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Hanna, W. (2017) The Children’s Music Studio: A Reggio-inspired approach. New York, NY: Oxford University Press.

Honegger, D. S. (no date) Block play Available at: http://www.journeyintoearlychildhood.weebly.com/uploads/1/2/4/6/12466023/block_play_adding_accessories_to_construction.pdf (Accessed: 19 May 2023).

Mahshulah, Z.A., Syaodih, E. and Rachmawati, Y. (2020) The Ray of Light: An activity approach of reggio emilia, International Conference on Elementary Education. Available at: http://proceedings.upi.edu/index.php/icee/article/view/687 (Accessed: 19 May 2023).

Pacini-Ketchabaw, V., Kind, S. and M., K.L.L. (2016) Encounters with materials in early childhood education. New York: Routledge.

Pelo, A. (2016) The language of art inquiry-based studio practices in early childhood settings. St. Paul, Minn: Redleaf Press.

Prochner, L. (2011) ‘“their little wooden bricks”: A history of the material culture of kindergarten in the United States’, Paedagogica Historica, 47(3), pp. 355–375. doi:10.1080/00309230.2010.513688.

Queensland Government (2020). The many benefits of music. [online] Early Childhood Education and Care. Available at: https://earlychildhood.qld.gov.au/early-years/activities-and-resources/resources-parents/encourage/the-many-benefits-of-music.

Sharing Visual Arts Inspiration (2016) AccessArt. Available at: https://www.accessart.org.uk/ (Accessed: 19 May 2023).

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Educators and children congregate around items in the early childhood classroom to examine, negotiate, discuss, and share. Materials appeal and draw us in: a block of clay, a brush, paint pots, a beautiful sheet of paper, a heavy rectangular wooden block, a thin bit of willow charcoal. They call to us, speak to us, and make gestures. Materials have the power to convey ideas, urge actions, tell tales, and trigger memories. Early childhood education is transformed by thinking with materials because it forces teachers to consider how materials and young students coexist in classrooms and how their interactions affect one another (Pacini-Ketchabaw et al 2016).

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I will create a game. I will draw the curtains and darken the room. I will divide a group of 20 children into two groups of ten. One group is making music using things around the play area, such as hitting a spoon on the table; another child can shake the shaker and another youngster alternately turns the light on and off to simulate a disco. As soon as we turn off the music, more kids start dancing in the middle. Children must stop on time, and the winner will be determined at the end. I've seen this game used well in another child care setting.

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According to Reggio, children learn a language of the arts in music class. By providing key elements and practises of a certain musical art, this language is created. Children have the capacity to communicate thoughts more fluidly and move with that creative language as they become more familiar and aware with the components and techniques (Hanna 2017).

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Music video
https://youtu.be/zjPk7BGYWWA

Transcript submitted via Dropbox

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I will talk to children about light and when it travels in a straight line or when it can pass through objects. I will supplement and complement the topic with images and videos. I will make the main room dark by closing the curtains; each child will be given a torch and a variety of objects to place on the table in the centre of the room. I let children experiment with various objects to see which light could pass through them and which could not, and I document the results.

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Children's critical thinking abilities can be stimulated through exploration activities that use light. According to Reggio Emilia's approach, children are given the flexibility to select their own learning activities, figure out a problem, and work with others so they can develop their own social and critical thinking skills. The Ray of “Light Atelier”, where kids can perform research and experiments using light, is notable for its use of light and its movement in early childhood education (Mahshulah, et al 2020).

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Light video
https://youtu.be/8WPRvqEhHfo

Transcript submitted via Dropbox

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In a corner of the room that is surrounded by bookcases, I will think about a decent location for a block centre. I make sure there is enough space for two children to assemble together. The housekeeping centre can be close to the block centre, but the block centre should be as far away from the quiet area as possible.

Place the blocks on low, spacious shelves that are accessible to children. Make sure the shelves are stable and difficult to tip over. Given that children will be working on the floor, if at all possible, offer a rug for the block centre. I'll see how children play with blocks, what they create, whether they love it, and what I should change going forwards.

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Expectations have always weighed heavily on blocks. The marketing of blocks at the time of their introduction emphasised how they "improve the quality of children's creation and increase the efficiency of their learning" (Prochner 2011). Today's educators use block play to foster children's imagination and creativity (Honegger n.d.).

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Blocks video
https://youtu.be/SAyMHdzW3QI

Transcript submitted via Dropbox

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Charcoal can be a sloppy mess! I will cover the tables with newspaper and then cover it with the sugar paper that the children will be working on. I'll make sure there's plenty of charcoal and chalk so that each child gets one of each to work with. I will make sure there is enough charcoal and chalk for each child to work with. To ensure that each child has one of each, I will make sure there is enough charcoal and chalk. Make sure paper towels are available for hand washing, and have children wear aprons or old clothes. Ensure that each child has enough room. Encourage children to experiment and use charcoal anyway they like—to draw, melt, or mash it—while keeping track of everything they do to determine what works and what needs to be changed.

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Young children may study the characteristics of the medium while working with charcoal, which broadens their grasp of the mark-making possibilities and introduces them to a variety of complementary materials and working techniques. You may make sure that children are aware of the possible effects by doing this warm-up before subsequent charcoal-based exercises (Sharing Visual Arts Inspiration 2016) Available at: https://www.accessart.org.uk/ (Accessed: 19 May 2023).

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Charcoal video
https://youtu.be/Z4fRLtqT7wo

Transcript submitted via Dropbox

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Clear an area of the floor that is as large as the tarp. Place the clay block in the middle of the tarp-covered floor. Place a stack of paper towels next to the bucket or tub of water near the tarp's edge. Invite children to participate in this energetic, entertaining experience with clay. Invite children onto the tarp once you and the others have stripped down to your naked arms, legs, and feet. Encourage them to explore the clay block with their entire body, climbing on it, bouncing off of it, and sifting through it with their fingers and toes. I watch how they play with the clay; are they afraid to become messy, or do they actually love it? I'll keep track of my findings for future use.

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Children must comprehend the characteristics of clay before using it as an art material. Children are encouraged to climb on a large block of clay, dig into it with their toes and fingers, and press into it with their elbows and knees during stage one exploration, which places an emphasis on full-body exploration. Young children experience the responsiveness of the clay as they use their entire body in their interaction with it (Pelo 2016).

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Clay video
https://youtu.be/kmD8XqoH2UA

Transcript submitted via Dropbox

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I will make sure there's enough space surrounding each child's work area for broad arm movements! I wlll lay down a sheet of finger paint paper for each child, giving it plenty of space around it. I place clear cups or jars of finger paint in the centre of the table, each with a spoon. Instructing children to paint something they enjoy. It could be a friend, parent, sibling, or pet. I do watch to see how the children work together, sharing their views and discoveries. I ask them about the story behind their painting and capture what worked and what didn't.

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It is important to expose young children to many colour combinations, changes, and motions. Our focus is on providing opportunities for children to experience colour firsthand and learn about it, and to encourage them to see the colourful landscape. It is the children's journey to make, but we can offer directions, materials, and company as they travel. They will follow their curiosities, instincts, and fascinations, preparing for potential movement along the road while being utterly shocked by the unexpected as expressed in the language of the art enquiry studio (Pelo 2016).

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Paint video
https://youtu.be/ngkKvXCUMnU

Transcript submitted via Dropbox

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The world is filled with many movements of varying rhythms and intensities; nothing is static. Things, bodies, and materials all move. Movements, motion, new becoming’s, and emergences are all a part of life. Movement is always present and it creates new opportunities and potentials. Materials have their own vitality and we find ourselves participants in an active universe of lively materials if they are not just static bits of matter waiting for someone to do anything to them but rather are constantly in the process of becoming something else (Pacini-Ketchabaw et al 2016).  

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The world is filled with many movements of varying rhythms and intensities; nothing is static. Things, bodies, and materials all move. Movements, motion, new becoming’s, and emergences are all a part of life. Movement is always present and it creates new opportunities and potentials. Materials have their own vitality and we find ourselves participants in an active universe of lively materials if they are not just static bits of matter waiting for someone to do anything to them but rather are constantly in the process of becoming something else (Pacini-Ketchabaw et al 2016).  