Phillipa also carried with her some pencils and crayons and a range of different brushes.

They sat on the sand dunes with their sketchpads. Phillipa asked them where the sky ended. They talked about the horizon—how straight it was. Danni had been fishing with her father. She talked about how the horizon was always a long way away, no matter how far you travel. Some of them decided to lie down and look at the patterns the clouds made. ‘I’ll need a lot of blue paint’, Darren said.

Excursions need careful planning, even if it is a short walk. There are many rules for taking children into public areas of which you should be aware. A small group and a high ratio of adults to children make the excursion safer and easier to organise. Always check with your state’s licensing guidelines before organising any outing.


Other considerations could be:

• explain to families the point of the excursion, how it reflects your program and what benefits the children will derive from the excursion

• anticipate the needs of the children when they are on the excursion; carry the right type of equipment to cater for those needs

• it is an experience for the children, not a lesson; if the children looking at the sky decide not to paint, just to look, that is okay.

• discuss expectations for the excursion with the other adults; encourage the students in this instance to talk to the children about the patterns in the clouds, the straight line of the horizon, the way the rays of the sun change the colour of the sky, the colours of the ocean and so on.

• encourage the children to talk too, and to paint and draw what they see• the educators could talk to each child about their work, showing

appreciation of their efforts• the educators could show by example and reinforce verbally that

everyone’s work is unique and different, not better or worse• the educators allow time on the excursion for the activity and additional

time back at the centre to pursue the interest aroused by the activity.

Activity 11

Support self expression through movementWhat does creative movement mean to you? Think of a time when you derived pleasure from creative movement? It could have been at a party or you may have taken part in a performance or maybe it was when you were alone on a windy beach and you twirled around with the elements!

Our services can provide lots of opportunities for creative and active movement

Why would we encourage children to express themselves through movement?

• to learn new concepts • for pleasure


• to express emotion and creativity • for physical fitness • to let off steam!• because it requires different skills from those often asked of children in

schools (language based)

What do we need to move creatively with children? Space, time, enthusiasm and if you wish thoughtfully selected music and props to enhance the experience.

Activity 12

The principles of movementAccording to Suzanne Cecil-Fizdale (Wright, 1991) we need to consider the following principles when promoting creative movement.

• use of horizontal space (making patterns on the floor, using the whole space or a part of it)

• use of vertical space (moving low on the floor in different ways, or stretching, jumping, leaping up)

• creating static forms (singly, in pairs or in groups)• outward awareness (working with others)• a variety of movement qualities• changes of speed/tempo (fast, slow, gradually faster and slower)• body awareness (developing a sense of their own body moving)• being responsive (listening and responding to music)• stillness

Another principle that Cecil-Fizdale mentions is ‘being centred’. Our ability to express ourselves through movement allows us to acknowledge that we have emotions, what they are and to give them physical form.

Stimulating the five sensesThere is a sensory element in every activity in which the children are involved. Instead of seeing blocks, see shapes and forms; instead of glue, notice stickiness. Listen and learn from the children. (Koster, 1997, p 237)

Children learn primarily through their senses. This is how they gain knowledge in early development and it is vital to their understanding throughout their lives.

‘One must ask children and birds how cherries and strawberries taste.’ Goethe

You can probably remember vividly some early sensory experiences. It could be the smell of the soap your family used or a song that conjures up memories. The


feel of certain types of materials could remind you of some pleasurable experiences when you were young.

Activity 13

Sensory play in daily routine and ritualsIf we are aware of the freshness of every experience from a child’s point of view, we can make the daily routine part of sensory play. We can introduce experiences that encourage exploratory play or develop an interest that the child demonstrates.

During sensory and exploratory play children learn to:

• enjoy sensory exploration• use their senses to the full• release tension, feelings and emotions• experiment with the consistency of various mediums (for example water,

dough, sand, metal, wood)• enjoy nature and natural materials• create shapes, holes, swirls, patterns, rhythms and sounds.

We can also make sure that the environment reflects our philosophy about the way children learn and how important it is to infuse the child with aesthetic experiences.

We live in a safety-conscious, ever hygienic world. There is much plastic and prefabricated material in what we offer children to play with and discover. Perhaps we have lost touch with the natural world to a degree?

Consider using natural materials were possible over plastic options. For example, using cane baskets to store pencils, rather than plastic containers.

Handmade, crafted objects and items made from natural materials are generally more appealing to our senses. There are simple everyday activities that can be ‘value-added’ to enrich children’s sensory awareness with a little extra thought and imagination.

Activity 14

Enriching routine and every day experiencesHere are some ideas that extend environments and provisions aesthetically:


• Make a story book using the different textures of the materials to illustrate the story.

• Frame and mount photographs with decorations.• Select some beautiful, coloured scarves made of different materials and

patterns for dramatic and imaginative play and music and movement experiences.

• Collect lots of different types of paper with patterns, pictures and designs for collage.

• Bring real flowers into the centre and talk about their colour, texture, smell and design

• Display prints of famous paintings of flowers such as Monet’s Water Lilies.• Use a beautifully carved wooden treasure box for various activities such as

surprises and memory games.• Use the handmade Russian dolls for seriation activities and stacking.• Collect shells, beans or seed pods and display them in order of size.

Activity 15


chcfc508a: foster children’s aesthetic and creative ... · web viewolder children could look at...

Documents