# data[].attributes.headline
The Classroom as an Ecosystem: Living Materials

# data[].attributes.subject
The Classroom as an Ecosystem: Living Materials

# data[].attributes.attachment_link.readable_text
"A first encounter with any new phenomenon exercises immediately an impression on the soul. This is the experience of the child discovering the world, to whom every object is new. He sees light, wishes to take hold of it, burns his finger ... later he learns that light has a friendly as well as an unfriendly side, that it drives away the darkness, makes the day longer, is essential warmth, cooking, play-acting. From the mass of these discoveries is composed a knowledge of light, which is indelibly fixed in his mind."

- Vasily Kandinsky (1977)

The moment that marked my fascination of how the environment conditions our existence was the day I saw an image of the cave art paintings of Lascaux, listening to my professor highlight -with vast emotion-, how visual communication was the first form ever used to record history. It was at that moment that I started considering the environment as an ever-changing canvas with tools and materials. In that cave, blood, stone, and hands, were enough to document a prehistoric moment in time, stories that needed to be preserved, read, analyzed, and passed on. A space where our ancestors could process uncertainty, findings, cause-effect, facts, wishes, projections.

Now as I work with children, I find myself in awe of how materials and the environment are more than inanimate objects. As I research and explore and co-create with children, I am convinced that materials play a dynamic role in the development of our collective curiosity and sense of connection with others. I have learned that materials hold affordances and qualities that ignite the conditions for children to tinker, fabricate ideas, construct artifacts, and to build and grow stories of who they are - of what life means to them at a given moment.

We are in an inherent relationship with materials from birth, from the moment our senses collide with our mundane experiences. Materials have provided a path to grapple with unfair realities, political happenings, dreams and identity. From the Egyptian 2 and 3-dimensional artifacts, to the scissors that gave an alternative to Matisse's exploration of form, to how a cast provided a space for Frida to cope with intimate challenges, to the spray paint and walls which provide a public space for Bansky's voice.

It is through art, and the diverse exploration of materials that an intersection of cultures happens. The environment provides us materials that can reflect the perceptions of our actions, of our ever-changing existence, of delicate and strong reflections. Simultaneously becoming part of our experience.

There is an interface created between us and the materials we use to learn about our reality. I remember Fiona Zinn's invitation to consider how "a non-human identity can have agency (2019)." Similarly, Susan Harris MacKay, in her quest to find the relationship between play, literacy, and the arts, reminds us that, "Materials open the door to attention, they help us connect our head, our hands, and our hearts (2021)." This is precisely what I have observed in the different artistic periods, as well as in diverse learning spaces with children. While we discover, we construct understanding.

As my daughter Gaia played with water beads and various tools she declared, "When I die I want to have a job in the angel land and I want to be the human potion maker. I think that what people believe death is, is what death would be when they go to death, so like when they die. Kind of like a wish. I am going to start with sorrowness because sorrow makes joy and happiness. And plainness but not too much because that's what makes a human not... like if we have all the elements, it'll be perfect, like a perfect human, but the angels know that that's not good, so the angels put plainness which is the original water and Earth that goes into people". She continued measuring the beads and the water carefully using droppers and spoons. "So what's next after sorrowness and happiness? Oh I think it's peace! Yeah, peace!!"

She continued, "Well, there's anger because sadness and happiness create anger. So for anger we have to use the dropper and we'll have to take a little bit of sadness, only five drops of sadness and then we put back in, we have to clean it to make sure there's no more sadness in it. And then happiness. Only two drops of happiness and then misunderstanding. Misunderstanding goes with the big water beads or emotions because you get like all frustrated with it, and the big emotions are kind of like frustration and like they are covering each other, so like when you are blind with frustration. And so that's misunderstanding and you have to be very careful with it, if you put too much, the people will be arghhh! -aggressive."

I noticed that she was grappling with what it means to be human and to manage emotions. As I observed her play and interaction with the materials, I thought of how she was negotiating ways to balance emotions to crate an ideal human who she recognized, was not perfect, but a mix of complex emotions. I asked Gaia her thoughts on the relationship between materials and us, and she concluded: "I feel they make humans because children need [materials] to play and work. They're a way to express yourself, even for adults."

In Gaia's theory, I can see the importance of materials in her exploration and interpretation of feelings and how she considers this vital component in our lives when she says, "[materials] make humans". Implying that the materials become part of us - the materials have a living quality that is brought to them by the words and actions of the children.

When I consider my intentions to expand wonders and possibilities to drive inquiry, I think of the affordance of each material. I seek to understand their relationship in the hands of children and the sensory qualities that can be stimulated, that can build a path to meaningful experiences.

When I observe children play and explore diverse materials, I notice how this process weaves a sensible connection to who they are. In this relationship I notice a dialogue [sometimes silent] where cultural and social processes are born, because in those instances, these materials we interact with, will capture the form of our ideas, our stories, transformations and our togetherness.

As we question and investigate with children, we nurture their sophisticated sensorial apparatus, which Vea Vecchi identifies as, "one equipped to receive a myriad of stimulations, a capacity for learning and growth (2010)." After all, our senses are the channels that absorb the qualities of our interactions. Encounters followed by connections and comparisons all the while guided by reflective observations. We must seek learning that unfolds from these interactions with the environment, and in doing so, we can co-create a common language, a social identity of participation towards a spirit of inquiry and invention.

Opening ourselves as learners to diverse materials, will enhance the development of a language that speaks for the materials and its qualities - a language that the children will acquire as they tune-in and discover what the materials can do for and with them. From the delicacy of watercolor, to the more complex texture of acrylic, to the flexibility of wire, the organic composition of clay, the mystical light and shadow, the sturdiness of metal or wood, and the infinite possibilities of loose parts among so many others.

I wonder - what if we consider materials as living organisms in the hands and hearts of children? Might the classroom also thrive as an ecosystem? A place of ever-changing relationships - as Malaguzzi considered the spirit of a school? I believe that if we treat our learning space as a sort of forest where we can stimulate powerful opportunities and possibilities to create, invent, and interact, that we will reconnect to our sense of wonder with children.

Exploring the territory of materials amplifies how we can harvest a space with living tools nurturing creative relationships that tell stories, build empathy, establish connection, democracy, social justice, and belonging; with the understanding that we are complex beings, always evolving, just like an ecosystem. Let us rethink our spaces, as more than classrooms where learning is facilitated - but as a versatile space where learning is expanded through complex questions, co-creating through collective research, and conscious solidarity. A space that changes and transforms those who inhabit it. Let's embrace and live Ann Pelo's belief: "The language of art becomes the language for inquiry and long-term investigation (2007)," Let's embrace this within our interactions with each other and everything around us. Just like in a forest.

Let's live with love for uncertainty, change, reciprocity, connection, belonging, and purpose. Let's embrace learning as an ecological process, remembering what Virginia Wolf once said, "A self that goes on changing, is a self that goes on living."
References
Edwards, C., Gandini L., Forman, G. (2012) The Hundred Languages of Children. 3rd edn. Santa Barbara: PRAEGER.

Harris MacKay, S. (2021) Story Workshop: New Possibilities for Young Writers, Portsmouth: HEINEMANN.

Kandinsky. V. (1977) Concerning the Spiritual in Art. New York: Dover Publications, INC.

Pelo, A. (1995) The Language of Art: Inquiry-Based Studio Practices in Early Childhood Settings. 2nd edn. St. Pau: Redleaf Press,

Vecchi, V. (2010) Art and creativity in Reggio Emilia: exploring the role and potential of ateliers in early childhood education. New York: Routledge Taylor & Francis Group.

As a designer and student of philosophy, human development has been at the core of Maia's research, especially in the early years. She believes in playful inquiry as a catalyst for learning experiences within cognition and socio-emotional interaction. As a teacher-researcher, Maia is constantly exploring ways to challenge her perspectives on education as a democratic action seeking equality, empathy, social justice, and sustainable practices in global dimensions. Maia has been teaching overseas for almost a decade and has a passion for being immersed in cultural adventures with her partner, two daughters and a fluffy feline.

https://www.holisticeducator.org

"A first encounter with any new phenomenon exercises immediately an impression on the soul. This is the experience of the child discovering the world, to whom every object is new. He sees light, wishes to take hold of it, burns his finger ... later he learns that light has a friendly as well as an unfriendly side, that it drives away the darkness, makes the day longer, is essential warmth, cooking, play-acting. From the mass of these discoveries is composed a knowledge of light, which is indelibly fixed in his mind."

- Vasily Kandinsky (1977)

The moment that marked my fascination of how the environment conditions our existence was the day I saw an image of the cave art paintings of Lascaux, listening to my professor highlight -with vast emotion-, how visual communication was the first form ever used to record history. It was at that moment that I started considering the environment as an ever-changing canvas with tools and materials. In that cave, blood, stone, and hands, were enough to document a prehistoric moment in time, stories that needed to be preserved, read, analyzed, and passed on. A space where our ancestors could process uncertainty, findings, cause-effect, facts, wishes, projections.

Now as I work with children, I find myself in awe of how materials and the environment are more than inanimate objects. As I research and explore and co-create with children, I am convinced that materials play a dynamic role in the development of our collective curiosity and sense of connection with others. I have learned that materials hold affordances and qualities that ignite the conditions for children to tinker, fabricate ideas, construct artifacts, and to build and grow stories of who they are - of what life means to them at a given moment.

We are in an inherent relationship with materials from birth, from the moment our senses collide with our mundane experiences. Materials have provided a path to grapple with unfair realities, political happenings, dreams and identity. From the Egyptian 2 and 3-dimensional artifacts, to the scissors that gave an alternative to Matisse's exploration of form, to how a cast provided a space for Frida to cope with intimate challenges, to the spray paint and walls which provide a public space for Bansky's voice.

It is through art, and the diverse exploration of materials that an intersection of cultures happens. The environment provides us materials that can reflect the perceptions of our actions, of our ever-changing existence, of delicate and strong reflections. Simultaneously becoming part of our experience.

There is an interface created between us and the materials we use to learn about our reality. I remember Fiona Zinn's invitation to consider how "a non-human identity can have agency (2019)." Similarly, Susan Harris MacKay, in her quest to find the relationship between play, literacy, and the arts, reminds us that, "Materials open the door to attention, they help us connect our head, our hands, and our hearts (2021)." This is precisely what I have observed in the different artistic periods, as well as in diverse learning spaces with children. While we discover, we construct understanding.

As my daughter Gaia played with water beads and various tools she declared, "When I die I want to have a job in the angel land and I want to be the human potion maker. I think that what people believe death is, is what death would be when they go to death, so like when they die. Kind of like a wish. I am going to start with sorrowness because sorrow makes joy and happiness. And plainness but not too much because that's what makes a human not... like if we have all the elements, it'll be perfect, like a perfect human, but the angels know that that's not good, so the angels put plainness which is the original water and Earth that goes into people". She continued measuring the beads and the water carefully using droppers and spoons. "So what's next after sorrowness and happiness? Oh I think it's peace! Yeah, peace!!"

She continued, "Well, there's anger because sadness and happiness create anger. So for anger we have to use the dropper and we'll have to take a little bit of sadness, only five drops of sadness and then we put back in, we have to clean it to make sure there's no more sadness in it. And then happiness. Only two drops of happiness and then misunderstanding. Misunderstanding goes with the big water beads or emotions because you get like all frustrated with it, and the big emotions are kind of like frustration and like they are covering each other, so like when you are blind with frustration. And so that's misunderstanding and you have to be very careful with it, if you put too much, the people will be arghhh! -aggressive."

I noticed that she was grappling with what it means to be human and to manage emotions. As I observed her play and interaction with the materials, I thought of how she was negotiating ways to balance emotions to crate an ideal human who she recognized, was not perfect, but a mix of complex emotions. I asked Gaia her thoughts on the relationship between materials and us, and she concluded: "I feel they make humans because children need [materials] to play and work. They're a way to express yourself, even for adults."

In Gaia's theory, I can see the importance of materials in her exploration and interpretation of feelings and how she considers this vital component in our lives when she says, "[materials] make humans". Implying that the materials become part of us - the materials have a living quality that is brought to them by the words and actions of the children.

When I consider my intentions to expand wonders and possibilities to drive inquiry, I think of the affordance of each material. I seek to understand their relationship in the hands of children and the sensory qualities that can be stimulated, that can build a path to meaningful experiences.

When I observe children play and explore diverse materials, I notice how this process weaves a sensible connection to who they are. In this relationship I notice a dialogue [sometimes silent] where cultural and social processes are born, because in those instances, these materials we interact with, will capture the form of our ideas, our stories, transformations and our togetherness.

As we question and investigate with children, we nurture their sophisticated sensorial apparatus, which Vea Vecchi identifies as, "one equipped to receive a myriad of stimulations, a capacity for learning and growth (2010)." After all, our senses are the channels that absorb the qualities of our interactions. Encounters followed by connections and comparisons all the while guided by reflective observations. We must seek learning that unfolds from these interactions with the environment, and in doing so, we can co-create a common language, a social identity of participation towards a spirit of inquiry and invention.

Opening ourselves as learners to diverse materials, will enhance the development of a language that speaks for the materials and its qualities - a language that the children will acquire as they tune-in and discover what the materials can do for and with them. From the delicacy of watercolor, to the more complex texture of acrylic, to the flexibility of wire, the organic composition of clay, the mystical light and shadow, the sturdiness of metal or wood, and the infinite possibilities of loose parts among so many others.

I wonder - what if we consider materials as living organisms in the hands and hearts of children? Might the classroom also thrive as an ecosystem? A place of ever-changing relationships - as Malaguzzi considered the spirit of a school? I believe that if we treat our learning space as a sort of forest where we can stimulate powerful opportunities and possibilities to create, invent, and interact, that we will reconnect to our sense of wonder with children.

Exploring the territory of materials amplifies how we can harvest a space with living tools nurturing creative relationships that tell stories, build empathy, establish connection, democracy, social justice, and belonging; with the understanding that we are complex beings, always evolving, just like an ecosystem. Let us rethink our spaces, as more than classrooms where learning is facilitated - but as a versatile space where learning is expanded through complex questions, co-creating through collective research, and conscious solidarity. A space that changes and transforms those who inhabit it. Let's embrace and live Ann Pelo's belief: "The language of art becomes the language for inquiry and long-term investigation (2007)," Let's embrace this within our interactions with each other and everything around us. Just like in a forest.

Let's live with love for uncertainty, change, reciprocity, connection, belonging, and purpose. Let's embrace learning as an ecological process, remembering what Virginia Wolf once said, "A self that goes on changing, is a self that goes on living."
References
Edwards, C., Gandini L., Forman, G. (2012) The Hundred Languages of Children. 3rd edn. Santa Barbara: PRAEGER.

Harris MacKay, S. (2021) Story Workshop: New Possibilities for Young Writers, Portsmouth: HEINEMANN.

Kandinsky. V. (1977) Concerning the Spiritual in Art. New York: Dover Publications, INC.

Pelo, A. (1995) The Language of Art: Inquiry-Based Studio Practices in Early Childhood Settings. 2nd edn. St. Pau: Redleaf Press,

Vecchi, V. (2010) Art and creativity in Reggio Emilia: exploring the role and potential of ateliers in early childhood education. New York: Routledge Taylor & Francis Group.

As a designer and student of philosophy, human development has been at the core of Maia's research, especially in the early years. She believes in playful inquiry as a catalyst for learning experiences within cognition and socio-emotional interaction. As a teacher-researcher, Maia is constantly exploring ways to challenge her perspectives on education as a democratic action seeking equality, empathy, social justice, and sustainable practices in global dimensions. Maia has been teaching overseas for almost a decade and has a passion for being immersed in cultural adventures with her partner, two daughters and a fluffy feline.

https://www.holisticeducator.org

# data[].attributes.attachment_link.title
The Classroom as an Ecosystem: Living Materials - Center for Playful Inquiry

# data[].attributes.attachment_link.description
By Maia Bassett Exploring the territory of materials amplifies how we can harvest a space with living tools nurturing creative relationships that tell stories, build empathy, establish connection, democracy, social justice, and belonging; with the understanding that we are complex beings, always ev

# data[].attributes.headline
Engage Your Early Learners using Provocations

# data[].attributes.subject
Engage Your Early Learners using Provocations

# data[].attributes.attachment_link.readable_text
Provocations - What and Why

Ever wondered what provocations are or how you can best use provocations in early education, in your daycare or preschool? The team at Educa have put this post together sharing some fantastic resources. We hope it helps!!

Picture Source: Willow School:Provocations on the Playground

In early childhood teaching the term Provocation is derived from the Reggio Emilia Approach. They are fantastic opportunities for learning that many services incorporate into their suite of learning activities.

If you search Pinterest using the terms provocations ideas there are literally thousands of ideas for provocations. Also schools like the Willow School (pictured) often feature provocations they are using on their blogs

But What Are Provocations Exactly?

For children a 'Reggio Inspired' provocation is an open ended activity that doesn't have a prescribed outcome, instead it is designed to stimulate ideas, initiative and imagination for and amongst children, whether they choose to explore their ideas alone or in groups.

Journey into Early Childhood defines provocations as

"deliberate and thoughtful decisions made by the teacher to extend the ideas of the children. Teachers provide materials, media, and general direction as needed, but the children take the ideas where they want. This allows children to develop skills of creativity, inventiveness and flexibility in thinking, planning and reflecting."

- Journey into Early Childhood

How do educators use provocations?

There is often discussion among educators about the balance between child-led and teacher-led learning. Differences between provocations and outcome based learning activities. Examples are highlighted by early childhood educators like Anna Golden . She compares provocations to "traditional" classroom set ups - for example:

Explicit activities such as literacy activity centers or Instruction Based learning (eg worksheets, letter forms for tracing, word study, small group instruction)
versus
Open ended style writing provocations which provide materials (papers/envelopes/cards and mark making implements) to 'provoke thinking" without specifying a designated outcome although they are always designed with 'intention' by the educators.

Provocations use a range of items that can be linked together by children or provide a jumping off point for where their imaginations can take them. The focus is more on developing learner dispositions rather then teaching narrower skills. There is no "wrong" as a result of a provocation.

"In reference to right answers - Knowing is a process not a product "

- Jerome Bruner

What does a provocation look like?

Educators use nature based elements, loose parts, tinker trays in a multitude of ways to inspire the kinds of creativity that small people excel at, given the opportunity - because there's no magic formula for a provocation.

In fact the best provocations are created by reflective teachers who spend time evaluating whether their ideas work for their children.

Some suggestions for items to include when planning provocations:

See the setup for this flower provocation and more at An Everyday Story

An interesting photo, picture or book,

Nature (e.g. specimens)

Conceptual (e.g. changing seasons, light)

Old materials displayed in a new way,

An interest that a child or children have,

An object (e.g. magnets, maps)

New creative mediums,

Questions (from any source - i.e. What is gravity?)

An event (e.g. a presentation, a holiday)

List from - Racheous: Respectful Learning & Parenting

If you're looking for more information on "Reggio Inspired" topics there is a great series of posts from Let the Children play

For information and resources regarding the Reggio Emilia Approach contact the organisations below:

Reggio Children - Italy
Reggio Emilia Australia Information Exchange North American Reggio Emilia Alliance Reggio Emilia - Aotearoa New Zealand

# data[].attributes.attachment_link.title
Engage Your Early Learners using Provocations - Educa

# data[].attributes.attachment_link.description
Provocations - What and Why Ever wondered what provocations are or how you can best use provocations in early education, in your daycare or preschool? The team at Educa have put this post together sharing some fantastic resources. We hope it helps!! Picture Source: Willow School:Provocations on the Playground In early childhood teaching the term ...

# data[].attributes.attachment_link.readable_text
This is a list of all my inquiry provocations, each designed to help students inquire, ponder, and question (through October 2018). They are grouped by overarching concept, with favorites in bold.

For background on when I first started my blog schedule, including Inspiring Inquiry posts, click here.

PYP Essential Elements & Transdisciplinary Themes

For a list of just the picture books from the PYP posts below,

Inquiry Into the 5 Essential Elements of the PYP (includes "The Potter" & "Soar")

Attitudes:

Empathy (includes Scarlett & If We Could See Inside Others' Hearts)

Curiosity (includes Mirror, A Short Story of Similar Objects & Pioneering Scientists Journeys 1000m Deep in Antarctica)

Commitment (includes Be A Control Freak / Lily Hevesh & Stukenborg)

Enthusiasm (includes Piano Guys & Pep Talk from Kid President)

Appreciation (includes Noticing the Soundscapes of Yosemite National Park & Last Stop on Market Street)

Independence (includes La Luna & Memo)

Integrity (includes Alike & Dove Real Beauty Sketches)

Tolerance (includes What is Public Life & Charter for Compassion)

Respect (includes Respect Mother Nature & Pixar's Day & Night

Learner Profile:

Knowledgeable (includes Lisa Winter, Robot Builder & Google Engine Timelapse Page)

Caring (includes The Gnomist & "Give a Little Love, Get A Little Love")

Principled (includes Randy Pausch - Live the Right Way & We Found a Hat)

Risk-Taker (includes The Courage to Invent: A NASA Roboticist Tells Her Story & Malala's Magic Pencil)

Open-Minded (includes How Often Do You Challenge Your Biases? & The Things Kids Carried)

Inquirer (includes A Mini, Magnetic, All-Terrain Robot & Going Fishing Stop Motion)

Communicator (includes Obvious to you, Amazing to Others & Ballet Rotoscope)

Balanced (includes Mobile & Nugget)

Thinker (includes Nature by Numbers & reDesign Skills)

Skills

Communication (includes How Miscommunication Happens & Click Clack Moo)

Social (includes Family Rescues Whale Tangled in Net)

Thinking (includes Nature by Numbers & reDesign Skills)

Research (includes Urban Nature Hunting tips & OK Go Sandbox lessons)

Self-Management (includes 3 Ways to Start & Why Incompetent People Think They're Amazing)

Knowledge

Sustainable Development Goals

For a list of just the picture books from the SDG's posts below, .

Learner Identities

For a list of just the picture books from the learner identities & other subjects below, click here.

Mathematics

Language & Literacy

Arts

Digital Citizenship

Global Citizenship

Creativity & Inspiration

Social/Emotional Skills & Sense of Self

# data[].attributes.attachment_link.description
This is a list of all my inquiry provocations, each designed to help students inquire, ponder, and question (through October 2018). They are grouped by overarching concept, with favorites in bold. For background on when I first started my blog schedule, including Inspiring Inquiry posts, click here.

# data[].attributes.headline
Provoking Curiosity, Inviting Wonder: The Art of the Provocation in the IB PYP

# data[].attributes.subject
Provoking Curiosity, Inviting Wonder: The Art of the Provocation in the IB PYP

# data[].attributes.attachment_link.readable_text
No matter whether your inquiry is happening online or in the classroom, setting the scene of the inquiry and tuning in to the possibilities requires sparking curiosity, triggering background knowledge and provoking wonder. This is where the magic begins and the student-led inquiries stem. This is the art of the provocation.

But what exactly does it mean? What is this thing we call "a provocation"?

These synonyms from the definition of the noun (provocation) from the Oxford English Dictionary are indicators of what we are aiming for:

We want the provocation activity to be familiar yet unfamiliar.

Prod the children's curiosity

Invite wonder

Offer intrigue

Prompting investigation

Stimulate excitement for the learning

Inspire questioning

Build upon schema

Frustrate just enough for the children to want to know answers

Tease them into engaging

Stimulate interest

All of this. To motivate, sustain, invite wonder, lead to investigations.

All with the common goal of authentic, driven learning.

Putting It Into Practice

Too many of us get tied in knots trying to think of something wild and wonderous. If you find or see an idea that will rock and shock, leading into an astounding inquiry, then great! Try it! Use it! See what happens. But really, the simplest activities can bring the same results. And I just happen to have a handful that you can use straight away.
The Main Ingredients:
Consider the concepts within your central idea and lines of inquiry and then guiding questions. I use these provocation starter prompts below to help guide thinking in the beginning. I will keep them as a reference tool on group desks. We use them with ANY inquiry.

You want to consider what artefacts or experiences you can provide that will inspire thought and elicit powerful questions from the children. How are they related to to those big ideas? And finally, you want to have thinking strategies. Give the children the tools to record their thinking, making it visible.

Artefacts:

Pictures: There are so many pictures available that are just priceless when it comes to provoking wonder. We can fit them into a myriad of concepts and guide the children's thinking with essential questions. Look at this image, for example. I recently used this image with our Instagram community; a community of global inquiry teachers. When asked how they might use this conceptually, we had incredible ideas - colonisation, revolution, art in nature, power, adaptation and so many more. (You can find a huge collection of provocations in my Instagram highlights @pypteaching)

The value really comes when you add visible thinking strategies to allow

the children to record their thinking, see their thinking and to share their thinking with others. You want to teach 2-3 visible thinking routines per inquiry, so that the children become familiar with these tools. As you develop their inquiry skills, they are then able to resort to those tools independently.

Caption It: This is when we use pictures in connection with words. Choose your quality images and add :

one word - a word that will confuse or intrigue

a statement - to guide or change the viewers' perspective

ask the children to add their own caption - then compare and discuss thinking.

ask the children to ask the picture a question.

You can find many wonderful images on social media sites, including Instrgram and Pinterest. Just be sure to cite the artist/photographer. In addition, Unsplash.com is a great tool to find copyright FREE images.

Quotes: Simply put the quote out there are see what comes from it. Or, get clever with it:

a slow reveal - piece by piece - at each stage the children record their thinking, predictions etc.

cut it into sections without grammar - can they work together to construct it?

one quote with two different musical accompaniments - how does their thinking change?

one quote -coming from two different characters. Good thinking routines for this type of provocation include:

Think Puzzle Explore

True for Who?

Tug of War

True/False Strategy

Scroll through to take a look at this video below explaining variations of the true/false strategy and how it works as a GREAT provocation AND on-going reflection. Win-win!

Objects & Items: Use everyday objects or bizarre and unfamiliar items. The value comes from the inferences and questions.

Click here to read about implementing the inquiry jar.

Place an unusual object into a familiar setting: example - in the animal farm play area, add an ostrich feather or a silver mirror. Listen to the dialogue as the play continues. What questions arise? How are connections being made? Use the children's dialogue to plan your next steps.

The Inquiry Jar: You can read all about the inquiry jar. It is great to use with all ages and to tune into related concepts.

Video version: You can link to my video that shares the digital version of the inquiry jar I used when tuning into our new unit of inquiry, How We Organise Ourselves. Click here to view the provocation.

Maps, Graphs & Statistics: I have yet to meet a child who isn't fascinated with big, colourful maps.

Use all forms of maps: political maps, geographical maps, maps, upside down maps, copies of maps cut into sections, maps of Pangaea...the ideas are endless.

Graphs can be analysed and compared - You can leave it wide open to interpretation and wonder or you can guide their thinking with essential questions.

Statistics - These can provide an insight into different perspectives of a topic. Example - the United Nations report of refugees arriving in Italy, to the amount of plastic waste recorded in the Sargasso sea in 2020. Again, leave it wide open or guide it.

Experiences
Dressing Up: This is great for ALL ages and not just the little kids. And, it can be adapted to fit with all concepts and subjects.

The Drama: Provide the kids with a selection of dress up materials that are somehow connected - colours, hats, uniform etc. They then have to work in small groups to create and enact 5 minute story. Compare the stories. Share their thoughts.

Free Play: Using the same strategy with he selection of dress up clothes as above, except this time, just let the children do their thing. You observe and listen and record the questions and dialogue.

Teacher dress up: YOU will dress up! If you're teaching adjectives or about beliefs and values or geometry, connect your costume with the concepts and have the children interview you; asking questions to determine the connections.

Videos: With film, you are triggering all the emotions. Look for a short but to the point video. You want to grab their attention and also their curiosity. The video below, Curiosity is a great example of a short film that will engage, intrigue, stir emotion.....provoke.

First thoughts/Second Thoughts: Provide the kids with a graphic organizer or page to record their thoughts as they watch the film the first time. You can then focus their thinking on concepts and ask them to watch it a second time. How did thoughts change, evolve?

Guiding Questions: It is easy to guide thinking with essential questions prior to watching the film.

Perspective: just let them watch the video and record their questions. The value comes as they compare perspectives.

Caption it: Using the technique with the pictures, have the children come up with one caption or statement to describe the film.

Title: What new title would you give this film?

If you would like to read more about 6 keys to the art of the provocation, you can click through to this article. Meanwhile, please do let me know your own ideas and tips for provoking wonder, inviting interest and solidifying student-led inquiry.

P.S. You can grab your FREE provocation activityby adding your name to the box below.

FOLLOW ME HERE, FOLLOW ME THERE.....

# data[].attributes.attachment_link.title
Provoking Curiosity, Inviting Wonder: The Art of the Provocation...

# data[].attributes.attachment_link.description
No matter whether your inquiry is happening online or in the classroom, setting the scene of the inquiry and tuning in to the possibilities requires sparking curiosity, triggering background knowledge and provoking wonder. This is where the magic begins and the student-led inquiries stem. This...

# data[].attributes.headline
The Inquiry Jar – Developing Inquiry Skills in the IB PYP

# data[].attributes.subject
The Inquiry Jar – Developing Inquiry Skills in the IB PYP

# data[].attributes.headline
Learner profile attribute of the Month? Why not!

# data[].attributes.subject
Learner profile attribute of the Month? Why not!

# data[].attributes.attachment_link.title
Learner profile attribute of the Month? Why not!

# data[].attributes.attachment_link.description
Some schools celebrate and learn the IB learner profile through the 'IB learner profile attribute (LPA) of the month'. It is an opportunity for schools to engage in a monthly whole-school shared exploration of the learner profile attributes.

# data[].attributes.headline
The Living Walls Project: Promoting student-centred learning, inquiry, action and reflection

# data[].attributes.subject
The Living Walls Project: Promoting student-centred learning, inquiry, action and reflection

# data[].attributes.attachment_link.title
The Living Walls Project: Promoting student-centred learning, inquiry, action and reflection | SharingPYP Blog

# data[].attributes.attachment_link.description
Documenting inquiry is hard. The process takes skill and commitment. This article describes how a group of educators were introduced to the emerging curriculum framework to enhance their understanding of guiding and documenting the inquiry process. Through an initiative called the Living Walls proje…

# data[].attributes.attachment_link.readable_text
Encouraging students to show agency throughout the inquiry process

by Fabricio Miranda, Andino Cusco International School, Peru.

Our third-grade students engaged in an interactive triggering activity, an auction role-play where they observed different objects for sale.

I presented objects such as pencils, notebooks, candies, chewing gum, and fruit and, at the end of the auction, students answered the following questions:

Why did you decide to buy that object?

Was it a good decision?

Why?

Students then completed a thinking routine, writing their ideas and questions for the unit. That was how our unit of inquiry began - with the transdisciplinary theme "Who we are" and the central idea: "The decisions we make affect our well-being".

An important objective was to encourage student agency. Students were completely in charge of planning, designing and demonstrating their own learning - and action - actively participating in different learning experiences. One of these was to research the concept of "decision" and students shared their inquiries in groups by using the ' museum' technique.

After reading a book on decision-making, students connected the story to their daily lives; on the moments they had to make a decision and reflect whether the decision was easy or difficult to make. Students then connected our unit of inquiry to one of the IB attributes; they chose "balanced" which the IB defines as "We understand the importance of balancing different aspects of our lives-intellectual, physical, and emotional-to achieve well-being for ourselves and others. We recognize our interdependence with other people and with the world in which we live." ( IB learner profile, 2017). They understood that making decisions can affect their bodies, feelings and emotions, and well-being, so they decided to take actions that demonstrate "agency" including:

Creating healthy menus

Brainstorming a list of healthy habits.

Developing an action plan to make good decisions at school and at home. (This was a great opportunity for parents and children to work together).

Creating a plan for healthy eating habits for a week.

Putting into practice everything they wrote in their journals.

Identifying and reflecting on situations in which they had to make decisions.

I enjoyed observing my students engage in these different learning experiences, such as:

sorting information about healthy habits, food pyramid, and well-being

using graphic organizers to show their understanding of the information they gathered

writing paragraphs about their favorite foods

participating in different speaking activities, sharing about the foods they liked and disliked as well as the activities they practice at home to stay healthy

singing a song and reciting a poem - they also recorded their presentation to share it on our social media platforms so that our learning community could put into practice the IB attribute "balanced".(Blog)

inviting a teacher to practice mindfulness with them and brainstorming ideas about how to keeping spiritually healthy and respect all the different perspectives including religion, soft music, Yoga, etc.

As a final action, my students decided to invite students from Kindergarten to Fourth grade to share their final portfolio - including all the learning evidence they had collected throughout the inquiry process.

They assessed themselves as a group and as individuals.

They reflected on their learning and wrote their reflections in their journals.

From a teacher perspective, I noticed that our students developed positive attitudes towards making decisions, understanding that every choice affects our well-being. Thanks to the experiences in this unit of inquiry, they expressed feeling comfortable when demonstrating to their community that they can be balanced and take initiative, express their interests and be aware of their own learning goals. They showed agency throughout the entire learning process.

References

RAMOS VALDIVIEZO MARIA MILAGROS, "Aplicación de la técnica del museo para mejorar la planificación de la sesión de aprendizaje de las docentes de la i.e.i. n° 64 -callao". Universidad Peruana Cayetano Heredia, 2017. Web May 29, 2019. "Definición de la técnica del museo" http://repositorio.upch.edu.pe/bitstream/handle/upch/3936/Aplicacion_RamosValdiviezo_Maria.pdf?sequence=1&isAllowed=y

International Baccalaureate Organization (2013) IB Learner profile. Recovered from: https://www.ibo.org/contentassets/fd82f70643ef4086b7d3f292cc214962/learner-profile-en.pdf

Fabricio Miranda, PYP English Teacher and Early Years-Primary English Coordinator at Andino Cusco International School in Peru is passionate about helping students to learn by constructing significant and relevant concepts through inquiring and collaborative work. After moving from Trujillo to Cusco because he wanted to work in an IB World School, Fabricio joined Andino in 2017 where he is pursuing his dream to let more people know about an IB education.

# data[].attributes.attachment_link.description
by Fabricio Miranda, Andino Cusco International School, Peru. Our third-grade students engaged in an interactive triggering activity, an auction role-play where they observed different objects for sale. I presented objects such as pencils, notebooks, candies, chewing gum, and fruit and, at the end of the auction, students answered the following questions: Why did you decide to buy that object?