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Clay comes from the ground, usually in areas where streams or rivers once flowed. Clay made from minerals, plant life, and animals—all the ingredients of soil (McKee 2017). In another understanding, it contains the stories of all the ingredients it made of.

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Thinking about paper, I think about the materials that everyone uses in daily life, and it made countless contributions to our world. The use of paper is various from writing, printing, painting and packaging. Without the invention of paper from Chinese Cai Lun during the Eastern Han period (25-220 CE) (History of paper, 2019), our modern world would be extremely different. A lot of knowledge could be lost, and many historical records could not be existed.

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How has paper become important in the early childhood classroom

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How has paper become important in the early childhood classroom

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Paper involves in various of form in early childhood education. We can see paper spreading in the classroom, from the books corner, art and craft area to communication board for parent. Coming into the classroom, Paper itself is not only the surface to hold messages that people want to transfer, paper inspiries children to think, to learn from it, to move together with it, to be imaginative and freely explore. Children engage with paper in daily basis and it is an important part of play based learning philosophy. "The child's own instincts and powers furnish the material and give the starting point for all education (Dewey, cited in Pacini-Ketchabaw 2017)

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Paper is open to interpretation and imagination ,based on how people perceived its use.

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In the class today, we had an opportunity to experience with paper. There are papers in different types and sizes such as art paper, cardboard, newsprint and shiny paper spreading on the ground. Next to the papers, there are paintbrushes, crayons, scissors and tapes. They are inviting us to come and explore all the possibilities that we could use those papers.

Getting closer to the papers with the uncertain feeling, I used all of my senses to decide what type of paper myself is comfortable to work together. Touching a big piece of paper in rectangle shape with a smooth surface, I have the feeling this piece of paper is perfect for me to make my childhood toy, which is a traditional Vietnamese game. I started with cutting the paper into a square shape, following with folding, colouring and writing on the paper. Holding the colour pencil and colouring on the paper using all my strength at a fast pace, I suddenly stopped and noticed that the paper got ripped. At that moment, the paper was responding to my actions. It required me to be slowly and calmer while interacting with it.

I perceived that the more I engage with the paper, the more the paper respond to my actions and guiding my movements toward it. The material world acts on our thinking as much as our thinking acts on the material world (Lenz Taguchi, cited in Pacini-Ketchabaw et al. 2016). We spread our ideas on the paper by manipulating it with cutting, tearing it apart, turning it upside down as well as altering the surface of the paper by using diverse materials. In return, paper responds to our enquiry with its characteristic, its texture, its movements, and sounds. It drives us from one wonder to the others. The texture of the paper will decide which way should we work with it. How much colour can you put on it? How would you move your brush? It requires us to pay attention to be harmonised with it to create a piece of art. During that process, it brings us joyful of achievement to see the result that we create. This thinking draws me to a question that if we think of paper not just as the tool to make art but a partner, which collaborates with us firmly in the process of making art, how would it change our work with paper? How would we work with paper differently? Would we focus on the way we respond to paper? Would we interest to learn about “its movements, histories, and possibilities?” (Pacini-Ketchabaw et al. 2016).

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How would paper relate to my professional practice in Early Childhood Education

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How would paper relate to my professional practice in Early Childhood Education

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What needs to be put in place to ensure that children have access to deep material inquiries?

- Give children uninterrupted time and space to explore
- Allow materials to move around
- Provide open-ended experience with materials

How can we support children to build upon their knowledge of materials?

- Talk about broader issue related to paper like recycling and climate change
- Talk about the history of paper
- Encourage children to experience with paper and challenge their thinking by observing how paper is moved, the sound paper make, the durable of paper, observing how paper interact with other materials as well as nature.
- Engage with children and being a part of the project.

How can we create a space where we celebrate and nurture a culture of listening?

- Asking those questions everyday: "How can we help children find meaning in what they do. what they encounter, and what they experience? And how can we do this for ourselves?" (Rinaldy, 2011)
- Being uncertain and not making firm outcome of the experience
- Listen to the children ideas and make changes according to feedbacks and children's interests.
- Encourage children to test ideas and experience the result
- Encourage children to listen to others with respect and open up to ideas
- Encourage children to work together to learn the process from each others

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The bird is standing still, looking for a storm is coming. Will it reach the bird? why is the bird being so calm in front of the storm?

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The bird is standing still, looking for a storm is coming. Will it reach the bird? why is the bird being so calm in front of the storm?

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The history of Loose Part and how it becomes important in Early Childhood Education

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The history of Loose Part and how it becomes important in Early Childhood Education

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In 1970, Simon Nicholson had developed "The Theory of Loose Parts", which defined that loose parts as natural or human-made objects that can be transported, manipulated or changed during children’s play (English, 2018). Base on Nicholson’s theory, I understood that loose parts are materials, which can be moved around, designed and resigned. They are open-ended materials, which can offer infinite opportunities for innovative engagement than static elements. The beauty of loose parts is that they don’t have to be purchased at the store, most items are available around your environment. They can be the junk from your house that you think they don’t have any purpose in your life such as excess fabric, boxes, newspapers, bottles, plastic pieces etc. Loose parts can be found in natural environments such as leaves, fruits, barks, flowers, pinecones, rocks, and branches. In the playground, there are balls, fabric, hula-hoops, sands, water, dirt, and in the indoor area, there are blocks, building materials, dramatic playing props, recycled materials, art materials. Each loose part has its own story, and the artist is the person who will listen to the elements, learn about the materials, work cooperatively with the materials and bring the features and their stories to the world in innovative ways.

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                                                              Loose Part

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                                                              Loose Part

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The story of soft drink cans through artwork: Spin by O'Neill and other artists

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The story of soft drink cans through artwork: Spin by O'Neill and other artists

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The soft drink cans have been given a second life and turning into a piece of art.

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A child was exploring the  movements of broken plastic within water, human body, the steel bowl and paper. I am wondering how did the plastic move the child's thinking? 

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A child was exploring the  movements of broken plastic within water, human body, the steel bowl and paper. I am wondering how did the plastic move the child's thinking? 

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In today class, we discussed loose-parts and the contribution of loose-parts to children's development. We had opportunities to freely experiencing with the available loose-parts that inspire us and enable more in-depth learning.

Loose-parts cover the floor. There are fabrics; plastic tube, clay, sticky tape, scissors, boxes etc. Those loose-parts made from different materials with a variety of shapes, colours and textures. What are the histories of those materials? How did it end up being here, around our space? What will it be in the future? My head is filling with wondering. As the uncertain feeling of what can I do with those materials dominate my thinking, I picked some elements that I familiar with which are fabrics, plastic tube, sticky tape, strings, leaves and sticks. There are some ideas of how can I work with those materials dancing in my head when I started interacting with the elements.

My group was working toward a stop-motion project, so we decided to model movements of the moving tree with all of the materials we had. Putting our ideas together, we think that the large blue fabric can be the sky, sticks and leaf can be stuck together by sticky tape and formed a bird, the plastic tube can be a tree trunk. Leafs, fishnet and small size fabric will be tied up with strings then being pushed inside the round plastic tube, and we will slowly pull everything out at the same time. We expected the gentle movements of the materials coming out of the tube. As we started stretching everything out, the fabric and fishnet got tangled up and stuck inside the plastic tube. The result did not come out as successful as our group expected. After the experience, I was thinking this is not how these loose-parts had opened up the opportunities for us to be curious about them, to experience and try our ideas, to struggle and uncertain. We learnt that modified and changed materials based on our opinions are not enough; we have to consider all aspects related to the elements such as textures and how different materials will react with others. Loose-parts allow me to ask questions and provoke inquiries, to implement my ideas, to express my thinking that I cannot use words to describe. It allows me to be brave to apply my thoughts into the materials, to slow down and notice the materials' movements and invitations, to be curious about the possibilities of objects that I see every day, to accept the failure and learn to move on. I have learnt that the process is more important than the result.

Since each material will provoke different ways of thinking, processing ideas, making meaning as a child engages and works with them (Pacini-Ketchabaw et al. 2017 ). Therefore it can take time and spaces for the children to process, get used to the materials by using all their sensations and apply their thoughts into the process of experimenting with materials and creating arts. They might experience the success of testing out their ideas or failure. It's not an easy process.

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How do you see Junk/Loose parts supporting children in their play?

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How do you see Junk/Loose parts supporting children in their play?

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Encourage children to express creativity as they discover, collect, sort, arrange, experiment, and think with found and recyclable materials.

It helps children to look at objects in new and interesting ways. Make them value the objects that have been discarded.

Offer children the idea that there are so many ways of seeing and knowing self in the world

Give children the opportunity to invent, experiment, problem-solve and persist, and offer children infinite play opportunities

Loose-parts also offer children opportunities to practice:

Concentration

Hand-eye coordination

Fine motor development

Gross motor development

Language and vocabulary building

Mathematical thinking

Scientific thinking

Literacy

Social/emotional

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The original concept of "Junk Playground" was developed by the Danish landscaper Carl Theodor Sorensen in 1931. He has observed and concluded that children in Copenhagen during World War II prefer to play with dirt, rocks, lumber, etc than on the well-appointed asphalt playgrounds that had been built for them.

In 1946, Lady Allen of Hurtwood brought this new themed playground idea to London. Her concept was that there should be hills, puddles, grass, etc. and absolutely no asphalt. The main features were to be:
1) enough pipes, ropes, bricks, lumber, hammers and nails where with very little supervision, children could build and paint playthings that they wanted like swings, treehouses, forts, etc.
2) a central pavilion for children to get in out of the rain and to hold meetings

Children are watched by specially trained adult playworkers, who teach them how to use the tools that are provided them, but otherwise, intervene only when there is a danger to the children, for example when a war between rival “forts” turns ugly, or rusty nails or sharp-edged objects pose a threat.

(Schiffman 2019)

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Beautiful Stuff n.d

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How would we support children to experience and learning with loose-parts: 

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How would we support children to experience and learning with loose-parts: 

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As educators, we can support children by:

Provide countless time for children to get to know the materials just like they get to know a new friend, to explore, to investigate, to understand the elements, to accept the materials are part of their space. Sit back and watch how loose parts act out in the space.

Create an environment where children can manipulate, and where they can invent, construct, evaluate and modify their constructions and ideas through play.

Encourage children to bring loose parts that they can find at home or in the community into the room.

Stand back to observe and give children time to concentrate on their works as well as discussing with others.

Listen, respect and respond to children ideas and opinions about their play space. Encourage children to make changes in the environment by moving materials around the space, manipulate, add on and set up the materials according to their learning needs.

Daily reflect on the current practice of things that work and things need to be changed in the environment.

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                                                          Clay 

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                                                          Clay 

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How to introduce loose parts to the environment? 

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How to introduce loose parts to the environment? 

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Consider the use of loose parts in the environment. Which area can loose-parts be used? How much loose-parts will we need? What type of loose-parts will we need?

Work out how to introduce loose parts to the centre (can be present in a staff meeting)

Involve parents, staffs, co-worker about the benefits of loose-parts to children learning as well as for the environment

Having the procedures for the manager and use of loose parts in place

Work out where and how to store loose-parts

Develop an ongoing plan for involving loose-parts into practice and make sure children will participate closely in the process

Encourage parents to contribute loose-parts that they are no longer need to the class.

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                                                  Paper

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                                                  Paper

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Today our class begin with experimenting with clay. As the clay came in the shape of a big block, I decided to use a wooden knife to cut some small chunk of clays so I can create something later. When my knife went down, It could not go through the clay block completely and only able to carve a thin slice of clay. The clay itself was stiff and durable. Bringing some clay on the table and started my exploration, I started rolling, pinching, poking it into a variety of shapes without any concept. During the process, I could feel the difference of it to another material which promotes sensory experience to children which as playdough. With clay, because of the texture, I need to control how much pressure to put into it so I can transform clay into the shape that I want. Squeezed, pinched, pushed and pulled - All my hand muscles were working hard. The sensation of clay on my hand reminded me of holding the stress ball. I realised that by squeezing the clay, I could release my tension, let it go, take thing slow and control my emotion. The texture and the possibilities of things that clay can make also expanding my focus. It makes me want to test out what other things can clay do. I am wondering what happens if I put more water into the clay? How will it do our work with clay changes? What if I work with clay on the ground together with other materials, how would it change my experience with clay?. However, clay can bring different experiences to everyone. Since we talked about what emotion clay bring to each of us, my friend Emily on the opposite side confessed that clay made she felt frustrated and angry as it is pushing her back with resistance and not moving the way she wants. At that moment, I am wondering what Emily's clay demands her to do to work with it better? What feeling does Emily bring to her clay? How can Emily and clay work together better?. Transformation only happens when people learn to work cooperatively with clay.

This experience had drawn me to think deeply about how clay led us to a state of enquiry, exploration, wonder and dialogue? (Yazbeck 2013, p. 47). Clay requires us to think, to feel, to notice, to ask questions of its demands in different situations and to accept that we cannot control everything. Pacini-Ketchapaw (2017) stated that clay reminds us that not everything is a human construction, that there is no norm, and that each piece of clay acts differently.

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                                                                        What is clay capable of 

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                                                                        What is clay capable of 

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Clay has diversified of form. It can be sliced, engraved, embellished, glazed, washed, carried, burnished, heaved, fired, dropped, shaped, sculpted, soaked, sprayed, hollowed, altered, polished, painted, pounded, flattened, carved, transformed

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Cold
Hard
Tenacious
Heavy
Stiff
Sticky
Bare
Greasy
Stable
Strong
Impervious
Dry quickly
Flexible

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After playing with clay,  clay has leave the residue on our hands so we all know that it has been here with us

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After playing with clay,  clay has leave the residue on our hands so we all know that it has been here with us

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Our story are being told through the marks of our finger on the clay. This is a stop motion clip of how we make a tree by using clay. Clay had lead us to different ways of thinking and making. It also encourage us to work together in order to finish the "clay tree" quicker. 

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Our story are being told through the marks of our finger on the clay. This is a stop motion clip of how we make a tree by using clay. Clay had lead us to different ways of thinking and making. It also encourage us to work together in order to finish the "clay tree" quicker. 

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We transformed clay into different shapes and clay changes our understanding and movements 

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We transformed clay into different shapes and clay changes our understanding and movements 

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Clay Stories - Jock Pautjimi in the ceramics studio - Tiwi Design Bathust Island

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Clay Stories - Jock Pautjimi in the ceramics studio - Tiwi Design Bathust Island

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People make ceramic pots from clay

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Clay Stories – Judith Pungkarta Inkamala – Albert Namatjira

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Clay Stories – Judith Pungkarta Inkamala – Albert Namatjira

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The artist tell the viewers the story about his/her country through the painting on ceramic pot from clay

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Aboriginal People use iron clay to create colours such as white, yellow, red 

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Aboriginal People use iron clay to create colours such as white, yellow, red 

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Cross-hatching (Rarrk) design and x-ray paintings come from the Northern Territory and in particular Arnhem Land.

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Aboriginal body painting using colour from made from clay or ocher 

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Aboriginal body painting using colour from made from clay or ocher 

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How does clay feel different to our past inquiries?

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How does clay feel different to our past inquiries?

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Clay is messier
Sensory experience where you need to move your finger muscle a lots
Clay came from the land so it left me to think about the lands, about our origin. Clay is important for us in the when learning about Aboriginal People culture and how they tell their stories through clay.

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How do you see clay supporting children in their play?

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How do you see clay supporting children in their play?

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As children manipulate the clay, they will learn that actions have consequences. It will encourage them to be more experimentation

Since clay holds no preconceived ideas as to what it is or how it is supposed to be, it stimulates the child’s curiosity, imagination and creativity

Clay can bring back memory and experience of children

Manipulating a piece of clay develops the child’s large and small muscles. Clay play fosters eye-hand coordination

Clay encourages emotional expression and communication in children when they discuss their process of interacting with clay, interact with other children and educators

Clay can also be a great way to extend the attention span of children

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To help the children to explore and experience clay closely and seeing its relation to other materials in the environment, I want to introduce clay as the flexible material, which children can move it around. Clay can be placed on the table or the floor with natural materials. Clay can stay inside or outside. It can go with us to the excursion. We can add water into the clay to see how it will react. Other materials can be also be added to the clay.

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How would we support children to experience and learning with clay: 

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How would we support children to experience and learning with clay: 

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Use rich language with children when discussing their clay work. For example, teachers can comment on specific elements - such as form, texture, colour, or line, and use technical terms - such as coiling, modelling, sculpting, wedging, pinching, poking, etching, decorating, slip, glaze, firing.

Educator engage alongside children with the medium and to get their hands dirty too!

Have clay available regularly, so children learn how to master the skills and techniques over time (Kolbe, 2007)

Allowing children to modify the clay by adding more materials inside, the clay can be moved around the room or outside.

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                                               Light

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                                               Light

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Clay connect the past, present and future

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Clay connect the past, present and future

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Clay was playing an essential role in Aboriginal culture. Aboriginal people used clay for body painting or art and personal ornamentation. It was an ancient tradition which carries deep spiritual significance. The paintings reveal their relationships to their family group, social position, tribe, precise ancestors, totemic fauna and tracts of land (Aboriginal Art Body Paint n.d). The art that made from clay, whether it is on the walls, on ceramic pots or on the artworks will open doors for the next generation to look through the history, personal stories and the connection to the land.

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-> the nature energy that make us see things and make things visible
-> Translucent: When light passes through something but it does not make a clear image
-> Shadow: A dark area or shape made by a body or object that is between a light source and a surface

Sources: Light Play Education Resources 2017

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In the class today, we had a chance to experience light. The light was represented in different forms. There are lightboxes, light string and loose parts spreading on the ground. Without the white light, the orange glow from fairy light, the lightboxes and the natural light through the window brighten up the room. The orange fairy light makes me feel comfortable, calm and relax. For Emily - my classmate, she shared that the light from the salt lamp can help her to concentrate and help to release her tension after a long day. While orange light brings me a peaceful feeling, the white light can make me feel the sharpness and intense. The installation of light can invite you to dance, contemplate or meditate. From this, I could see that different colours of light has subconscious effects on emotions and health.

When touching the lightboxes, the heat from it warm up my hands, and I could see my hands were turning orange. Julie - my classmate, put a "light" sticker on the lightboxes, and we could see its shadow on the wall. As Julie moved the decal, the shadow moved on the wall following with her hand's movements. I decided to put a lot of strings on the surface of the lightboxes, the empty celling now filling with the shadow of lines. It becomes messy. As I was getting hungry, I imagined the shadow was a pasta bowl, and my fingers turned into a dog and ate all the pasta. Everyone was laughing as my fingers were moving along the wall as the dog was eating the shadow.

From that moment, I could feel that light give us different ways of seeing our bodies and movements by creating the shadow. While experiencing light, I did not expect the consequences it will turn out. Art is not its content but its affect, the sensible force or style through which it produces contents (Colebrook, cited in Pacini-Ketchabaw 2016). Keeping that thinking in mind, I moved away from the lightboxes and experiencing with the fairy light. I was wondering how will the fairy light interact with the other materials which seem irrelevant to it. I gathered fairy light, a bowl and a CD. I put the fairy light inside the bowl and put a CD on top, the light shine through the CD and make the CD shine beautifully. It looks like a start was lying on my hand. Were the materials move the light or the light move the materials? The answer is light change materials and materials shift my perspective of light and make me see the light in different ways. The light had promoted innovative ways of thinking, make me curious about its possibilities, changed the way I perceived the other materials and turned them into something distinctive from the original. The matters, in return, have also worked cooperatively with light to show different perspectives of light.

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What does it means to "Listen with light" 

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What does it means to "Listen with light" 

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Since light is untouchable and make no sound, we could not listen with light by our ears. Listen with light for me is finding meaning in the things that we can do with light, what we encounter when interacting with light and our experiences. Rinaldy (2011, p. 234) states that 'listen should be open and sensitive to the need to listen and be listened to and the need to listen with all our senses, not just with our ear'. By using all other senses, I could feel the heat from light by touching the light. I could see the way light interact and make impact on other materials. Light is flexible and variable. There are many perspectives of light that human can discover and it depends on the context that light is in and the materials which light will cooperate with.

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How does light offer us a different way of 'seeing'? 

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How does light offer us a different way of 'seeing'? 

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Light offer us seeing matter another perspective 

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Light offer us seeing matter another perspective 

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Looking at the shadow, I explored that the colour of transparent plastic can be reflected on the shadow . When we put this type of materials on the lightboxes, the light can go through it and the shadow will appear the same colour as the transparent plastic papers.

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This experimentation gives me disco vibe

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This experimentation gives me disco vibe

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Looking in a tube, I imagined myself get lost in the galaxy with stars in infront of my eyes

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Looking in a tube, I imagined myself get lost in the galaxy with stars in infront of my eyes

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Experimenting with light invite everyone into a discussion. It invites interactions and evoke possibilities. 

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Experimenting with light invite everyone into a discussion. It invites interactions and evoke possibilities. 

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Our group made a girl from all the loose-parts that we had. Everyone contributes to how the girl should look like. The girls felt happy because she got an ice-cream with two scoops at a treat. She was walking back home. Above her head, the sky was blue. Light helps us to tell a story that we created.

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The reflection of the girl on the ceiling

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The reflection of the girl on the ceiling

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Light promotes curiosity and a new way of thinking as it can be represented in many forms. As light can be represented in many ways such as in natural light, lightboxes, fairy lights, projector, there are endless activities that educator can implement with children to deepen their understanding of various perspectives of light. Those activities explain to children the science behind the interaction of light with other materials and visual art.

Lightboxes with transparent materials:
It works the best with transparent materials displayed on them comprising of a variety of colours and shape. Children will have chances to investigate the properties of light and how light interacts with different materials.

Light with loose-part:
As we know, loose parts encourage children to express their ideas and creates possibilities, when they cooperate with light, they will affect each other and change each other in surprising ways. For example, the materials can bring attention to the movement of light on each matter.

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How can educator promote the language of light in the classroom

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How can educator promote the language of light in the classroom

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Set up the area where children can experience with light studio alongside with other materials

Asking questions and thinking together with the children

1. What is light doing?

2. How do we think differently with light?

3. What is light's language?

4. What thinkings does light bring to us?

5. What happens when other materials get into the light studio? How does light interact with those materials?

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Aboriginal Art Body Paint n.d., Aboriginal Art Australia, viewed 18 November 2019, <https://www.aboriginal-art-australia.com/aboriginal-art-library/aboriginal-body-painting-art/>

Beautiful Stuff -  A Preschool Teaching Project n.d., You Cleaver Monkey, viewed 16 November 2019, <http://www.youclevermonkey.com/2014/07/beautiful-stuff-project.html>

Cross-hatching (Rarrk), image, Aboriginal Art Australia, 18 November 2019, <https://www.aboriginal-art-australia.com/aboriginal-art-library/the-story-of-aboriginal-art/>

English, D 2018, ' Loose Parts Take Part in Early Childhood Play', Parish School Blog, weblog post, 16 May, viewed 16 November 2019,<https://www.parishschool.org/blog-media/2018/loose-parts-take-part-in-early-childhood-play/>

History of paper 2019 Wikipedia. Available at https://en.wikipedia.org/wiki/History_of_paper (Accessed: 3 Nov 2019).

Kolbe, U. (2007). Rapunzle’s supermarket: All about young children and their art. Australia: Peppinot Press.

Light Play 2017, ‘Light Play Education Resources’, Ipswich Art Gallery, Queensland.

McKee, P 2017, Clay and Pottery, Info Please, viewed 18 November 2019, <https://www.infoplease.com/clay-and-pottery>

O'Neill, A, Guthrie, A,  Munnery, D,  Dober, E, Debrincat,P,  Sunderland,P,  Conner,T, Cameron,W 2019, Spin, Footscray Community Art Centre, Melbourne.

Pacini-Ketchabaw, V, Kind, S & Kocher, L 2016b, ‘Thinking with materials’, Encounters with materials in early childhood education, Routledge, New York, pp. 1–2.

Pacini-Ketchabaw, V, Kind, S & Kocher, L 2016a, ‘Paper’, Encounters with materials in early childhood education, Routledge, New York, pp. 23–32.

Pacini-Ketchabaw, V, Kind, S & Kocher, L 2016a, ‘Clay’, Encounters with materials in early childhood education, Routledge, New York, pp. 56–65.

Pungkarta Inkamala. J  and Namatjira. A, n.d, Clay Stories, image, Art Guide, 18 November 2019, < https://artguide.com.au/clay-stories-contemporary-indigenous-ceramics-from-remote-australia>

Pautjimi, J, n.d, Clay Stories, image, Art Guide, 18 November 2019, <https://artguide.com.au/clay-stories-contemporary-indigenous-ceramics-from-remote-australia>

Rinaldi 2011 'Chapter 13: The Pedagogy of Listening: The Listening Perspective from Reggio Emilia'. In The Hundred Languages of Children the Reggio Emilia Experience in Transformation pp. 233–247.

Schiffman, R 2019, Making Playgrounds a Little More Dangerous, New York Time, viewed 16 November 2019

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