Everything moves, including people, objects, materials, and air, and each movement has a unique rhythm and intensity. Motion, fresh becoming’s, orchestrated movement, and emergences are all a part of everyday life. barely Movements are discernible. Emergence: What results from these being felt, movements being seen, movements being dramatic and being made by a group of people. There is movement both acting and being acted upon far away. We naturally gravitate towards additional questions as we progress through and engage with learning materials. We get the ability to move with the materials while paying attention to the emotional responses we receive. We discover that movement is a part of learning. Children may relate ideas to actions via movement and learn by experiencing the movement (Pacini-Ketchabaw, Kind and Kocher, 2016). 

In this digital visual journal, I am going to explore and discuss on the concept of movement by exploring materials such as paper, clay, charcoal, light, paint, and blocks and implement them in an early childhood setting. 

 

According to (Pacini-Ketchabaw, Kind and Kocher, 2016), paper has its own preferences. The water, the walls, the flooring, the door, and the bodies of the children are all affected by it. It gains notoriety based on how it floats, turns slimy, adheres to walls, windows, and legs under various circumstances, feels, slides off, behaves, and moves. Paper gains the reputations of being sensitive, reactive, pliable, absorbent, responsive to touch, and capable of being bent, folded, and crumpled. Even if these motions are slight, working with paper requires constant motion in which one joins forces with the material and reacts to its inclinations.

Paper ripping can help with sensory requirements, coordination, and visual motor abilities in addition to being a fine motor technique. The development of bilateral coordination abilities is supported through stable paper folding, which involves utilising the non-dominant hand to hold the paper and the dominant hand to produce precise rips. More skilled motor actions may be required depending on how intricate the paper rip line is.

As mentioned in the Encounter with Materials according to (Pacini-Ketchabaw, Kind and Kocher, 2016), the little hand muscles will get stronger and more resilient when a youngster breaks, crush, fold and cut a sheet of paper.  Numerous fine motor abilities will improve within the child by movement of paper.  

It's amazing how adaptable clay is. It can be cut, engraved, ornamented, glazed, carried, burnished, heaved, burned, dropped, hollowed, changed, polished, painted, hammered, flattened, carved, and transformed. Clay wiggles, sobs, sticks, contracts, dries, stretches, gestures, melts, trickles, sits, cracks, collapses, rises, connects, rests, and collects (Pacini-Ketchabaw, Kind and Kocher, 2016). 

As children manipulate, clay reacts to their movements. But occasionally it struggles and clings to a particular shape. However, it is impossible to foresee these resistances. Clay moves about in time with the children’s movements. Because of its simple malleability and adaptability, it demands transformation. It allows children to watch as it interacts with objects like shoes, pockets, canvas, floors, hands, gloves, and air in surprising ways (Pacini-Ketchabaw, Kind and Kocher, 2016).

 

This level emphasises full-body exploration. Children can experience the clay's receptivity when they engage their entire bodies in their interaction with the movement of clay (Pacini-Ketchabaw, Kind and Kocher, 2016).

The chance to be receptive to idea was presented to us by the discovery of charcoal. hoping to reconnect. having the want to touch and be touched. the desire to take care of whatever that needed taking care of. the desire to become more open to the world's unpredictable nature. the desire to engage with the assemblages to which we aspire (Pacini-Ketchabaw, Kind and Kocher, 2016).

Children will be given hope when they come upon charcoal—the hope to be open to ideas. the desire to reconnect. the desire for both contact and touchback. the desire to take care of anything that required attention as it appeared. the desire to become more receptive to the unpredictable nature of the world (Pacini-Ketchabaw, Kind and Kocher, 2016).

Playing with light and dark produces fascinating movement experiences that both children and adults will love. Children have the chance to experience refers to as "gratuitous fear" when it comes to light and darkness since they carry the potential for curiosity, mystery, danger, and challenge. Exploring natural light movement by taking a look around surroundings and notice where the sun shines in at various times of the day and observe how the sun's position varies throughout the day help children to (Thornton & Brunton, 2010).

To explore light movement effectively, the surroundings will be dark, I will designate specific areas in the classroom environment where children can explore light. I will use blinds to darken a tiny space or a naturally dark location (corner of the classroom) or a den behind a table covered in blankets and blackout materials so that children will experience the different movement of light within the classroom. Experiences with light and shadow movement help children understand the wonder and amazement of the world around them and offer a rich setting in which to foster their innate curiosity (Thornton & Brunton, 2010).

I was able to clearly comprehend the many patterns and the blurry differences between the paint and the canvas with the help of resources I utilised to experiment my art. My artwork was a vibrant painting since I had vivid ideas when I hold my brush. I experienced the variety of colours spreading on the canvas and enjoy merging them to create a colourful artwork. I noticed the paint's viscosity, solidification, and smoothness as well as how it spreads, covers, and how it mixes. I used a leaf and put paint on it, and I pressed it to the canvas, I experienced that the lines of the leave and the movement of paint on the canvas gave me a creative artwork.

By movement of painting children may express ideas, feel emotions, utilise their senses, learn about colour, investigate processes and results, and produce beautiful works of art and experiences by painting in which they are strengthening their hands, wrists, and fingers while also developing better hand-eye coordination and developing their fine motor skills quickly.

I examined the paint's viscosity, solidification, and smoothness as well as how it spreads, covers, and mixes which gave me various understanding on paints movements and its reactions.

Children will experience a fun activity as painting is enjoyable and a learning opportunity. Children can develop their visual expressiveness, spatial awareness, and colour perception via painting. Additionally, children who paint frequently improve their motor skills and creative abilities (Pacini-Ketchabaw, Kind and Kocher, 2016).

We questioned our propensity to emphasise "clock time" after coming across blocks, paying attention to their flows and inclosures, and tracing their linkages to several places and globalities: What if time is more than just motionless space? Regardless of whether moments are linear or not (Pacini-Ketchabaw, Kind and Kocher, 2016).

By having the construction corner in the class room, aids in children's development of visual perception, eye-hand coordination, and visual processing abilities, all of which are crucial to the overall development of visual motor skills that enable us to perceive, process, and use visual information while using motor skills to manipulate and move objects in tasks and also their imagination when blocks move, self expression, problem-solving, physical development and creativity will increase (Pacini-Ketchabaw, Kind and Kocher, 2016).

In conclusion, My findings and explorations helped me to acquire different ideas and techniques to explore the materials which helped me to experience and come up with activities according to children’s interests and play based enjoyable activities as a future early childhood teacher.

Pacini-Ketchabaw, V, Kind, S. And Kocher, L.L.M. (2016), Encounters with materials in early childhood education, Taylor & Francis Group, London. 

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

Roy, D, Baker, WJ & Hamilton, A 2015, ‘Excerpt from: A vision for the arts in education’. Teaching the arts: Early childhood and primary education, 2nd edn, Cambridge University Press, Port Melbourne, VIC.

Topal, CW & Gandini, L 1999, ‘Connections’, Beautiful stuff; Learning with found materials, Davis Publications, Worcester.

Thornton, L & Burnton, P 2010, ‘Exploring light and dark with early years’. Teaching Expertise, Wordpress.