Thinking Through the Arts

BOOK COVER......Page 1
HALF-TITLE......Page 2
TITLE......Page 3
COPYRIGHT......Page 4
CONTENTS......Page 5
CONTRIBUTORS......Page 7
CHAPTER 1 ARTS, THINKING, YOUNG CHILDREN?......Page 11
WHAT CONSTITUTES ‘THE ARTS’?......Page 12
References......Page 16
ISSUES FOR EDUCATORS......Page 18
Aboriginal art: separation or mainstreaming; traditional or contemporary?......Page 19
Gallery programs for children......Page 21
Prior experiences for children......Page 24
Teachers, children and museum and gallery visits......Page 25
CONCLUSION......Page 27
References......Page 28
THE STUDY......Page 30
RESULTS......Page 32
DISCUSSION......Page 35
Implications for practitioners......Page 36
Thinking through performing arts-based experiences......Page 37
CONCLUSION......Page 38
References......Page 39
CHAPTER 4 ART GOES BACK TO MY BEGINNING......Page 40
PARENTS AND CHILDREN IN ART......Page 41
THE INFLUENCE OF THREE GENERATIONS......Page 43
ARTISTS’ VIEWS OF THEIR BEGINNINGS......Page 44
THE INFLUENCE OF PROGRAMMES BASED ON PLAY......Page 45
CONTEMPORARY PROGRAMMES FOR YOUNG CHILDREN......Page 46
THEORETICAL BASES FOR ART AT HOME AND IN GROUP CARE......Page 48
References......Page 49
CHAPTER 5 INHERITING DANCE......Page 51
CONNECTIONS OF ART AND SCIENCE IN DANCE......Page 52
IMPROVISATION: THE IMAGINATIVE EXPERIENCE......Page 54
INTEGRATING LEARNING THROUGH DANCE......Page 56
OPENING UP DANCE: PSYCHOLOGICAL ASPECTS......Page 57
THE ROLE OF THE TEACHER......Page 58
References......Page 60
CHAPTER 6 SEEING BEYOND MARKS AND FORMS......Page 62
FACTORS INFLUENCING OBSERVATION......Page 63
Notions About ‘Art’......Page 64
PERCEPTION OF MEANING AND ORDER......Page 66
VISUAL THINKING......Page 68
Observations of a child......Page 69
COLLABORATIVE DRAWING......Page 71
TOWARDS DEVELOPING AN INFORMED EYE......Page 72
References......Page 73
CHAPTER 7 TEACHING DANCE TO YOUNG CHILDREN......Page 75
‘TEACHER,CAN WE BE BULLDOZERS NOW?’......Page 76
‘WHEN ARE WE GOING TO DO SOME WORK?’......Page 77
BOYS WILL BE BOYS BUT GIRLS WILL BE WOMEN......Page 78
CONCLUSION......Page 80
References......Page 81
THE ROLE OF REM THEATRE......Page 82
BACKGROUND TO THE STUDY......Page 83
RESPONSE MEASURES......Page 84
CODING AND DATA ANALYSIS......Page 85
EXCERPT FROM TRANSCRIPTION OF FOCUS GROUP NO. 3......Page 86
Action......Page 87
Sound......Page 88
Content analysis......Page 89
DISCUSSION......Page 91
IMPLICATIONS FOR TEACHING......Page 93
SUMMARY......Page 94
References......Page 95
CHAPTER 9 NURSERY RHYMES......Page 96
CONCLUSION......Page 104
Books Cited......Page 105
CHAPTER 10 THINKING THROUGH PUPPETRY......Page 106
THE STUDY......Page 107
RESULTS......Page 109
3. Caregiving routines: Face washer puppet interacting with children in bathroom......Page 111
5. Indoors free play: Using building blocks to make homes for the finger puppets......Page 112
7. Caregiving routines: Pillow puppet used to settle the children at rest time......Page 113
9. Indoors free play: Making and using puppet stages for finger, hand, paper bag and stick puppets......Page 114
10. Indoors group time: ‘Find the shape’ game using stick puppets......Page 115
12. Outdoors play: Local walk where children use natural objects to create found puppets......Page 116
Puppetry experiences with three year olds......Page 117
Puppetry experiences with four year olds......Page 118
CONCLUSION......Page 119
References......Page 120
CHAPTER 11 DYNAMICS, IMAGES AND IMAGINATION......Page 122
SITUATING ADULT MEMORIES OF CHILDHOOD IMAGINATION......Page 124
BACKGROUND TO THE PRODUCTION OF JAKE AND PETE......Page 126
RESPONSES TO JAKE AND PETE: ACCULTURATION IN CONTRAST TO MAKING MEANING......Page 128
LEARNING AND IMAGINING......Page 131
CONCLUSION......Page 132
References......Page 133
PROCESS DRAMA IN EARLY CHILDHOOD SETTINGS......Page 134
DRAMA FOR UNDERSTANDING......Page 135
LANGUAGE AND THOUGHT IN PROCESS DRAMA......Page 136
THE ROLE OF THE TEACHER: TEACHER IN ROLE......Page 137
SOME RESEARCH FINDINGS: DRAMA AND LANGUAGE......Page 139
DRAMA AS SOCIAL PROCESS......Page 141
IMAGINATIVE THOUGHT......Page 142
CONCEPT DEVELOPMENT THROUGH DRAMA......Page 143
References......Page 144
CHAPTER 13 UNCOVERING THE POTENTIAL OF RHYTHM......Page 147
THE RHYTHMIC POTENTIAL OF THE BRAIN......Page 148
THE POTENTIAL OF MULTIPLE INTELLIGENCES......Page 149
PLANNING AND DEVELOPMENT......Page 151
A RHYTHMICAL INTERPRETATION OF AUTUMN: KINDERGARTEN LEVEL......Page 152
LINKING ‘EXPLORATION OF AUTUMN’ WITH A MULTIPLE INTELLIGENCE VIEW......Page 156
A RHYTHMICAL INTERPRETATION OF THE RAINFOREST UNIT......Page 157
A MULTIPLE INTELLIGENCES VIEW OF THE RAINFOREST EXPERIENCE......Page 159
A RHYTHMICAL INTERPRETATION OF THE BODY: GRADE TWO......Page 160
Part one: Introduction—our body......Page 161
Part two: The skeleton......Page 162
Part four: Circulatory system......Page 164
Part five: The digestive system......Page 165
Part six: The grand finale, ‘The Informance’......Page 167
SUMMARY AND CONCLUSION: THE SUCCESS OF RHYTHM IN A MULTIPLE INTELLIGENCE, ARTS-BASED TEACHING APPROACH......Page 168
Discography......Page 170
CHANGING THEORIES, CHANGING PRACTICE......Page 171
FORMS OF COMMUNICATION BY ADULTS......Page 172
DRAWINGS IN EARLY CHILDHOOD SETTINGS: MEANING AND METAPHOR......Page 173
Identifying knowledge bases......Page 174
Shared meanings......Page 175
Revisiting the narrative......Page 176
Teacher’s role......Page 177
DRAWING AS COMMUNICATION: THINKING TO DRAW, DRAWING TO THINK......Page 178
References......Page 179
CHAPTER 15 VISUAL THINKING IN TECHNOLOGY EDUCATION......Page 181
Front-view orientation......Page 182
Stylisation of objects......Page 184
Case study......Page 186
Children working technologically: The challenges......Page 187
A design component of technology education: Outcomes of the study......Page 188
Design use......Page 189
DISCUSSION AND SUMMARY......Page 193
References......Page 194
CHAPTER 16 EARLY CHILDHOOD ARTS ENVIRONMENTS......Page 195
REFLECTING ON YOUR PHILOSOPHY FOR EARLY CHILDHOOD EDUCATION AND THE ARTS......Page 197
COLLABORATION WITH COLLEAGUES AND FAMILIES......Page 198
Environmental messages to avoid......Page 199
Enhancing the environment......Page 200
CREATING ENVIRONMENTS THAT ARE SOURCES OF INSPIRATION, WONDER AND DELIGHT......Page 201
The indoor environment......Page 202
The outdoor environment......Page 203
Designated spaces for children’s arts play......Page 204
The organisation of time......Page 205
Display and documentation of children’s work......Page 206
SUMMARY......Page 207
References......Page 208
THE MIND AND BODY CONNECTION......Page 210
MOVEMENT AND DANCE IN EARLY CHILDHOOD CURRICULA......Page 211
Pedagogical principles utilised in this project......Page 212
Producing videotape sequences......Page 213
Trialling of materials......Page 215
Contribution of a project reference group......Page 216
ISSUES IN THE PROJECT......Page 217
Feedback through interviews......Page 218
FUTURE PLANS......Page 219
References......Page 222
INTRODUCTION......Page 224
CHILD-INITIATED CURRICULUM......Page 225
VIEWS OF CURRICULA AND VIEWS OF CHILDREN......Page 226
VIEWS OF CHILDHOOD......Page 227
AN ALTERNATIVE VIEW......Page 228
IMPLICATIONS OF A CHILD-INITIATED CURRICULUM......Page 229
References......Page 231
INTRODUCTION......Page 233
IS AN EARLY START IN PIANO LESSONS NECESSARY?......Page 234
DEVELOPMENTALLY APPROPRIATE PRACTICE......Page 235
Awareness of child development and the importance of play......Page 236
Individualising programs......Page 237
Creating a supportive learning community......Page 238
THE RESEARCH STUDY......Page 239
PARTICIPANTS......Page 240
PROCEDURE AND INSTRUMENTATION......Page 241
‘Meet the Composer’ concert and ‘Art Response’ exhibition......Page 242
Group I......Page 243
Group II......Page 244
Case study 4......Page 248
Case study 5......Page 249
Group III......Page 250
Case study 6......Page 251
Case study 7......Page 252
DISCUSSION......Page 253
Limitations......Page 257
Implications......Page 258
REFERENCES......Page 260
INDEX......Page 265