IMPORTANCE OF QUALITY

“A vida é feita de momentos” means “Life is made up of moments”. This is a phrase that I always say when I am having a genuine moment in my life.

Quality interaction is having a genuine moment in one’s life. A genuine moment is when our body, thoughts, heart, and soul are connected in that instant that we are living. Those genuine moments are the remarkable moments in our lives.

To provide remarkable moments in children’s lives, it is important to have quality interactions with them. We value a child when we demonstrate genuine interest.

It is very important to pay attention when we are talking with a child. Active listening is especially valuable because it demonstrates to children that we are really paying attention to how they feel (Feeney, Christensen, & Moravcik, 2006, p. 266). There are signals to prove that we are really listening to a child: eye contact, staying at their height, being interested, questioning about the topic, answering at the right moment, not interrupting, and remembering what was said previously.

When we demonstrate positive regard for the child and show respect for their ideas and feelings, we foster their sense of identity, an important factor in self-confidence and self-esteem (Dunkin, 2007, p. 33).

It is important to listen to the children. We need to listen without judgement, especially to those children who come from backgrounds different from our own. Children need to know that they are accepted for who they are (Ministry of Education, 1996, p. 54).

Opportunities for responsive and reciprocal interactions (Dunkin, 2007, p. 36)
To be available to the children.	It is much easier to build a relationship with someone who is present. High-quality attachment relationships develop when staff are positive, responsive, respectful and attentive in their interactions with children (MacNaughton & Williams, 2004, p. 118).
To work alongside the children and at their height.	It is important for children to feel accompanied.
To engage in real conversation.	Providing stimulation, seeking information, encouraging and letting the children do it for themselves. With superficial conversation, we do not learn much about somebody. Children need to know that their thoughts and comments on the world matter (MacNaughton & Williams, 2004, p. 118).

After learning about quality interactions, I will be questioning myself; how often am I truly responsive to the children, and let them take and keep the initiative in conversations and
interactions? Am I waiting at least 10 seconds for their answers? Am I genuinely interested? I wish to do this naturally and for these skills to become part of my daily routine.

REFERENCE

Dunkin, D. (with Hanna, P.). (2001). Thinking together: Quality adult:child interactions. Wellington: New Zealand Council for Educational Research.

Feeney, S., Christensen, D., & Moravcik, E. (2006). Who am I in the lives of children? (7^th
ed.). Upper Saddle River, NJ: Pearson Prentice Hall.

MacNaughton, G., & Williams, G. (2004). Techniques for teaching young children: Choices in theory and practice (2^nd ed.). Malaysia: Pearson Prentice Hall.

Ministry of Education. (1996). Te whāriki: He whāriki mātauranga mō ngā mokopuna o Aotearoa/Early childhood curriculum. Wellington: Learning Media.

 

Critical Importance of Relationships

I would like to start this topic with a question: “Is it possible for somebody to live in absolute loneliness?” I do  not believe this is something that can happen.

Even people who enjoy being alone sometimes will need companionship in some stage of their life. I consider myself one of those people who love silence and being alone, but those moments are my choice. When I have had enough of solitude, I love to have people around me again.

It is proven that loneliness can kill. “There is a biological basis for our need to form human relationships” (Lynch, 1979). I think that for a person to grow up mentally and physically healthy, it is necessary for that person to have good quality relationships with other people.

However, if relationships are extremely important for adults, imagine how important relationships are for a child who is defenceless and dependent.

It is very important for a child to feel secure and to live in a peaceful environment among adults. These adults might be their parents and whānau, caregivers, relatives or teachers.

I know that normally it is very scary for an adult to enter a new course, new workplace, or new relationship. I would always like to remember, consider, and understand how hard it is for a child to come for their first time to a centre. I can “see” that it is very important to make them feel protected, comforted, and safe. Children learn through responsive and reciprocal relationships with people, places, and things (Ministry of Education [MOE], 1996, p. 43).

When children feel secure they can start to learn. This sounds very obvious, but it is the first time that I have understood this important idea. It is the same for adults as it is for children. Children will start to learn when they feel happy. Feeling happy, they will play. Play is one of the ways that children learn (Dockett & Fleer, 2003). While they are experiencing they are learning. However, when children start to discover that they can decide what they want to do, they are building their self-confidence.

Children need social interaction to build their social skills. Co-operative aspirations, ventures, and achievements should be valued. We need to provide encouragement, warmth, and acceptance (MOE, 1996, p. 43). Now we know that relationships are important, but how can we build relationships with children? This is another magical point for me: “Relationships are built through communication”. We need to use positive and effective communication. We should pay attention to facial expressions, sounds, body posture and tension, hugs, and touches. Respectful communication conveys to children that you value their feelings and thoughts and that you trust their capacity to learn (Feeney, Christensen, & Moravcik, 2006, p. 263). There are some communication strategies too. Here are some of these strategies that I wish to remember to use:

1-     Interact with the children. Worthwhile relationships are built on shared interests and
experiences.

2-     Give the children plenty of time and opportunities to talk. Adults think that they
have to talk all the time. Listening is important too. (There is an example in
Feeney, Christensen, & Moravcik, 2006, p. 263 about effective listening
that broke my heart. Please if you have not read it yet, I recommend you do so).

3-     Speak with the children using a sincere and respectful way of speaking. Speak with
sincerity and do not interrupt when children are talking.

4-     Avoid using the same words and phases over and over. Tell the children what you mean.
Taking time to use non repetitive language is one way to ensure that you are
communicating with children in a meaningful manner.

* Adapted from Feeney, Christensen, & Moravcik, 2006, p. 263.

Perhaps already I knew all about these strategies, but now I reflect that we need to consider children’s feelings.  Sometimes adults think that children will not “notice” or “understand” but it is not true. Yes, they notice, understand, feel, and perceive things as we adults do.

The importance of relationships really amazes me. I have learned a lot about this subject. I will pay attention and be more careful when I talk with my own child and the children at my centre. I will also apply these strategies with adults.

It is essential to listen to children

Today, three children asked me to play that they were the teachers and I was the student/child. I accepted. Then, what I heard from the children were commands, such as: “Put your hand up”, “Lunch time”, “You should be eating your lunch, not writing”, “No, you eat your sandwich first”, “You can eat your banana next, not your biscuits”, “Eat your popcorn first”, “You need to eat your apple first”, “Go and wash your hands”, “Wash your hands over here”, and “It is puzzle time, you can leave now.”

I felt bombarded by questions and commands; there were not any requests from the children, and they did not give me time to answer. I did not feel that I had any opportunity for “independence, choice, and autonomy” (Ministry of Education [MOE], 1996, p. 51). Te Whāriki promotes an environment for young children to express, articulate, and resolve a range of emotions (MOE, 1996). However, I wonder if the teachers are allowing time for the
children to respond. It is important to think about who is doing the most talking. It is vital for teachers to give the child time to receive the message, interpret it, and then respond.

I believe that one of my best attributes as a professional teacher is the listening teaching technique. I have learnt to stop and to have genuine quality conversations with children. It is essential to listen to children, for them to feel valued and included, “this increases their self-esteem and confidence” (MacNaughton & Williams, 2004, p. 115).

“Take time today from what you are doing and listen
with love to your children. Hear what they are trying to say to you. Then, one
day when you need someone to listen, they will take time to come back and with
love listen to you”

REFERENCES

MacNaughton, G., & Williams, G. (2004). Techniques for teaching young children:Choices in theory and practice (2^nd ed.). French Forest, Australia: Pearson Prentice Hall.

Ministry of Education. (1996). Te Whāriki: He whāriki mātauranga mō ngā mokopuna o Aotearoa/Early childhood curriculum. Wellington, New Zealand: Learning Media.

Respecting individual development

This is the story of a child (4y) who has difficulties with some tasks, such as paying attention at mat-time, following instructions, joining the dots to complete a letter, and holding scissors. He also covers his ears with his hands when the children are singing.

Last year, I helped this child to do his homework. I decided to let him scribble his name rather than placing my hand over his hand to make the writing “better” as I have seen some
teachers do. After he had done his homework, I asked him to write his name — simply because all the children, in that childcare, have to write their names on the back of the paper of their homework. He did a scribble. Then, he put his paper inside his folder and went to play.

Morris (1995, p. 94) recommends that teachers should not correct a child’s attempts at writing; “Don’t instruct children how to copy letters, don’t discourage early scribbling”. It
is important to be guided by the children, letting their interest and enthusiasm lead the way, to take their present stage of development into account; and to offer such help as is appropriate and acceptable.

It is more important for a child to be accepted and loved for who they are rather than to be expected to do things they cannot do. It would be more important for the teachers to involve this child in learning experiences such as drawing, pasting, painting, cutting, and using a computer keyboard to gain competence in using his fine motor skills, rather than encouraging this child to write his name.

REFERENCE

Morris, B. (1995). Living with children. Upper Hut, New Zealand: Wright and Carman.

Teachers should keep the passion

Gibbs (2006, p. 230) states that research enables teachers “to understand more about themselves and their practice, their values and beliefs, and about shaping their sense of authentic identity” I believe that teachers who involve themselves in action project research add a huge step out in their profession.

It is important for teachers to renew each day, to find interesting ways to improve and build their practice. I think that teachers should keep the passion, the enthusiasm, and the strength to find ways to make a difference in their lives and children’s live. Research is one of the powerful tools for this purpose. It is vital for teachers to keep the wonder and curiosity in their profession. This way, teachers, children, colleagues, and parents will benefit
of teachers’ attitude.

Moreover, research “by teachers, about teachers, and for teachers, is crucially important
for them continuing development of teaching excellence, as well as the on-going advancement of the teaching profession” (p. 230). Research by teachers offer opportunity for self-reflection and also makes a significant contribution towards improving practice, mainly when teachers work collaboratively.

I have chosen this subject for some important reasons. One of them was the title “Revealing new understanding: Researching being a teacher”. The word “revealing” is like a light, it is like give a force to me to discover something new. I like to discover and get involved with new experiences. Moreover, I was fascinated by the process of researching. I thought that research was a “cold/number” word. However, I am delighted to know that research involve reflection. It is a result of reflective and critical thinking. It involves change, modification, and transformation. Research is a rewarding action. It is satisfying to notice that from a thought or idea, we can transform something in a huge change for our benefits and benefits of others.

REFERENCE

Gibbs, C. (2006). To be a teacher: Journeys towards authenticity. Auckland: Pearson Prentice Hall.

Magic Place

www.magicplace.yolasite.com

Ethical practices, professional leadership, curriculum and pedagogy for Māori and Pasifika communities in early childhood settings

This essay will define three issues within early childhood settings: ethical practice, professional practice, and curriculum and pedagogy. Each section will then be discussed and evaluated in relation to its position within Māori and Pasifika communities.

Ethical Practice

Ethical is described as “relating to moral principles” (Soanes & Stevenson, 2004, p. 490) and practice is “the practising of a profession” (Soanes & Stevenson, 2004, p. 1126). Thus, in teaching, ethical practice is the way that teachers apply their moral principles to their work. However, it is important to point out that teachers need more than personal values and morality to guide their work. Personal attitudes, values, and morals need to be supplemented with professional values (Feeney, Christensen, & Moravcik, 2006).

Teachers in Aotearoa are guided by a code of ethics. This code is “a statement of the standards of ethical practice that a profession aspires to and abides by – a statement all early childhood practitioners have agreed on” (Early Childhood Education Code of Ethics for Aotearoa New Zealand, 1997, p. 9).

Issues around Ethical Practices for Māori

The official government policy until 1960 was based on racist assumption and Māori were encouraged to abandon their culture in order to learn the ways and processes of the dominant culture. Moreover, “in the wider educational context today, this assimilation agenda remains pervasive” (Bishop & Glynn, 1999, p. 16). Thus, in order for teachers to follow ethical practices it is time for teachers to change what Bishop and Glynn (1999, p. 16) declare, “Educational practices have in the past contributed to and continue to contribute to the persistent attacks on the integrity of Māori culture.”

Issues around Ethical Practices for Pasifika

Aotearoa New Zealand is the home to the Tagata Pasefika population in the world. The majority of Tagata Pasefika comprises migrants from Samoa, the Cook Islands, Tonga, Niue, the Tokelau Islands, Tuvalu and their New Zealand-born descendants. There is also a small Melanesian population from Fiji, Vanuatu, and the Solomons (Hunkin-Tuiletufuga, 2001; Macpherson, Spoonly, & Anae, 2001). There are not many physical differences among Tagata Pasefika; the main difference, and the main marker of their individual cultures, is their language (Hunkin-Tuiletufuga, 2001). It is well-known that “language constitutes one of the most powerful media for transmitting our histories and social realities as well as for thinking and for shaping the world” (Darder, 1991, as cited in Hunkin-Tuiletufuga, 2001, p. 197).

Without the language, it would be almost impossible to transmit all cultural aspects, such as customs, religion, traditions, habits, kai, music, history, behaviour, stories, myths, geographical areas, beliefs, and values (Gibbs, 2006). When a culture is not reflected in the education system and in books, that culture loses its identity (Colbung, Glover, Rau, & Ritchie, 2007) and people start to question who they are. It is worth noting that a culturally responsive teacher needs to be sensitive to diversity of cultures and gain a deeper understanding and respect of cultural issues (Bernhard & Gonzalez-Mena, 2002; Bevan-Brown, 2003; Gibbs, 2006; Paul, 2001; Ritchie, 2001).

Professional Leadership

Teachers make important “contributions to society by nurturing young children during a critically important period in the life cycle” (Feeney et al., 2006, p. 14). It is not only being a professional that matters, it is vital to behave as a professional leader. Besides that, the values of a profession are not a matter of preference but are agreed-upon statements that members hold to be important. Professional values spell out the beliefs and commitments of a profession (Feeney et al., 2006). It is essential for teachers to follow a guide of professionalism in the area of early childhood education (ECE).

Issues around Professional Leadership for Māori

Article Two of the treaty of Waitangi guaranteed Māori people the full chieftaincy over all that they treasure: their land, their villages, and all their possessions; the power to define what constitutes a treasure; and the power to protect, promote, prefer, and proscribe treasures (Durie, 1998; Bishop & Graham, 1997, as cited in Bishop & Glynn, 1999). However, despite this guarantee, the dominant group that have the control over decision-making processes in education within the context of an “assimilation agenda has marginalised Māori language, cultural aspirations and Māori preferred knowledge-gathering and information-processing methods and contexts. These things are all taonga as defined by Māori people themselves” (Bishop & Glynn, 1999, p. 17).

Bishop and Glyn (1999) outline the impact of textbooks and the severe effects the book Our Nation’s Story had on Māori children. History showed the “deliberate marginalisation of Māori children and women from participation in the storying of Our Nation” (p. 21). “Māori are portrayed as villains in need of civilisation” (Bishop and Glyn, 1999, p. 22). Furthermore, “classroom practices, focusing on the need to assimilate Māori to the superior culture’s world view, have promoted and developed an education system that has ensured that the beneficiaries will be those most like the ones who designed and implemented the system” (Bishop & Glynn, 1999, p.17).

Thus, should teachers be blamed as non-professional leaders for this unfair practice towards Māori people, or should we blame the dominant group of New Zealand for denial of the rights of Māori as promised by the treaty of Waitangi? I certainly agree with Bishop and Glyn (1999) that the history that Māori people heard in classrooms was irrelevant for them. Māori children did not reach an acceptable standard of education at school because, understandably, their interest and motivation was lost when school reflected none of their language, culture, values, and beliefs.

This practice shows that when a country becomes a colony and is dominated, the conquerors not only influence local people through political, military, and social domination, but also cultural domination. Cultural domination might be the worst domination because it enforces the local society to follow customs that do not belong to the native people. By imposing a cultural system, the conqueror degrades the local traditions, debilitating identities, and generating social and economic problems that result in exclusion and division (Colbung et al., 2007).

Issues around Professional Leadership for Pasifika

Modernised nations, including Aotearoa New Zealand, promote the concept that a society which recognises the right of groups to be different from the dominant group is more democratic (Rata, O’Brien, Murray, Mara, Gray, & Rawlinson, 2001). The dominant group of New Zealand has the power to prescribe the norms and is still working for Māori people’s rights to be recognised. It is fundamental for the dominant group to recognise other cultures from outside New Zealand, too. Aotearoa New Zealand encourages bi-cultural development; Ritchie (2003) explains that bi-cultural development is generated by a commitment to social justice and the Treaty of Waitangi. The term development implies an “ongoing process of social change toward an equitable bi-cultural society” (Metge, as cited in Ritchie, 2003, p. 85). It is imperative for a society to value and respect all the cultures within the country.

Curriculum and Pedagogy

Curriculum is based on a vision of society, values and beliefs, from a particular view of learners and teachers, and the ways teachers translate this vision into learning experiences (Feeney et al., 2006). Moreover, curriculum is the representation of difference and identity and it “communicates images of who we are as individuals and civic creatures” (Pinar, 1993, as cited in Bertanees & Thornley, 2004, p. 85). Thus, it is fundamental to understand the critical connection between children’s learning, family, and culture. It is important to encourage and promote Māori traditions for the benefit of children and whānau. Teachers should help each child to become positive, confident, proud, happy, and valued as an individual.

Furthermore, as a characteristic of power, the denial of cultural diversity within the classroom provokes inequity, as differences continue through these models within classroom relationships and within pedagogy. Thus, it is this model of dominance and subordination that perpetuates the non-participation of many young Māori in the benefits that the education system has to offer (Bishop and Glynn, 1999).

Issues around Curriculum and Pedagogy for Māori

Bishop and Glynn (1999) declare that the models of dominance and subordination that exist in the wider society of Aotearoa New Zealand also exist in the classroom. The authors believe that Kaupapa Māori theory and practice offer new approaches to interpersonal and group interactions in educational settings and in policy-making. It is important to be cautious about deciding what is better for the society of Aotearoa to be able to live in peace and unity in order to avoid discrimination because, as Bendikson (1988, p. 135) states, separation “will cause many cries of racism and segregation as more and more people call for this development at hui and through the media.”

The Education Act 1989 requires the inclusion of Māori people within the education system (Orange, 2004), and the implementation of the “Treaty of Waitangi through the provision of Māori language to those students whose parents request it, and bicultural curricula to all students” (Orange, 2004, p. 193). However, only 6.9% of early childhood teachers are Māori (Ministry of Education, as cited in Colbung et al., 2007). Teachers are predominantly Pākehā and mono-cultural; education is theorised and delivered from within a single cultural frame of reference (Bendikson, 1988). As a result, Māori children see little of relevance to themselves in the education system; therefore Māori people have an ambivalent attitude towards education (Bishop & Glynn, 1999).

“Māori cultural input should be a ‘given’” (Bevan-Brown, 2003, p. 14). As Aotearoa New Zealand is a bi-cultural country bound by the Treaty of Waitangi obligations, early childhood centres should reflect and celebrate this dual cultural heritage (Bevan-Brown, 2003). Māori children have the right to their identities as cultural beings (Colbung et al., 2007). It must be very strange to be born in your native country and feel that you do not belong to it; a great hindrance to feel like a stranger in your own country. How difficult it must be to convince people from your own country that your culture needs to be respected, valued, and appreciated.

To respect Māori culture, it is important to revive the official language; as the Waitangi Tribunal states: “Te Reo Māori should be legal in courts, government departments and public bodies” (The Treaty of Waitangi, 2003, p. 53). Besides that, Te reo Māori is the language of this country and is therefore unique. The learning of it could be the first step in the acceptance of the value of bilingualism (Tauroa, 1990).

Moreover, “when language, ‘culture’ and ‘knowledge’ of the colonised are appropriated in an un-reflexive way it serves to affirm the group of people who already occupy the position of power” (Bertanees & Thornley, 2004, p. 86). It is important to treat children as responsible, contributing parties to the group, having a job to do, allowing them to grow into their rightful place.

In Aotearoa New Zealand the leaders should be creating textbooks and norms, for teachers to follow, that reflect the culture of Māori and Pasifika people, otherwise it will be essential to continue with the Kōhanga Reo ECE and care, where all education and instruction is delivered in te reo Māori and where mokopuna are totally immersed in te reo Māori and tikanga (culture). It would also be important for children to follow the Kura Kaupapa Māori school programme in Māori.

Furthermore, “particular care should be given to bicultural issues in relation to empowerment. Adults working with children should understand and be willing to discuss bicultural issues, actively seek Māori contributions to decision making, and ensure that Māori children develop a strong sense of self-worth” (MOE, 1996, p. 40). However, Pākehā teachers must know that, in spite of their efforts to respond, many Māori will view them as inappropriate people to implement the principles as laid out in the Curriculum (Bendikson, 1988).

Issues around Curriculum and Pedagogy for Pasifika

It is essential to continue with the Pacific Island Early Childhood Group. There is a shortage of fluent Pasifika ECE staff and many families have English as a first language, so services are not total immersion services. However, these staffs are helping children and their families to keep their language alive, and consequently their culture (Mitchell, Royal Tangaere, Mara, & Wylie, 2006). It is essential for the diverse Pacific Island cultures to keep their different customs and languages flourishing in their communities within New Zealand (MOE, 1996). Critically, Statistics New Zealand declares that the New Zealand-born component of the Samoan population is approaching 60 per cent of the total Samoan population in New Zealand, and only 46 per cent of them can speak Samoan (Statistics New Zealand, 1996, as cited in Hunkin-Tuiletufuga, 2001). It is important to note that the “relationship between language and culture is like oxygen is to human survival. Without one, the other will not survive” (Hunkin-Tuiletufuga, 2001, p. 197). Language is more than only words, sentences, and stories. “It includes the language of images, art, dance, drama, mathematics, movement, rhythm, and music” (MOE, 1996, p. 72). Furthermore, I agree with Hunkin-Tuiletufuga (2001) that each language embodies values, knowledge, and understanding that give meaning, structure, and purpose to the social life of its users.

Finally, it is essential for New Zealand’s leaders, teachers and population to remember that there is an agreement between Māori and the British Crown, The Treaty of Waitangi, which ensures that all New Zealanders have the same rights of citizenship. Moreover, Te Mana o Te tamaiti Māori, The Rights of the Māori child, states that a tamaiti will flourish in an environment that acknowledges and respects their cultural values (Hugana, 2003). All children have the right to practise their own culture, language and religion. Minority and indigenous groups need special protection of this right, including all children, no matter who they are, where they live, what language they speak, what their religion is, whatever their culture is, whether they are rich or poor. No child should be treated unfairly on any basis (UN Convention, n.d.).

REFERENCES

 Bendikson, L. (1988). On being Pakeha and running a bilingual programme. In W. Hirsh, & R. Scott. (Eds.). Getting it right: Ethnicity and equity in New Zealand education (pp. 135-138). Auckland, New Zealand: Office of the Race Relations Conciliator.

Bernhard, J. K., & Gonzalez-Mena, J. (2000). The cultural context of infants and toddler care. In D. Cryer & T. Harms. Infants and toddlers in out-of-home care (pp. 237-268). Baltimore, MD: Paul H Brookes Publishing Co.

Bertanees, C., & Thornley, C. (2004). Negotiating colonial structures: Challenging the views of Pakeha student teachers. Asia-Pacific Journal of Teacher Education, 32, 81-93.

Bevan-Brown, F. (2003). The cultural self-review: Providing culturally effective, inclusive, education for Māori learners. Wellington, New Zealand: New Zealand Council for Educational Research.

Bishop, R., & Glynn, T. (1999). Culture Counts: Changing power relations in education. Palmerston North, New Zealand: Dunmore Press.

Colburg, M., Glover, A., Rau, C., & Ritchie, J. (2007). Indigenous peoples and perspectives in early childhood education. In L. Keesing-Styles & H. Hedges. (Eds.). Theorising early childhood practice: Emerging dialogue (pp. 137-161). Castle Hill, Australia: Pademelon Press.

Early Childhood Code of Ethics National Working Group. (1997). Early childhood education code of ethics for Aotearoa / New Zealand. Wellington, New Zealand; Author.

Feeney, S., Christensen, D., & Moravcik, E. (2006). Who am I in the lives of children?: An introduction to early childhood education (7^th ed.). Upper Saddle River, Australia: Pearson Merrill Prentice Hall.

Gibbs, C. (2006). To be a teacher: Journeys towards authenticity. Auckland, New Zealand: Pearson Prentice Hall.

Huhana, R. (2003, April). Te mana o te tamaiti Māori: The rights of the Māori child. Commissioner for Children.

Hunkin-Tuiletufuga, G. (2001). Pasefika languages and Pasefika identities: Contemporary and future challenges. In C. MacPherson, P. Spoonley, & M. Anae (Eds.), Tangata o te Moana Nui: The evolving identities of pacific peoples in Aotearoa / New Zealand (pp. 196-211). Palmerton North, New Zealand: Dunmore Press.

MacPherson, C., Spoonley, P., & Anae, M. (2001). Pacific peoples in Aotearoa: An Introduction. In C. MacPherson, P. Spoonley, & M. Anae (Eds.), Tangata o te Moana Nui: The evolving identities of pacific peoples in Aotearoa / New Zealand (pp. 11-15). Palmerton North, New Zealand: Dunmore Press.

Ministry of Education. (1996). Te Whāriki: He whāriki mātauranga mō ngā mokopuna o Aotearoa/Early childhood curriculum. Wellington, New Zealand: Learning Media.

Mitchell, L., Royal Tangaere, A., Mara, D., & Wylie, C. (2006). Quality in parent/whānau-led services. Wellington, New Zealand: New Zealand Council for Educational Research.

Orange, C. (2004). An illustrated history of the Treaty of Waitangi. Wellington, New Zealand: Bridget Williams Books.

Paul, A. (2001). Developing an anti-bias approach in program planning. In E. Dau (Ed.), The anti-bias approach in early childhood (2^nd ed., pp. 211-224). Frenchs Forest, Australia: Longman.

Rata, E., O’Brien, P., Murray, R., Mara, D., Gray, S., & Rawlinson, C. (2001). Diversity. In V. Carpenter, H. Dixon, E. Rata and C. Rawlinson (Eds.), Theory in practice for educators (pp. 189-210). Victoria, Australia: Thomson Dunmore Press.

Ritchie, J. (2001). Implementing a bicultural curriculum. Some considerations. Early Childhood Folio 5: A Collection of Recent Research. Pp. 22-26.

Ritchie, J. (2003). Te Whāriki as a potential lever for bicultural development. In J. Nuttall (Ed.), Weaving Te Whāriki: Aotearoa New Zealand’s early childhood curriculum document in theory and practice (pp. 79-109).Wellington, New Zealand: NZCER.

Soanes, C., & Stevenson, A. (Eds.). (2004). Concise Oxford English dictionary: The world’s most trusted dictionaries. New York, NY: Oxford University Press.

Tauroa, P. (1990). Māori phrasebook & dictionary. Auckland, New Zealand: Harper Collins Publisher New Zealand.

The Treaty of Waitangi (2003). Cambridge, New Zealand: Kina Film Productions.

UN Convention on the Rights of the Child in child friendly language. (n.d.). Retrieved from http://dpi.wi.gov/ccic/pdf/poster_crc_child_friendly_language.pdf

The Arts

“Every child arrives onto this planet both an artist and a miracle” Pennie Brownlee

Importance of the Arts – Essay

This essay will explain the critical importance that participating in the expressive arts curriculum has on children’s learning and development. It will focus on the physical, social, emotional, cognitive and language, and spiritual development that children experience have through the arts. Then, it will justify each of these explanations, using Te Whāriki (Ministry of Education [MOE], 1996) the early childhood curriculum. Finally, it will describe effective ways for teachers to support the artistic expression of children in early childhood education.

Through the arts children express their feelings and understandings. The arts provide opportunities for exploration and manipulation (Feeney, Christensen, & Moravcik, 2006). Furthermore, Schirrmacher (2006) states that learning happens with and through the arts. Through the arts, children can express their ideas, using oral language or visual symbols. The arts support children to feel good about themselves as individuals. Children develop the ability to observe and respond sensitively, and they build up skills and creativity in art, music, and movement. Also, children start to understand the arts’ disciplines and will become appreciative of music, art, and dance, from their own and other cultures. Furthermore, through the arts, children construct understanding and communicate what they know (Feeney et al., 2006).

The arts are a basic component in early childhood education. This important area must be carefully designed during the early years to enhance children’s artistic development and nurture an appreciation for beauty in their world. The arts are recognised as both a fundamental and distinctive way of knowing. (Isbell & Raines, 2007, p. 106)

The arts are fundamental in the development of children, who can feel as well as think, and who are sensitive and creative. Art, music, and creative movement help children to identify and express their feelings and ideas in different and new forms. The arts help children to develop their senses and they are an essential part of children’s growing up (Feeney et al., 2006). Furthermore, the arts are an integral part of authentic learning; the heart and soul that complement mind and body (Jalongo & Stamp, 1997). The arts are a powerful integrative force that helps children to develop their physical, social, emotional, cognitive and language, and spiritual skills (Schirrmacher, 2006; Jalongo & Stamp, 1997).

Most creative activities, such as painting, finger painting, collage, clay, and playdough, help with the physical development of children. In these activities, children will be stretching their arms and moving their hands, legs and sometimes their whole body. Drawing also helps children’s physical development, in particular, their fine motor skills. Somerset (2007, p. 28) argues that “drawing is a necessary activity for children, filling needs not provided for in painting.”. Children develop the ability to hold a pencil or crayon between the thumb and first finger. Exercising the muscles of the hand is as essential as exercising the larger muscles in running and jumping (Somerset, 2007). Furthermore, all the manipulative movements involved in the arts help develop the hand and finger muscles that are needed to properly hold and use a pencil (Schirrmacher, 2006).

When children move to music, the whole body is responding to a feeling. In their dance, children experiment freely and happily. Some children will use their whole body to make music (Somerset, 2007). Music benefits children’s ability to use the body in rhythmic ways and helps their language development, socialising, and communication. Other benefits include children’s ability to work and enjoy time with others, and the development of their physical skills, coordination, timing, and rhythm (Penrose, 1991).

The arts and physical development can be linked with the fifth strand of Te Whāriki, Exploration, goal two, “children experience an environment where they gain confidence in and control of their bodies” (MOE, 1996, p. 86). For example, when children are easel painting, they use their entire arms and upper torsos in making large, sweeping motions with paintbrushes; children will develop hand eye coordination and small motor skills later required for writing.

Through the arts children have the opportunity to work with other children in small groups The arts help children to learn about themselves and others. “Humans’ capacity to explore themes, whether this is through music, dance, painting, poetry or any other medium, is what differentiates humans from the non-humans” (Gibbs, 2006, p.108). Through the arts, children validate their uniqueness by making a personal statement. Moreover, the arts help children to become comfortable with themselves, learning what they like and dislike and what they can and cannot do (Schirrmacher, 2006).

Te Whāriki recognises that “children learn through collaboration with adults and peers, through guided participation and observation of others, as well as through individual exploration and reflection” (MOE, 1996, p. 9). Besides that, “children experience an environment where they are encouraged to learn with and alongside others” (MOE, 1996, p. 70). For example, when children are at the collage table or playdough table, they might share their ideas and the creative skills with other children, with words and actions. Children learn to share, take turns, affirm themselves and begin to empathise with others.

Through the arts children express and share with others the happiness and the love or sadness that surrounds them. The arts provide the opportunity for children to work out their feelings. The arts can give children a feeling of empowerment. Children disclose their deepest convictions, feelings, and dreams with crayon, paint, or pencil. The arts help children to express those objects, ideas, people, places, experiences events, and feelings that are emotionally significant. The arts, however, allow these feelings, fantasies, fears, and frustrations to surface and be expressed. It allows children the opportunity to represent in fantasy what cannot happen in reality (Schirrmacher, 2006; Somerset, 2007).

The link between the emotional development through the arts and Te Whāriki is with the third strand, Contribution, goal two, “children experience an environment where they are affirmed as individuals” (MOE, 1996, p. 68). Children may express some emotions when they are having art activities, for example, when children are moving to music they are expressing how they feel at that particular time to the rhythm of the music.

Cognitive and language development is one of the primary ways children construct their understanding of the world. The arts provide another way of learning about the world (Isbell & Raines, 2007). “All the arts forms, including dance, mime, music, painting, and other visual arts, enable children to discover different ways to communicate” (MOE, 1996, p. 97) The arts reflect what children know about the world. Children who have directly experienced a wide variety of people, places, and objects will have an array of things to choose from when creating art. Translating ideas, concepts, and experiences into the arts involves many thinking skills, planning, organising, and making choices. Children use their meta cognitive skills as they create what they know not what they see. The arts involve problem solving (Schirrmacher, 2006).

The major benefits of the arts may very well be cognitive in nature. Through the arts, children learn about the concepts of colour, shape, size, line, texture, and other artistic elements. Strong relationships between learning in the arts and fundamental cognitive skills and capacities are used to master other core subjects, including: reading, writing, and mathematics (Schirrmacher, 2006).

Cognitive and language development can be linked with the fourth strand of Te Whāriki, Communication, children “develop verbal communication skills for a range of purposes” and “they discover and develop different ways to be creative and expressive” (MOE, 1996, p. 72). For example when children are able to share the reading of the story with others in a group situation they are able to express themselves through facial expressions and enthusiastic sounds including laughter. Often shared reading between children and teachers encourages more understanding of the story and helps children to develop listening and language skills.

Spirituality is something deep inside, which is possible to feel, to connect to and to express. Children do not rely on words to express their feelings and experiences; the arts can be their language and their way of communicating emotionally and spiritually (Painton, 2007). The arts have the potential to lift children’s souls. “Art is an important nonverbal language; a system of symbols that emerge from children’s drawings” (Isbell & Raines, 2007, p. 106).

Te Whāriki recognises that for children “to grow up as competent and confident learners and communicators, healthy in mind, body, and spirit, secure in their sense of belonging and in the knowledge that they make a valued contribution to society” (MOE, 1996, p. 9). For example when children use water in whatever form, they feel confident and soothed within. Water has a very calming and soothing effect on children. Not only they learn the science and maths associated with it but also it has therapeutic value. Especially if children are able to choose the use of water when they need it then this is one way of catering for their spiritual needs.

It is essential for teachers to develop effective ways to support the artistic expression of children in early childhood education. Teachers “may not all be able to ‘read’ the message that is expressed in paint, clay, collage, song and dance” but they “can train themselves to become more perceptive and more aware of the deep needs of children” (Somerset, 2007, p. 20). This can be linked with Te Whāriki “the arts are important to the growth of self-expression and to a sense of self-worth and enjoyment” (MOE, 1996,
p. 94).

Teachers’ role is to provide an environment, materials, experiences, and relationships that support creative development and aesthetic appreciation. A classroom that provides for all of these needs has a creative climate – an atmosphere where creative expression is nurtured and where creativity can flourish. It is also important to allow flexible times for children to complete their creation (Jalongo & Stamp, 1997; Somerset, 2007). Children benefit from an atmosphere that is relaxed and based on respect (Isbell & Raines, 2007). One essential role for teachers is modelling enthusiasm for the arts (Jalongo & Stamp, 1997). Te Whāriki recognises that “children explore ideas, materials, and the environment through the arts” (MOE, 1996, p. 98).

Teachers wanting to foster creativity need to actively assist children to learn to be flexible and fluent, sensitive, imaginative, risk takers, resourceful for themselves. Teachers may also need to demonstrate and encourage the use of tools and materials such as pastels and oil paints that is the techniques needed for artistic processes. (McConnell, 2000)

One of the main responsibilities of teachers is to facilitate creativity and not to limit or extinguish the natural talent of children, for example if a child is painting, teachers should encourage with words such as: would you like some more paper? Some glue? Or would you like me to bring more paint? (Brownlee, 1991). “Balancing the range of materials available to children is one of the important tasks of the early childhood educator” (Dockett & Fleer, 1999, p. 178).

It is also important that teachers help children to focus. It is an essential step in assisting children to believe in their ability. Teachers can use some questions to encourage children to draw. For example, “tell me what colour the elephant was? Where did you see it? Was it big? Small? Or where would be a good place to start?” It is very important to talk honestly with the children. Using correct names enables children to become aware of the proper names in their world (Brownlee, 1991).

It is essential for teachers to be creative too. They should posses some characteristics such as: self-confidence, willingness to try new ideas, be interested in many things, be flexible, be persistent, and enjoy working with children (Isbell & Raines, 2007). This can be linked with Te Whāriki “generating and exploring ideas in creative ways, individually and in groups, provides opportunities for purposeful contributions” (MOE, 1996, p. 96).

The arts are an important element in the lives of children as it helps them develop and foster life skills, creativity, imagination, and a positive self-image. An active childhood, with many opportunities for the arts, develops the individual child in several ways, and is a rich resource for all of their life. Children need the opportunity to have many experiences in creative activities. The arts will help children to determine what kind of adult they will become. Furthermore, the domains of development are absolutely interrelated among them, while children are involved with the arts, simultaneously they are developing the physical, social, emotional, cognitive and language, and spiritual skills needed to attain adulthood. This is why the arts are critically important in an early childhood curriculum. The arts are everywhere in people’s lives. They add depth and dimension to the environment by shaping daily experiences. Children need to feel safe, valued, and encouraged during their artistic experiences.

It is extremely important for teachers to motivate and encourage children to be involved through the arts; also teachers should stimulate children’s reflective thinking. Moreover, professional development is extremely important for teachers. Teachers can participate in programs to learn the techniques of an arts-integrated approach to education.

References

Brownlee, P. (1991). Magic places: A guide for adults to encourage young children’s creative art work (Rev. ed.). Auckland: New Zealand Playcentre Federation.

Dockett, S., & Fleer, M. (1999). Play and pedagogy in early childhood: Bending the rules. Melbourne: Thomson Learning.

Feeney, S., Christensen, D., & Moravcik, E. (2006). Who am I in the lives of children?: An introduction to early childhood education (7^th ed.). Upper Saddle River, NJ: Pearson Prentice Hall.

Gibbs, C. (2006). To be a teacher: Journeys towards authenticity. Auckland: Pearson Education New Zealand.

Isbell, R., & Raines, S. (2007). Creativity and the arts with young children (2^nd ed.).  Belmont, Cal: Thomson Delmar Learning.

Jalongo, M. R., & Stamp, L.N. (1997). The arts in children’s lives: Aesthetic education in early childhood. Boston: Allyn and Bacon.

Ministry of Education. (1996). Te Whāriki: He whāriki mātauranga mō ngā mokopuna o Aotearoa/Early childhood curriculum. Wellington: Learning Media.

McConnell, C. (2000). Authentic creative experiences: How do we achieve them? Early Education 22, 19-25.

Painton, M. (2007). Encouranging your child’s spiritual intelligence. Hillsboro, OR: Beyond Words Publishing.

Penrose, P. (1991). Take another look: A guide to observing children. Dunedin: New Zealand Playcentre Federation.

Schirrmacher, R. (2006). Art and creative development for young children (5^th ed.). Clifton Park NY: Thomson Delmar Learning.

Somerset, G. (2007). Work and play: In the early years. Auckland: New Zealand Playcentre Federation.

Play

“We do not stop playing because we are old.

We grow old because we stop playing.”

(Benjamin Franklin)