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Day 3 Super Sat - Spring cohort-Environments

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Short video- Authentic items found in thrift store

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Short video- Authentic items found in thrift store

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Day 2 Super Sat - EMagana, SpanishSpring cohort-Environments (1)

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Super Sat - SpanishSpring cohort-Environments  -  day1

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El enfoque de la enseñanza de Reggio Emilia

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Dr. Sandra Duncan: How to Design Inspiring Early Learning Spaces

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Beautiful Places || Essentials for Classroom Design with Dr. Sandra Duncan

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The Centre is open to all, as a place of meeting and discussion for people who wish to innovate education and culture, in Reggio Emilia, Italy and the world. It is a genuine manifesto of the Reggio Emilia Approach® with events, exhibitions on educational projects, ateliers, a bookshop and a centre for educational documentation and research.

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The Centre is open to all, as a place of meeting and discussion for people who wish to innovate education and culture, in Reggio Emilia, Italy and the world. It is a genuine manifesto of the Reggio Emilia Approach® with events, exhibitions on educational projects, ateliers, a bookshop and a centre for educational documentation and research.

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EARLY CHILDHOOD

"The program focuses on the overall well-being of the child while encouraging free exploration and an imaginative mind..."

- YUAN FANG, PARENT

Our Early Childhood program is designed to nurture the body, mind, and soul of the young child. Children enter the world with a natural sense of wonder, adventure, and desire for harmony. Our faculty honors these innate qualities by providing an environment that fosters warmth, clarity, rhythm, and joy.

Waldorf Early Childhood classes allow children to learn through experience: to understand nourishment by rolling dough, develop fine motor skills by molding beeswax, observe lifecycles by planting seeds and bulbs, and appreciate nature by playing outdoors in all seasons, through sunshine, rain, sleet, or snow. The foundations of language are brought through nursery rhymes and storytelling, and the concepts of math are encountered through rhythmic games and the science of baking.

Each day includes a long period of active play, communal clean-up, crafts activities using natural materials, rest, and rituals surrounding mealtimes. Culturally diverse stories or puppet shows weave through the week, and celebrations ranging from birthdays to global holidays bring an air of excitement and worldliness to the classroom. In the nursery and kindergartens, teachers work to carefully draw out the emerging capacities of each child in order to ready them for grade school.

NURSERY

Our warm and creative environment nurtures each child in their first phase of school life.

Children are given the confidence, independence, and security to smoothly transition from home to the larger social world around them with the support of their experienced teachers. A typical day includes play, circle activities, storytelling, puppet shows, and practicing everyday skills such as helping to prepare snack. Children experience joyful movement and play in Central Park daily.

Full-day program includes hot lunch and afternoon nap.

KINDERGARTEN

Our Mixed-Age Kindergarten Program is carefully designed to encourage a healthy rhythm of active and quieter pursuits.

Our teachers cultivate the children's imagination, sense of wonder, and ability for sustained attention. A typical morning includes free play, cleanup, greeting and circle, artistic activity such as bread baking or watercolor painting, storytelling, rest, and snack preparation.

Daily outdoor activities in Central Park provide ample opportunity for joy and movement, and bring balance to the day and strength to the child.

Full-day program includes hot lunch, rest, and additional time for outdoor play.

FOREST KINDERGARTEN

Our NEW Forest Kindergarten Program is carefully designed to spend most time outdoors, to benefit from the therapeutic advantages of experiential, and nature-based education.

Nurturing a connection to the Natural World is found to be critical to children's well-being, healthy development and academic achievement.Spending many hours outdoors playing, gaining a sense of balance and moving in the world, gives the child a healthy preparation for the next stage in their life.

We combine our outdoors' rhythm with daily indoor activities.

Full-day program includes hot lunch, rest, and additional time for play and craft activities.

Rudolf Steiner School offers a human-centered education. Our Waldorf curriculum reflects the developmental stages of childhood and serves the capacities and talents of each growing child. The school gives special emphasis to sensory experience and physical movement, to an alliance between artistic and intellectual activity, and to the ethical dimension of every subject. Our graduates are inventive thinkers and resilient idealists who cultivate an appreciative regard for a world that they seek to improve.

Half-Day Program:
Mon-Fri, 8:10/8:30am-12pm

Full-Day Program:
Mon-Fri, 8:10/8:30am-3pm

This program provides care for nursery and kindergarten students after school in the Nursery classroom. The afternoon includes preparing and sharing a simple snack, play and story time, and occasional walks to the park. The program meets Monday through Friday from 3:00 - 5:30 PM, except for half days, school holidays, and unplanned school closings (e.g., snow days).

The Forest Kindergarten is a special opportunity for children to spend an extensive period of time outdoors, in all seasons, moving their bodies, developing their senses, delighting in nature, and building resilience. Spending long periods of time in nature is a rare opportunity in New York City, but with Central Park right across the street we are able to offer the benefits of outdoor immersion while enjoying warm meals and a cozy midday rest indoors.

Nurturing a connection to the Natural World is found to be critical to children's well-being, healthy development and academic achievement. In the Forest Kindergarten we focus on allowing the child to be fully in their body during the years when it matters the most. A child who has spent many hours outdoors playing, gaining a sense of balance and how they move in the world, learning where their body ends and the world begins, and feeling the vivaciousness of living at one with Mother Earth is a child who is healthy and well-prepared for the next stage in their life.

Rudolf Steiner School offers families recommended guidelines for student interaction with technology and media based on current research in child development. A screen-free childhood from birth to approximately seven years old is strongly encouraged. We recognize the essential developmental need for rich sensory experience, motor skill development, and imaginative play, all of which are impeded by exposure to digital media.

The heart of the Waldorf philosophy is the belief that education is an artistic process. Whether the subject is arithmetic or history or physics, the presentation must live - it must speak to the child's experience. To educate the whole child, the heart and will must be engaged, as well as the mind.

EARLY LITERACY & NUMERACY
Songs and nursery rhymes cultivate intimacy with language and the world of words. Listening to stories, watching marionette shows, and participating in dramatic play strengthen the power of memory and imagination.
Counting games and rhythmic activities build a foundation for arithmetic and number skills. Painting and crafts help the children develop small motor skills, coordination, and the ability to concentrate. Vigorous play develops their large motor skills.

OUR TEACHERS

Our experienced and nurturing early childhood faculty will support your children every step of the way.

APPLY

Visit our application page to start the process.

Rudolf Steiner School follows the Waldorf model of education. Our Nursery and Kindergarten programs meet every child at their stage of development.

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EARLY CHILDHOOD - YUAN FANG, PARENT Our Early Childhood program is designed to nurture the body, mind, and soul of the young child. Children enter the world with a natural sense of wonder, adventure, and desire for harmony. Our faculty honors these innate qualities by providing an environment that fosters warmth, clarity, rhythm, and joy.

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Incluye los 7 principios del diseño

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Inspiring Spaces for Young Children [Jessica DeViney, Sandra Duncan, Sara Harris, Mary Ann Rody, Lois Rosenberry] on Amazon.com. *FREE* shipping on qualifying offers. Inspiring Spaces for Young Children

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headstart.gov-Consejos para mantener seguros a los bebés y niños pequeños Una guía del desarrollo para visitadores 

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Las investigaciones muestran que los niños pequeños están pasando menos tiempo al aire libre participando en el juego activo y explorando el mundo natural. ¹ Los investigadores han identificado varias razones para este declive, incluido:

Temores de los adultos sobre el crimen y la seguridad.

Aumento del uso de la televisión, juegos de computación, DVD y teléfonos inteligentes y tabletas con medios digitales.

Más tiempo en interiores haciendo actividades estructuradas.

Arreglos de cuidado infantil con tiempo libre limitado.

Pérdida de hábitats naturales.

Cada vez más educadores, profesionales de la salud y de salud mental, y otros defensores de los niños están de acuerdo en que esta tendencia tiene efectos adversos significativos en la salud y el desarrollo de los niños pequeños. Por ejemplo, a Richard Louv, un experto en defensa de la infancia, le preocupa que los niños se estén desconectando del mundo natural, un problema que él llama "trastorno por déficit de naturaleza". ² Según su investigación, el trastorno por déficit de naturaleza contribuye a un aumento de la obesidad, la depresión y los trastornos de atención. A medida que los niños pequeños "pasan cada vez menos tiempo de su vida en un entorno natural, sus sentidos se estrechan, fisiológica y psicológicamente ...." ³ La obesidad infantil es un problema de salud serio porque está relacionada con la diabetes y otros problemas de salud graves. ⁴ Los profesionales de la salud, los educadores y los padres están buscando maneras de revertir esta alarmante tendencia, centrándose entre otras cosas en la alimentación saludable y la actividad física.

Los programas EHS y MSHS desempeñan un papel importante en el fortalecimiento de las conexiones de los bebés y los niños pequeños con el entorno al aire libre. Los líderes del programa lo hacen trabajando en colaboración con el personal y las familias para adoptar y apoyar plenamente el juego al aire libre y la exploración. Una parte clave de ese trabajo es aumentar la conciencia de cómo el juego al aire libre y la exploración benefician a los niños pequeños.

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El estado actual del juego al aire libre y la exploración en Estados Unidos | HeadStart.gov

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Las investigaciones muestran que los niños pequeños están pasando menos tiempo al aire libre participando en el juego activo y explorando el mundo natural. Esta tendencia tiene efectos adversos significativos en la salud y el desarrollo de los niños pequeños.

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Over the past several months I've received quite a few emails asking me about my role as atelierista, aka art teacher, in a Reggio inspired preschool. I thought I would share my experience here in hopes that I can shed some light on this mysterious "Reggio" word that has become quite trendy over the past decade. Perhaps you are interested in becoming a Reggio inspired art teacher. Or perhaps you've heard this word "atelierista" and thought "What the heck does that even mean?" I will try to demystify my role as much as I can for you here, in addition to sharing a bit about our art studio space and why I love it so much.

*This post contains affiliate links. Thank you for your support!

And if you like this post, be sure to check out my ebook Art Secrets Every Teacher Should Know...a Reggio Inspired Approach.
I started working as a Reggio inspired Atelierista at an Early Childhood Center in the San Fernando Valley almost two years ago. I am in no way an expert on this subject. I can only share with you what I've learned and how I've applied my learning to our own studio. If you want advice from Reggio experts, I would recommend reading the following books that are filled with helpful information on the subject. I also love the blog An Everyday Story, which has a ton of great information on the Reggio Emelia Approach to Learning. Working in the Reggio Way: A Beginner's Guide for American Teachers Bringing Reggio Emelia Home The Language of Art
and my favorite teaching book

Below I will share the Reggio basics as I see them. I don't want to minimize the philosophy in anyway. I have a deep respect for the Reggio Approach to Learning. I am also aware I am not an expert. My intention here is to offer some basic knowledge of the Reggio approach as I understand it, and to share my experience in a Reggio inspired art studio.

1. Children use A Hundred Languages to express themselves. Words, symbols, sounds, music, art, etc. It is through those languages we learn about our children and what is important to them.

2. Children learn through interacting with their peers. ( Social Constructivism)

3. The environment is the third teacher - The teacher, parent and classroom are all teachers in a Reggio environment. The atelier, or art studio, plays an especially important role in enhancing and guiding the community.

4. Children are capable people who can drive their own learning.

5. Documentation acts a reflective learning tool to guide teachers and students. I'm sorry I don't have any great examples of documentation at the moment. I'll try to grab some in the future and get them in here.

Now let's get to my role, the role of a Reggio Inspired Atelierista/Art Teacher. Note *I keep mentioning the term "Reggio Inspired" because I do not work at a true Reggio school. We have adapted Reggio principals to fit within our own community. We call our atelier "the art studio." It is a designated room where students come to create, explore and experience themselves through art. It is a beautiful space brimming with natural light, creativity and curiosity. When children, and adults alike enter the space, they often take a deep breath and feel a moving energy that is difficult to describe in written words. It's pretty magical.

Our school of almost 70 students has designated days for different age groups. Each age group comes to the art studio twice a week. Students are invited to come to the studio on their day. Some students will choose to go, some will not. That's ok. For those students who don't often choose to go, we find ways to encourage them, even if it's just for a few minutes. Most students, however, yearn to visit the art studio. They are able to stay for an extended period of time, sometimes up to an hour. When our school was smaller, they were invited to stay as long as they wanted, which often meant an hour and a half, to two hours. That was truly special. Now with more students, I'd say they stay for about 30-45 minutes at a time. Some trickle out earlier, while some stay longer.

It took me a minute to figure out a system for our art studio that would work for all the children that visit. After some trial and error, here is what we came up with.

1. There are three ongoing stations set up almost daily. One is for working with clay. One is for observational drawing. The third is for some sort of collage work or sculpture.

Mirrors are used as creative prompts, in addition to offering students an additional perspective on their work in the studio.

We also have ongoing units of study, like this example below of an introduction to sewing. If there is considerable interest in a topic, we will explore it in different ways over time.

2. In addition to the three stations that are all accessible to the children, we have a tinkering table equipped with a tinker tray, tape, glue, scissors and paper. We do a lot of collage work with Tinker Trays. You can read more about Tinker Trays here.

3. A bucket with water sits in the same area everyday for washing our brushes. The kids "dance, dance, dance, and clean, clean, clean," their brushes in the water and place them back in the jar they came from. (I combined a cleaning song I made up with one that Rachelle at Tinkerlab told me about. I recommend simple cleaning songs for kids. They really help get the job done!)

4. We have a filing system of art portfolios sitting on the floor accessible to the students. Children can file their work as they go, along with teachers and parent/grandparent volunteers. They can also explore their work as desired. You can see how to make the art portfolios here. These have been a bit of a game changer. I can't take credit for those amazing little name tags on the side. That's the handiwork of my teaching partner. She's totally brilliant when it comes to organization.

5. Our ribbon Wall - We actually don't have the ribbon wall anymore because I foolishly took it down and need to put it back up. It was awesome and I'm not really sure why I took it down. The students could come over and cut whatever ribbon they needed for all kinds of different projects and ideas. Standing and pulling the ribbon offered the perfect amount of tension for cutting practice. This wall was very successful. Note to self - If it ain't broke...

I think it's important to mention that not everything goes as planned, by any stretch, in the art studio. Part of being a reggio teacher is to be okay with unexpected directions that benefit the group or individual. The picture below is an example of the "Teacher's Plan" vs the "Child's Plan." Instead of engaging in an observational drawing process, this student wanted to practice cutting so she could make a long braid for her hair with the ribbons. How could I deny that request?

There are many many ways to run an art studio. These are some of the practices that I have found to really work. I'd love to hear what works for you in the comments below. Overall, I think it's a good idea to remain consistent, keep things in the same place, role with the punches and take your time.

Most of all, working as an art teacher in a reggio inspired art studio is about listening, being patient, and caring about children and what they have to offer. It's not about reinventing the wheel, or telling anyone what to do. It's about guiding and strengthening and offering a safe space to explore and grow. Each child is honored for who they are and how they share who they are with the world.

Thank you so much for taking the time to read this. If you are interested in learning more, I am available for hourly consultation. Please email me for rates. If you'd like to learn more about this particular school, please email me as well. I'd love to hear from you. xo Meri Cherry

ps If you're interested in my all time favorite art supply list, here it is.

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Life in a Reggio Inspired Art Studio - Meri Cherry

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Over the past several months I've received quite a few emails asking me about my role as atelierista, aka art teacher, in a Reggio inspired preschool. I thought I would share my experience here in hopes that I can shed some light on this mysterious "Reggio" word that has become quite trendy over the past decade.

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Curious bits & bobs

The Curiosity Approach is more than just beautiful play spaces... So grab a cuppa, settle down and delve deeply inside our articles...

Why not print them out and put them in your staff rooms...

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The Curiosity Approach is more than just beautiful play spaces... So grab a cuppa, settle down and delve deeply inside our articles... Why not print them out and put them in your staff rooms...

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Consejos para proteger a los niños: Una guía de desarrollo | HeadStart.gov

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Durante los primeros cinco años, los niños adquieren conocimientos y habilidades nuevas constantemente. Los cuidadores que saben lo que los niños son capaces de hacer y cómo pueden lesionarse pueden protegerlos de las lesiones.

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12Pcs Wooden Clay Tool Set Clay Molding Tools for and Art and Crafts Activities

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Shop Toddmomy at the Amazon Arts, Crafts & Sewing store. Free Shipping on eligible items. Save on everyday low prices.

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Amazon.com: Not a Box: 9780061123221: Portis, Antoinette, Portis, Antoinette: Books

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Jovi - Air Dry Modeling Clay, Set of 3 Units, 1.1lb Each, Total of 3.3lb, No Oven Needed, White Color, Pottery Clay for Arts and Crafts Projects (P85/3)

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Amazon.com: Jovi - Air Dry Modeling Clay, Set of 3 Units, 1.1lb Each, Total of 3.3lb, No Oven Needed, White Color, Pottery Clay for Arts and Crafts Projects (P85/3) : Toys & Games

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Playdough Tools for Kids Ages 2-4 | 7 Wooden Playdough Toys | Play Dough Sets for Kids | Playdough Accessories for Toddler | Sensory Toys | Sensory Bin Tools

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Amazon.com: KOOKAROO Playdough Tools for Kids Ages 2-4 | 7 Wooden Playdough Toys | Play Dough Sets for Kids | Playdough Accessories for Toddler | Sensory Toys | Sensory Bin Tools : Toys & Games

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ChompShop brings young makers an exciting new way to explore creativity and STEAM skills using a material that everyone has access to: cardboard! Our signature tool, the ChompSaw, is a kid-safe power tool for cutting cardboard with ease, empowering kids to craft 3D projects and bring their ideas to life.

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Visit the Store, Kizzikids Kizzikids Visit the Store

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Amazon.com: Kizzikids Cardboard Tools for Kids with Tool Box, 67 PCS Montessori Construction Kit for Family & Team Activities, Cardboard Cutter Kids, STEM Educational Toys Gift for Boys and Girls Aged 5+ : Toys & Games

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Wonder Art Workshop: Creative Child-Led Experiences for Nurturing Imagination, Curiosity, and a Love of Learning [Haughey, Sally] on Amazon.com. *FREE* shipping on qualifying offers. Wonder Art Workshop: Creative Child-Led Experiences for Nurturing Imagination, Curiosity, and a Love of Learning

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Berstuk Wooden Flower Press for Adults and Teens - Includes Expert Video Tutorials - Large Flower Press Kit 10.8″ x 6.9″ - Gift-Ready Packaging Ideal for Arts and Crafts Lovers

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Amazon.com: Berstuk Wooden Flower Press for Adults and Teens - Includes Expert Video Tutorials - Large Flower Press Kit 10.8″ x 6.9″ - Gift-Ready Packaging Ideal for Arts and Crafts Lovers : Toys & Games

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Children are impacted daily by all that is presented in their learning environment. All elements of a classroom - from decorations and wall coverings to furnishings and rugs, to materials provided for children to use - all these things represent opportunities to be intentional in creating a supportive, inspiring environment for children. What makes a beautiful, inviting environment for work and play? A "less is more" approach can reduce clutter, "noise" and distraction, and inspire children to engage, relax, focus and play.

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Children are impacted daily by all that is presented in their learning environment. All elements of a classroom - from decorations and wall coverings to furnishings and rugs, to materials

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Ambiente de Comunidad Infantil (18-36 meses) en Montessori Village

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Un día Montessori en el Jardín Maternal n°10 de Vicente López

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Acorn Hill Waldorf Kindergarten and Nursery

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Inside Waldorf Classrooms Indoors and Outdoors - Silver Spring, Maryland

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CNN News Report on Reggio Emilia Italy Early Childhood Schools in the US

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Reggio-Inspired Teacher Playbook: A Beginner's Guide to Unlocking the Magic of the Reggio Emilia Philosophy - Reggio-Inspired Teaching & Parenting

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Unlock the world of Reggio Emilia with our Reggio-Inspired Teacher Playbook-a comprehensive beginner's guide designed for joyful exploration. Dive into 5 focused chapters, each dedicated to a Reggio Emilia principle, offering practical advice, ideas, and pedagogical tools. From understanding Provoca

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Reggio Classroom Ideas for Reggio Inspired Classrooms - My Teaching Cupboard

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Discover Reggio classroom ideas and learn about the essential principles of the Reggio philosophy. Explore the must-have elements of a Reggio-inspired classroom so you can get the environment as the third teacher working for you. This blog post will help you to inject a little Reggio inspiration in

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How-to Guide: Reggio-Inspired Light & Shadow — Reggio-Inspired Teaching & Parenting

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Here’s your practical how-to guide to add Light & Shadow in your Reggio-Inspired or Reggio Emilia classroom.

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"Wants Nothing" Quality Time: just floor-sitting, being available, being there with all the senses awakened to the child; watching, listening, thinking of only that child.
"Wants Something" Quality Time: when you do have a goal to accomplish something together, such as dressing, bathing, feeding, etc. You can make sure the child knows that this time is different from your "Wants Nothing" time by actually saying, "Now I want to diaper you," or "Now it's time to get dressed,

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Read and browse the collective works of Magda Gerber, founder of RIE, and the Original RIE Manual for parenting infants and navigating early childhood.

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Sometimes early childhood classrooms can be noisy and overstimulating to young children, leading to challenging behaviors, and decreased engagement and learning. Sandra Duncan-coauthor of Through a Child's Eyes: How Classroom Design Inspires Learning and Wonder -compares the early childhood classroom to Times Square and explains why young children need comforting, secluded spaces where they can refresh and regroup just like adults do!

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You likely have dreams for your early childhood environment that are greater than rating scales, regulations, and room arrangements. Designs for Living and Learning has been a favorite resource among educators and caregivers for more than a decade, and this new edition is packed with even more ideas that can be used as you create captivating environments that nurture children, families, and staff while supporting children's learning. With hundreds of all-new colorful photographs of real early learning settings and a multitude of simple and practical concepts for creative indoor and outdoor spaces and learning materials, this book truly is a source of inspiration as you learn how to shape welcoming spaces where children can learn and grow.

Expanded chapters include new information reflecting current trends and concerns in early childhood, such as the use of repurposed and nontraditional materials, children in the outdoors, alternative ways to think about providing for learning outcomes, facing and overcoming barriers and negotiating change, and the impact of environmental rating scales in Quality Rating and Improvement Systems (QRIS). Two new chapters are included, one highlighting the transformations of environments with before and after photos and outlines of the process, and the other with examples of soliciting children's ideas about the environment.

Deb Curtis and Margie Carter are internationally acclaimed experts in early childhood. They host three-day institutes and professional development seminars for early childhood professionals; consult with early childhood programs across North America, Australia, and New Zealand; and have written many books together.

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Designs for Living and Learning, Second Edition: Transforming Early Childhood Environments

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Amazon.com: Designs for Living and Learning, Second Edition: Transforming Early Childhood Environments: 9781605543727: Curtis, Deb, Carter, Margie: Books

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Los 7 principios del diseño

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 The UAGC Early Childhood Education Center Channel

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Dr. Sandra Duncan: Inspiring Environments for Young Children

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Have you ever observed honey bees when they are flitting around and nosing up to brightly colored and sweet-smelling flowers? Pause to observe, and you may notice how these busy bees repeatedly nuzzle and flit as they quickly buzz around the flowers. These repeated actions of flitting, gathering, collecting, and taking their found treasure back to the honeycomb are innate and instinctive behaviors. The same is true for very young children. They move about their environments, collect bits and pieces of information about their world, and store this data in their honeycomb brains.

The Honeycomb Hypothesis uses the analogy of a honey bee to help explore how infants, toddlers, and twos learn. Figure 1 shows a brief glimpse of some similarities between honeybees and children's instinctive behaviors.

Children create understandings of the world through their own actions and interactions with the environment. They must have a multitude of opportunities and experiences with (1) collecting many bits and pieces of data through patterns of play movements throughout their environments; (2) storing the information in their brains; and, (3) making connections between the bits and pieces they have collected, in order for them to construct meaningful and unique understandings, which are called mental models or schemas (Figure 2).

Figure 1: The Honeycomb Hypothesis

Figure 2

Honeycomb Hypothesis In Real Life

So, how does all this happen in real life? In your mind's eye, imagine the honeycomb as a child's brain. Each cell of the honeycomb brain contains bits and pieces of information or specific data (schemas/mental models), which the child has learned through freedom of movement and child-led play. For example, in a 2-year-old classroom, a teacher has created a special place for playing with clay. It includes a significant amount of authentic clay (not playdough), a rimmed table so that clay is less likely to fall on the floor, some authentic wooden kitchen utensils, and a bucket of sudsy water for initial clean-up. A picnic rug has been placed under the table to catch excess clay and potentially reduce the mess. There are several small balls of clay that have been placed in a covered plastic container, so that children can help themselves just as they might when taking cookies from a cookie jar. Nearby is a low shelf where children can display their clay pieces.

As children play with the clay, the teacher may witness observable patterns of play such as Making & Unmaking, when they repeatedly roll the clay into a ball and then tear it into small pieces with their hands. Or, the teacher may watch a child repeatedly pat-or perhaps pound-the clay into two flat pancakes and stick a small toy in between the two pieces of clay, only to remove the toy from the clay and start all over again. These observable movements could be considered Hiding & Revealing. As children continue to experience the clay through patterns of play, they collect data about its elements, such as gooeyness, squishiness, and stickiness. Through these play experiences, children are constructing more than knowledge-they are constructing their own personal understandings about the properties of clay, and also making connections to previously established understandings. These meaningful understandings translate into developing schemas. So, because the child had butterscotch pudding for lunch, she may decide to assimilate the concept of brown-toned clay into her pre-existing schema of butterscotch pudding. OR ...

The child might accommodate the notion of the brown clay by altering her pre-existing concept of butterscotch pudding and put the clay into that schema. OR ...

The child may decide the clay does not fit at all into the butterscotch pudding schema and decide to build a new cell in the honeycomb to store clay data. AND ...

The child may link together existing schemas with new schemas to form other understandings.

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Problematic Pedagogy: The Color Orange

While all this talk about the similarities between honeybees, honeycombs, children, and brains may sound well and good, there is a problem: many teachers of infants, toddlers, and twos believe it is necessary to teach basic and specific readiness concepts such as colors, shapes, numbers, and letters of the alphabet. These beliefs are exhibited through problematic pedagogy. Examples of problematic pedagogy include engaging children in singing or reciting the alphabet song, counting to 10 (or higher), and naming the basic shapes and colors-over, over, and over again. Problematic pedagogy might also include hanging laminated posters on the classroom wall or having children use a red crayon to color an apple outline on a piece of paper. This problematic pedagogy is a result of misunderstanding how children learn and that... Knowledge is not understanding.

To illustrate this problem, let's take a look at a typical pedagogical mindset. A toddler teacher decides it is important for children to learn how to recognize the color orange, so she develops some lessons and experiences around this concept.

First, she brings an orange ball into the classroom and rolls it back and forth to the toddler saying orange ball. The toddler happily rolls (or kicks) it around the room.

The next day, the teacher places several different-sized pumpkins on the floor in the middle of the room. The same toddler picks up one of the smaller pumpkins, tries to put it in his mouth, roams about the classroom, and eventually carries it the other side of the room and hides it behind the light table.

Then, the California-based teacher takes the children on a short walk to a friend's home where they pick ripe and delicious fruit from the orange tree in the backyard.

Back on the center's play yard, children participate in a game of putting the oranges into a large metal bowl, dumping them out, and watching them roll down a small hill where children stop the oranges from rolling with their hands and feet. They play this game over and over again.

The teacher peels and breaks the oranges into segments and gives children orange pieces to taste.

Finally, the teacher has purchased a handful of orange kumquats at the local specialty grocery store. After placing them in a small wicker container, she put the basket in the middle of the home living table where the children enjoyed cooking and stirring the kumquats in a pot on the stove.

With all of these orange experiences, the toddler teacher was able to observe many repetitive behaviors or patterns of play, such as Turning & Stopping, Making & Unmaking, and Carrying & Placing. Although these patterns of play were visible, the schemas (or mental models) that children are creating in their brains as a result of these behaviors are invisible.

Schemas Are Invisible

A great amount of intentional planning was done by the toddler teacher in an effort to teach children about the specific color of orange. But, is that what is really happening? Are children really learning the color concept of orange ... or not?

Unless we are brain scientists or have access to magnetic resonance imaging brain scanning, it is impossible to see children's learning processes and, therefore, educators cannot begin to assume they know what is happening in children's brains. So, while we presume children are learning the color orange because we give them multiple types of experiences with this color, the fact of the matter is that children might be filling up their honeycomb cells with something quite different than the concept of the color orange.

What are children doing, for example, with the bits and pieces of information gleaned from the freshly picked oranges? Are they filling up their honeycomb cells and developing the schema of "round," or could they be developing olfactory or tasting schemas while they enjoy tasting the orange segments? Or, maybe it is a "rolling" schema being created when children experienced the oranges rolling out of the metal bowl and down the hill. The reality is teachers really do not know what is happening inside children's brains because we cannot see the schemas forming or taking place. We can only observe their visible actions, or patterns of play.

More importantly, is it really that necessary for toddlers to know the difference between the color orange and the color red? What is the reasoning for this insistence? Just because toddlers have memorized which color is orange or can sing the alphabet song without missing a beat does not mean they have meaningful understandings of these concepts-it just means they have good memories. The Honeycomb Hypothesis asserts it is important for children to create their own learning and go beyond rote memory. True learning happens when children are given the luxury of creating their own meaning. As Piaget suggested, educators must get out of children's way. This can only happen when teachers provide opportunities for promoting understandings, rather than merely teaching concepts.

Educators must let children fill up their own honeycombs in whatever way they wish. If children want to put the pumpkin in the "orange" cell, that is okay. If they want to, however, put the pumpkin in the "round" cell, that is also okay. Or, if young learners decide to put the pumpkin in the "rolling" cell because they were able to roll it down a ramp, that is perfectly fine. In short, educators should not be telling children where to put their bits and pieces of collected data, because if we do, there is little meaning or understanding.

Embracing a Pedagogical Shift

If we can agree that the development of children's schemas is something that cannot be seen, then it becomes easy to understand what we must do. The answer is so simple: change pedagogical practices to promote children's understandings, rather than rote knowledge. There needs to be a shift in pedagogical paradigms from focusing on the acquisition of knowledge of basic facts such as shapes, colors, and alphabet, to a pedagogical emphasis on offering children opportunities for developing meaningful understandings.
The goal of pedagogy is not to gain knowledge, but to promote children's understandings.
The goal of pedagogy should be to provide intentional learning experiences for children to practice different patterns of play, in order for them to develop schemas, fill up their honeycombs, and create connections between combs just as the toddler teacher did. In other words, do exactly what the toddler teacher did but with one exception: change the learning expectation. Rather than focusing on specific knowledge, isolated concepts, or the color orange, the goal of the toddler teacher's pedagogy could be for children to create understandings and make connections with the data, information, and experiences offered about orange.
The color orange is the sideshow, not the main attraction.
When the teacher focuses on promoting patterns of play, children will naturally or organically learn not only the color orange, but so much more. Here are a few ideas for promoting children's understandings.

Provide a variety of loose parts, so children can explore and experience the different properties of the objects such as shape, size, hardness, softness, and transparency. Through these multiple experiences, children will gain understandings of their characteristics-including the color orange!

Offer three-dimensional and multi-sensorial activities that allow children to engage their senses of touch, taste, smell, hearing, and sight, as well as whole body movements, so children will gain sensory insights and make connections between these insights with the world around them.

Steer away from rote learning and memorization including one-answer, single-use materials (i.e., flashcards, posters, worksheets,) because these materials do not allow children to actively engage in patterns of play.

The Honeycomb Hypothesis invites you to move away from problematic pedagogy by abandoning the notion of teaching for children's knowledge (i.e., basic shapes, colors, numbers, letters). Rather, the Honeycomb Hypothesis is asking for a shift in your mindset. This paradigm shift requires us to embrace the idea of encouraging children to discover their own personal and unique understandings. With this fresh pedagogical perspective, children's learning will evolve organically and they will become critical thinkers, creators, and innovators ready to be productive citizens who will contribute to tomorrow's society. Never fear-they will learn the color orange but, in the process, will learn and become much, much more.

Inspirations and Resources

Atherton, F. & Nutbrown, C. (2016). "Schematic Pedagogy: Supporting One Child's Learning at Home and in a Group." International Journal of Early Years Education. 24(1), 63-79.

Beloglovsky, M. & Daly, L. (2015). Early Learning Theories Made Visible. Redleaf Press.

Curtis, D. & Jaboneta, N. (2019). Children's Lively Minds. Schema Theory Made Visible. Redleaf Press.

Duncan, S., Penix, S., & Haughey, S. (Forthcoming 2022). The Honeycomb Hypothesis: How Infants, Toddlers and Twos Learn Through Nature Play. Exchange Press.

Halford, G. (1993). Children's Understanding: The Development of Mental Models. Psychology Press.

Jana, L. (2017). The Toddler Brain. Da Capo Press.

McLeod, S. (2018, June 06). Jean Piaget's Theory of Cognitive Development. Simply Psychology. simplypsychology.org

Nutbrown, C. (2006). Threads of Thinking, Young Children Learning and the Role of Early Education. Sage Publications.

Piaget, J. (1952). The Origins of Intelligence in Children. Translated by Margaret Cook. International Universities Press.

Piaget, J. & Inhelder, B. (1969, 2008). The Psychology of the Child. Basic Books.

Piaget, J. (1973). The Child and Reality. Viking Press.

Slater, A. (2004). Novelty, familiarity, and infant reasoning. Infant and Child Development, 13(4), 353-355.

Wadsworth, B. (2004). Piaget's Theory of Cognitive and Affective Development: Foundations of Constructivism. Longman.

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The Honeycomb Hypothesis: A Fresh Perspective on the Color Orange for Infants, Toddlers, and Twos

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Have you ever observed honey bees when they are flitting around and nosing up to brightly colored and sweet-smelling flowers? Pause to observe, and you may notice how these busy bees repeatedly nuzzle and flit as they quickly buzz around the flowers.

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Recently the PK4 classes completed their unit on recycling. To enhance the lesson for the students, the PK4 teachers partnered with The Green Project. This allowed students to visit their facility to see recycling in action. Students also created their own homemade recycling projects by building a robot out of recycled materials. Students learned the importance of sustainable materials and how to assist in preserving our earth for many generations to come.

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Recently the PK4 classes completed their unit on recycling. To enhance the lesson for the students, the PK4 teachers partnered with The Green Project. This allowed students to visit their...

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Providing open ended play materials allows children the opportunity to be curious, creative and direct their own play. There are no rules or expectations for how a play item must be used, no specific steps to follow, no right or wrong way, no ultimate goal to reach or achieve.

An environment filled with safe, yet challenging open ended materials that provide ongoing opportunities for open ended play in the early years is vitally important. It encourages dramatic play, language skills, role play, problem solving, teamwork, games, experimenting with cause and effect, trial and error and builds creative thinking. It is also a very budget friendly way for educators and parents to provide play resources as simple is best and you can use many recycled materials.

So what are these magical open ended play materials that can offer all of those wonderful learning outcomes? To put it very simply they are basically just materials you might introduce that have no specific set of directions to follow. There is no particular right or wrong way to use them and they can be used alone or combined with other materials.

Unlike the electronic toy or game that might do a couple of set things when you press the buttons or the train that only goes around the track in a circle a child can decide how they want to manipulate the open ended material and build upon their own play. They become the scientists, engineers, inventors, artists, explorers and clever investigators.

Children of all ages can move, carry, redesign, recreate and combine open ended materials in any way that they want. They might decide to work alone with the materials or in a group and essentially, children become active participants in their own learning. Offering access to these type of materials everyday also supports children's early years schemas - those patterns and repeated behaviours children display often as they learn through their play.

Open ended materials have always formed a core part of my planning and experiences offered to children - both indoors and out and I've included photos of just some of the favourites throughout this post to help you visualise the possibilities of including more of these types of materials into your program or with your own children.

Open ended materials are sometimes also called loose parts and can encompass a wide variety of resources. They don't have to just be of natural origin, they can also be manufactured. They can be large (but moveable) or small. See the list at the end of this post for some ideas to get you started with your own collection. They don't ever need to be expensive!

One of the wonderful things about using these materials for educators - especially those working in mixed age group environments is that they are suitable for all ages as children will manipulate and use them in different ways according to their own specific ages and stages of development - they can also use them in different ways day after day! Rather than the box of baby toys that usually becomes useless after a certain age, open ended materials continue to be flexible and offer increasing opportunities for creativity and open ended learning.

Why include them in the outdoor play environment?

Are open ended materials and loose parts only suitable for indoor classroom and play activities?Definitely not - they can play a huge role in outdoor early learning environments!

When we only provide an outdoor play area with fixed equipment we can inadvertently limit children's creativity, movements, urge to experiment and problem solve. I'm certainly not saying we shouldn't have fixed resources in our backyards and play areas as they play a role too but ideally there needs to be a balance of fixed and open ended movable materials. This doesn't need to be expensive as most open ended materials can be sourced for little or no cost so it becomes very cost effective for educators.

Educators have asked me how to add loose parts and open ended materials to their program planning so it doesn't look like their are 'doing nothing'. Just because an activity or play experience isn't planned out in advance does not mean it cannot be included in some way on your plan. You can easily incorporate open ended play and materials into your planning by simply listing some of the materials you have made available for the children to choose from that week then follow up with some brief reflections and observations about how the children used the materials and what learning you saw evolve through this play.

You might write this in a diary or even on the back of your program - keep it simple and to the point and make sure any observations (group or individual) that you record are meaningful and stand out to you for some reason.

I still like to have some intentional teaching experiences and craft activities planned on my program but open ended materials and play also forms an important part of my documentation and the plan evolves as the week proceeds.

When we include open ended materials or loose parts in the outdoor play environment it allows children to take a few risks, challenge themselves and feel as though they have some control of their environment. They can extend their own play, explore, carry, take materials apart and put them back together, rearrange to suit their needs, work out how to move heavy materials ...they decide on how the materials will be used.

It can be fascinating for adults to watch and provides numerous opportunities to observe and document the many learning outcomes that are being achieved.

Even with small spaces and little storage space you can find creative ways to introduce larger loose parts into the outdoor play environment. For more inspiration take a look at the children playing here on Stimulating Learning with Rachel. So much creativity, building and thinking happening with those fabulous loose parts!

How to get started using open ended play materials in the outdoor area.

Although the term 'loose parts' seems to be a bit of a catchphrase in early childhood at the moment it is not new and we were incorporating these open ended materials into play when I first began in childcare 30 years ago. So it's not something that should overwhelm you - introducing open ended materials into your early learning program will actually make your job easier, allow you to spend less on resources and equipment and provide moments for you to step back and observe rather than spending every minute planning and directing the play.

So how can you get started? My advice is to start small and just make a few changes at a time until you feel more confident in how to use and present access to the materials.

Aim to build a loose parts/materials resource shelf/tub over time

Begin writing a loose parts wishlist and think about ways you might be able to source those materials and involve families in your hunt too.

Build your collection from visits to parks, beaches, bushwalks, recycling centres, op shops, markets, garage sales, $2 shops, asking family and friends, treelopping and mulching services, local council, reusing packaging materials.

Keep in mind that offering open ended materials to your children might actually involve a little trial and error depending on the ages you have in care and the materials you have decided to use. Some things will work one day yet not the next - don't give up!

You can still use open ended materials to set up some basic invitations to play if you enjoy doing that - just don't direct the play if they decide to take it in another direction! Stand back and see what they decide to do with what you have set up. See your invitation as merely a launchpad.

Make sure you are available in the outdoor environment to provide support and help solve problems if the children need and request it. Encourage discussions - how else might they use the materials? What might they need to continue with their project?

Decide on a storage solution. I like to keep open ended materials for outside play stored in baskets in a small shed in the yard. I've also used baskets hanging on fences that stay out in the weather and small pots nailed to walls at the children's level and filled with loose parts that are always accessible. Use what you have available and try to keep organised so you know what you have available. Think about what you will have available this week and what you might need to change. Is there some fixed equipment you might be able to do away with to make more storage space instead?

Be aware at all times of safety precautions all educators should take in regard to using materials including possible allergies and choking hazards.

And finally (this is a hard one for many of us!) allow opportunities for the outdoor space to look 'messier' and less 'arranged' than you might be used to. I know this can be more difficult if you are a family day care educator using your family backyard but even if you can leave the materials for a day or two so the children can keep returning to their play and projects it will be valuable. Ask yourself if everything really needs to be packed away at the end of the day or are there some things that could be left out 'ready to play' tomorrow?

I hope you are feeling inspired to begin incorporating more open-ended materials into your outdoor environment to increase the opportunities for open-ended play, exploration and discovery.

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Teaching art is a joy to me. My pace is relaxed, my schedule is perfect, my school is wonderful and my students are lovely. I try very hard to teach children about the world of art and try to cover as many areas of art as I can: artist studies, art genres, techniques and the elements of art. No two lessons are the same and I must confess, that some lessons work out better than others.

Cookie Cutter Art?

Recently, I read an online review of Deep Space Sparkle. It was written by an art education student needing to fulfill a school requirement. The reviewer had many positive things to say about the navigation of the site but then the reviewer said that most of my projects were cookie-cutter projects! Oh, it was like being stabbed in the heart.

In truth, I do use single images to inspire art lessons and yes, many of the student's works end up looking similar. But the goal is to teach a technique, a strategy for painting, or a study of an artist. Implying that my projects are cookie-cutter cheapens my efforts and my goals of teaching art to children. I mean, doesn't "cookie-cutter" say so little about one's efforts and mission?

Okay, so enough about feeling defensive. Let's get to the purpose of this post. The student pointed out an area of my website that he thought was weak. Critiques are what make you better and opinions are what force you to think, move and grow. So how did I apply what he said?

Well, first I needed to figure out what the opposite of "cookie-cutter" art was and I figured it was open-ended art. I've read a bit about open-ended art, but to be honest, I really didn't know how to translate the concept into an art lesson. So I asked my DSS facebook readers:

How would you describe open-ended art?

Here are a few responses:

Open ended art is having no expectations about the product - it is all about the process. Showing a student what something should look like is closed-ended because there is a specific product in mind that does not allow for individuality. I never show "examples" because I think it stifles creativity.

The best open-ended projects are on-going and student-driven. I have my junior high students keep an art journal throughout the semester. They are given guidelines, but each journal is about their own artistic journey and helping them find what inspires them.

I think open-ended is the way all art should be! - though I am guilty of 'trying' to get kids to complete their art project in a certain amount of time... and have items 'finished' to take home - but LOVE it when parents understand that a child's own direction and initiative is more important than if it is finished or 'looks as good' as the child's beside them.

Something that gives kids the opportunity to do it their way. I run a creative reuse nonprofit, and kids get to take 7 items from our art truck, and make whatever they want (except a weapon!). It is amazing how many ways their mind can go.

I would say that it is a lesson where the child can choose their medium and decide how to convey their idea. I do an abstract art project that is "open ended" and it is very exciting to see what the students come up with. They really enjoy experimenting with the different art materials.

Responding to Criticism

Aren't these responses great? I love the open-ended art process (as described above) and I spent most of my life in my own little open-ended world. But what about teaching art in a school environment where standards are imposed and classroom management valued? Is allowing children to choose mediums, supplies, subject, etc., teaching them art? Should every art project be open-ended? How does an art teacher do this?

After reading the review, I went in to teach for the day. In fifth grade, we were working on painting a clipper ship. As I sat the group of fifth grade students around me, and began to demonstrate the techniques, the words "cookie-cutter" kept creeping into my head. I tried to push them away, but they were stubborn! You see, I used an image I found through an artist's website of a beautiful clipper ship sailing towards the viewer. I looked at the painting and saw ample opportunities to teach wet-on-wet watercolor, an artist study on Winslow Homer, and a cool technique to make the sails. But as the children were completing their projects, I knew that my single image prevented the children from creating their own clipper ship perspective. This haunted me for a while until I realized that not all my projects are like this and that the students learned so much. Is this bad? I certainly hope not, because I thought that each child made such an exquisite piece.

Art teachers are creative individuals and need to teach (at least mostly) what is authentic to them. You must come into your art room excited beyond measure about your projects or else the children won't be. My dear daughter sat through her entire seventh grade year doing open-ended art projects where she could choose colored pencils or markers and draw whatever her little heart desired. The teacher had no expectations, no curriculum, no instruction and worst of all, no passion. My daughter chose not to do art this year as she felt it was a waste of time. So while the teacher might have assumed that she was doing right by her students by not giving any instruction, I couldn't help but think of all the things I would do with 50 minutes a day with each class.

But in defense of open-ended art, I would like to point out that I do value open-ended art (on occasion!) Watch this.

So what's your take on open-ended art. How often do you use it and in what context? Can you teach a lesson on Van Gogh using this concept? I'm quite curious and excited about your responses...it's so fun learning new things!
Download our free management, set-up, drawing & painting guide, to help you teach art from your home!

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It's funny how we often debate things with a black/white, either/or paradigm.

Like whether preschool is for play or learning, for instance.

Or order vs chaos. (Controlled chaos for me, please.)

Or a little bit country vs a little bit rock n roll.
Or arts and crafts.
Yes, for many in the early education/child development world, the debate about arts and crafts rages on, with nary a UN negotiator to step in and help.
Like most debates, however, camping out in either extreme generally misses the point.
There's a spectrum of arts and crafts, not just and either/or proposition. And there are plenty of benefits for kids to glean from activities both from the art AND the craft side. The difference usually lies in whether or not we which parts to emphasize.

With both arts and crafts, kids are usually building small motor skills as they grasp and manipulate tools and media and they often get some valuable sensory input as well. But there are some important differences between an art-leaning project and a craft-leaning project, and those differences matter as you choose and implement your activity. It doesn't necessarily make one activity better than another - it simply makes it better for your purpose or situation.

At the art end of the spectrum, activities generally emphasize process over product. And that process is very child-driven; we provide materials and simply let the kids create and explore. These types of projects encourage thinking outside of the box, creativity, and self-expression. The process of creating can be soothing and even therapeutic.

Activities from the "Pure Art" end of the spectrum look something like this:

Turkey Baster Painting {No Time for Flash Cards}

Sensory Sand Finger Paint {The Artful Parent}

Baggie Painted Flowers {Toddler Approved!}

Painted Salt Sculptures {Fun at Home with Kids}

These activities are great for:

Young kids who may not be capable of following craft directions.

All kids (even big kids like you and me!) who have their own ideas to express.

Blowing off steam.

Independent, self-directed activity time.

Anytime creativity-building.

While crafts are famous for ultimately resulting in a product, we can focus on the process as well.
Within the process of building a craft, we can give hands-on application to different concepts like patterning, shapes, and positional words (above, below, next to, etc.) as well as other new vocabulary words. As long as we're aware and intentional.

Would you rather learn about AB patterns by printing those letters over and over on a worksheet or by building a paper chain with AB color patterns? Would you prefer to learn about halves and wholes by drawing lines through objects on a paper or by cutting shapes "in half"? Crafts can be the perfect way to get kids' heads around a concept by getting their hands around it too!

Crafts also almost always reinforce the concept of following directions - if we let it. Some teachers use a craft project to intentionally model and practice following step-by-step directions, not as a substitute for art.

We can also use craft activities to teach new techniques like accordion folding, hot glue gun wielding, and how to turn sheets of paper into paper chains. Many kids will use these skills later as jumping off points, doing their own experimentation and finding their own creative applications.

And a focus on a craft, producing an end result, doesn't mean that each project needs to turn out carbon copies of each other. Even while focusing on following directions for a craft, there are often ways to make room for kids to use their own discretion and creativity within the various steps. ("So now you do the petals. Which color would you like? What shape do you want to cut?" etc.)

Activities toward the craft end of the spectrum look more like this:

Letter Watermelons {No Time for Flash Cards}

Homemade Bubble Wands {The Artful Parent}

Scarecrow Craft {Toddler Approved!}

Tissue Paper Heart Craft for Kids {Fun at Home with Kids}

Kids who are capable of following the directions required by the craft. (More directions generally mean older kids or more help.)

Kids who need to practice following directions.

Structured time in the day when an adult is available to guide and help with directions.

Hands-on application of new concepts.

Teaching a new creative skill that the child can then use independently later.

Most often, there are projects that fall somewhere between the two ends of our either/or paradigm. Each project opens up a different expectation for how much adult help or supervision is required, how much child-driven creativity is used, and how much emphasis is put on the process or the product.
Those are aspects to be aware of and determine if they're appropriate for your individual application. Not reasons to disregard an activity off-hand. It doesn't matter how free your art is or how cute your craft is- if you don't know your "why" you're missing the point either way.

While I'm always happy to make the case for the overlooked benefits of craft activities, it is important to emphasize that all kids need real art experiences. All kids need the freedom to explore and express through creativity without any right or wrong end product in mind. Creative, process-driven art is critical for healthy child development, but that doesn't mean that occasional craft projects, particularly those done with intention, are detrimental to it.
Balance, friends. It's just about respecting the proper balance and intentionally meeting a child's needs. Read more about the Spectrum of Preschool Arts and Crafts.

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The Benefits of Arts and Crafts (Yes, Both!) for Kids

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It's funny how we often debate things with a black/white, either/or paradigm. Like whether preschool is for play or learning, for instance. Or order vs chaos. (Controlled chaos for me, pleas...

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Lisa Daly (Author), Miriam Beloglovsky (Author), Jenna Daly (Photographer) & 0 more Format: Kindle Edition

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Loose Parts: Inspiring Play in Young Children (Loose Parts Series)

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Buy Loose Parts: Inspiring Play in Young Children (Loose Parts Series): Read Kindle Store Reviews - Amazon.com