Nurture Creativity in Children Expert Answer

–       Dramatic/Imaginative Play Area

–       Construction Area

–       Visual Arts Area

–       Music Area

–       Movement Area

Answer:

· Dramatic Play Area:

According to Goldstein, R. (1994), pretend play is the foundation of a long-term incorporation and consolidation of a major human characteristic; our human imagination, our capacity through consciousness to form experiences into stories, to manipulate memory representations of our physical and social worlds into new scenarios.

Dramatic play entails the type of play where children are encouraged to accept and designate roles that are different from their personality.

An example of dramatic play is puppetry where children manipulate inanimate objects to resemble human or animal figure, fictionalizing and dramatizing the actions that go along with it and adhering to the character they pick.

· Construction Area:

It is observed that whenever a child is given elements or toys of the play environment, they are inclined to manipulate it to form something new. This constitutes the attributes of constructive play which includes but is not limited to stacking, assimilating, building, and moulding. An example of construction play is building blocks like Lego bricks into something intentional and creative.

Construction has a rich capacity to indulge the innate curiosity and inquisitiveness of the young mind. A key to learning is application of ideas to the real world. It enhances the problem-solving abilities, helps explore symmetry, shapes and sizes, learn to plan and create, boosts the physical skills of the child.

· Visual Arts Area:

Art has been long used as a vehicle of expression, making it an effective communication tool for children when conventional means fail to meet their needs. Almost all art forms can reveal a child’s feelings, interests and thoughts, giving them an outlet to externalize their inner world.

Some common examples in visual arts area include painting, drawing, reading, photography and sculpture. Visual arts support a child’s metacognitive abilities, mediate thinking and helps develop a keen eye for aesthetics.

· Music Area:

Campbell, D. (2000) discusses in his book about the ability of Mozart’s music to temporarily heighten listeners’ spatial awareness and intelligence, to improve listeners’ concentration and speech abilities, and to advance reading and language skills.

Music is a mode of comfort and joy for children of all ages, even infants and toddlers who are known to respond to tunes, clapping along and bouncing to the rhythm. Playing instruments like the piano, flute and violin and listening to records strengthens the connection between the mind and the body, helping in coordination and even social development.

· Movement Area:

As institutes progressively shift towards passive learning, many educationalists have been striving to integrate physical activities back into the routine of school children. For example, riding a bike, playing ball and do some rough-and-tumble play.

According to Gehris, J. S., Gooze, R. A., & Whitaker, R. C. (2015), movement prepares children for school and for life by building children’s confidence and social skills, moving outdoors promotes learning by engaging children’s senses and promoting community interaction,

To facilitate children’s acquisition of fundamental movement skills, gymnasiums are funded and equipped with recreational sports material, tournaments are encouraged and inter-school competitions are held.

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–           Dramatic/Imaginative Play Area

–           Construction Area

–           Visual Arts Area

–           Music Area

–           Movement Area

1 example and discussion required for each area.

Answer:

· Dramatic Play Area:

One of the easiest and potent ways to enrich a child’s play is to join them in their world. The trick is to not make it arduous, and let their imagination play out. I would let them take the lead and figure out what and how to play along, being the subservient character.

Fortress play is a universally loved activity among children. A few blankets and some chairs and the kids can use their imagination to go on adventures like camping in the wilderness, fighting troops, guarding a castle or stuck at a haunted house. I would provide costumes and cosplay items as well, to make the experience more authentic.

· Construction Area:

According to Piaget, J. (2013), playing with blocks is a common experience for children in early childhood programs. This activity holds the potential for promoting integrated learning across a variety of developmental areas.

The trick is to keep it as open ended as possible, that is using materials not necessarily meant to build but can be interpreted by children as such. A few ideas to include would be loose materials like wooden blocks, sand and tools, LEGO blocks, train tracks and so on. I would not keep the children confined in the classroom, instead, I would expose them to nature and its challenges and let them learn to adapt.

· Visual Arts Area:

According to Brouillette, L. (2009), arts experiences—and drama activities in particular—help children to develop an enhanced understanding of the responses, emotional expressions, and actions of other people, as well as a comprehension of what to expect from others and what social scripts should be used in different situations.

Making messes is the beginning of a creative process, so I would allow them to have their creative space. I would take an active interest in what excites children and let them explore their strong suit. I would experiment with different mediums such as paints, oil pastels, acrylics, crayons for drawing and to enhance their appreciation for arts I would take them to concerts, exhibitions, pantomimes, street performances and events in the park.

· Music Area:

According to Gordon, E. (2003), music is not a special attribute bestowed on a select few; every human has at least some potential to understand music.

Music is universal – it is everywhere, and that is why it is easy for children to memorize song lyrics and hum to the tunes. In order to encourage children to implement creativity in music, I would introduce them to a diverse selection of music. Furthermore, singing along with them without worrying about being out of tune, will teach them confidence and to sing out of heart.

I would take them out to see live performances of local bands, play games involving musical intellect, teach them musical instruments, compose personalized songs for fun, and dance with them in order for them to experience the catharsis of music physically.

· Movement Area:

Play is crucial to develop the gross and fine motor skills, and helps children learn control and coordination. Children deal with their anxiety and stress by indulging in free play. The trick is to not schedule free play as another check in the to-do-list, but allow them to navigate according to their mood. I would encourage outdoor activities by giving them equipment like balance bikes, scooters and ride-on-toys, planning a scavenger hunt or a murder mystery.

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Aesthetic, Interesting, Challenging and Safe

Answer the following Question:

What is curiosity and what can a child actively learn as a result of being curious?

Answer:

Curiosity is the desire to learn, to understand the workings of new things, and further inquire about them. At a young age, the human mind is brimming with questions and assumptions about the world around them, challenging their belief system. They naturally seek knowledge for the sake of a better understanding of how things work, and not because of an extrinsic reward. Fostering a strong sense of mastery motivation is important to maintain this curiosity. Take away the aesthetic fulfilment from work and play, the liberty to be curious, and what you are left with is the mundane, routine, non-exciting process of safe and passive learning.

According to Engel, S. (2011), curiosity is both intrinsic to children’s development and unfolds through social interactions. Thus, it should be cultivated in schools, even though it is often almost completely absent from classrooms.

Consider the example of Sir Isaac Newton. Had the apple not fallen from the tree he was sitting under; we would have never explored the concept of gravity as early as we did. What drove him to research was the interesting phenomenon of a force that always pulled everything down, and the basic question of ‘why?’ lead to a breakthrough.

Once the intrigue in a subject has piqued a child’s interest, they are eager to learn even the boring details. It makes learning a more rewarding experience, making the subsequent information more engrossing.

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Briefly explain what these stages are and how they will support a child’s literacy development.

Provide 1 example of how you would support and nurture a child through each stage.

Answer:

According to Steele, B. (1998), there are five developmental stages of a child’s drawing skills; scribble, pre schematic, schematic. transitional and realism.

Scribble Stage: According to Quaglia, R., Longobardi, C., & Iotti, N. O. (2015), this stage is typical of children between 2 to 4 years. The kids draw lines and dots, just scribbling away on a paper. They have no notion of the real appearance of any object. The act of scribbling is purely kinaesthetic and imaginative. This helps develop hand-eye coordination, stroking ability, finger dexterity, naming and labelling.I would support children at each stage by setting out paper, pencils, crayons and markers so children can use them as per their liking meanwhile, putting away colouring books to allow kids to use their own imagination and draw pictures from their own ideas.

Pre-Schematic Stage: According to Hale, J., & Roy, J. (1996), this stage entails to kids between 4 to 7 years. Drawings become more complex, although they are still inaccurate. Children begin to incorporate different geometrical shapes and figures of people. This helps increase abilities of observation, thinking, and problem solving.

At this stage, kids are likely to use their favourite colours instead of the accurate ones. I would encourage children’s colour recognition skills by asking them about the colours they use as they draw, further helping their cognitive development.

Schematic Stage: As per Eglinton, K. A. (2003), this stage involves kids between 6 to 11 years. The major development here is that of “schema” referring to the habitual repetition of the same object. Multiple base-lines are the major organizational devices used in this stage. Colours become more authentic and stereotypical. Children learn interpretation, patterns, shapes and numbers that help in arts, science and mathematics.

To encourage this, I would provide children with stories to inspire their drawings and take them outside and let nature guide them to develop a better eye for art.

Transitional Stage: This stage is typical of kids between 9 to 11 years. Transitional stage is accountable for the shift in narratives and visual contradictions. The child finally produces an art understandable by adults. There is a spatial perspective and details including genders and clothes. This stage helps strengthen cognitive power, storytelling abilities, colour coordination, perception and authenticity.

At this stage, it is crucial that they are delicately and intelligentially tamed which can be achieved by praising their artwork generously and providing more material, richer colours and inspiring environment to help them improve their drawings.

Realism Stage: Kamarulzaman, W. (2012), this stage includes kids of 12 years and older. The last stage in drawing development is realism, when the children are grown into astute artists. Considerable control over the medium, content, and organization is observed. The child becomes more critical and self-conscious.

At this stage, I would offer constructive criticism while simultaneously appreciating the existing artworks.

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Provide 1 Outcome, 1 Practice and 1 Principle to support your explanation.

Please provide web link reference to specific EYLF pages used to support explanation

Answer:

According to Ortlipp, M., Arthur, L., & Woodrow, C. (2011), the EYLF positions all those who work directly with children in early childhood settings as ‘educators’, and sets out the expectations for children’s learning and what educators can do to promote that learning.

The framework revolves around the idea that children’s lives are characterized by belonging, being and becoming.

According to the Early Childhood Pedagogy, educators draw on their creativity, intuition and imagination to help them improvise and adjust their practice to suit the time, place and context of learning. Nurturing creativity starts with an image of children as wise and capable decision-makers about their own experience. We have to introduce a culture of empowerment and innovation, prepare a community of future leaders where critical reflection and deep thinking is a common practice and all angles are explored.

To give structure to EYLF, a given set of principles, practices and learning outcomes are devised.

As per Department of Education, Employment and Workplace Relations. (2009), one of the five principles mentioned in the catalog is the cultivation of secure, respectful and reciprocal relationships. A child’s first emotional attachments provide a strong base for exploration and learning. Hence, a competent educator would be attuned to the emotional needs of the child, providing them with consistent support. This helps them learn about their responsibilities, accountability, social skills, team work and interdependence as learners.

To implement on the mentioned principles, Edwards, S. E., Fleer, M., & Nuttall, J. G. (2008), suggest that several pedagogical practices are provided such as responsive learning relationships. Educators are mindful of the capabilities, strengths, weaknesses and interests of children, personalizing and adapting child centered approach. They nurture learning by assessing and challenging their thinking.

What we want to get out of these practices, are the learning outcomes. One of these outcomes is that children would be confident and involved learners. Children are more likely to be intrinsically motivated when they feel valued and when their displays of learning dispositions are being recognized.

Web Link References:

Edwards, S. E., Fleer, M., & Nuttall, J. G. (2008). A research paper to inform the development of an Early Years Learning Framework for Australia. Retrieved from https://docs.education.gov.au/system/files/doc/other/a_research_paper_to_inform_the_development_of_an_early_years_learning_framework_for_australia.pdf

Australian Government Department of Education, Employment and Workplace Relations. The Early Years Learning Framework in action: Educators’ stories and models for practice. Retrieved from https://docs.education.gov.au/system/files/doc/other/eylf_in_action_-_educators_stories_and_models_for_practice_0.pdf

Department of Education, Employment and Workplace Relations. (2009). Belonging, being & becoming: The early years learning framework for Australia. Retrieved from https://docs.education.gov.au/system/files/doc/other/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.pdf

Productivity Agenda Working Group. (2008). A national quality framework for early childhood education and care: a discussion paper. Canberra, Australia: Department of Education, Employment and Workplace Relations. Retrieved from https://docs.education.gov.au/system/files/doc/other/a_national_quality_framework_for_early_childhood_education_and_care_a_discussion_paper.pdf

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Provide 1 area, 1 element and 1 standard

Please provide web link reference to specific NQF pages used to support explanation

Answer:

The outlines laid down by the National Quality Framework are inclusive and child-centred. One of the seven areas highlighted by NQF is educational program and practice and it has 2 standards. According to the National Quality Framework, educators and coordinators are focused, active and reflective in designing and delivering the program for each child. This program focuses on the nurturing the development of skills pertaining and complementing to a children’s experiences, opportunities and relationships at school. It ensures that every child’s personalized pyramid of needs is met. An educator can do that by providing individual attention and collective learning experience.

One of the six elements of Educational Program and Practice as outlined by the Early Childhood Resource Hub, (2016), involve curriculum decision making which contributes to each child’s learning and development outcomes in relation to their identity, connection with community, wellbeing, confidence as learners and effectiveness as communicators.

This element is highly critical because children’s development is dynamic, complex and holistic. It is well rounded with social, emotional, physical, cognitive, and linguistic needs and every child has their own strong suite and weakness, and a good educator would compensate for what a child lacks.

Web Link References:

Australian Children’s Education and Care Quality Authority, (2020). Retrieved from https://www.acecqa.gov.au/sites/default/files/2020-01/Guide-to-the-NQF_2.pdf

Early Childhood Resource Hub, (2016). Retrieved from https://www.ecrh.edu.au/national-quality-framework

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Provide 2 examples

Answer:

According to the Ministerial Council for Education. (2011), “An early childhood teacher or a suitably qualified person is in attendance at a centre-based service if the early childhood teacher or the suitably qualified person is physically present at the service, carrying out educational care by working directly with the children, planning programs, mentoring educators, and facilitating research.”

This policy ensures that the educator is in direct contact with their pupils, directing them in plays such as visual arts; painting and drawing, or music play; teaching them the intricacies of an instrument, or movement play; taking them outside to rough and tumble while making sure they are safe. The physical presence of the educator provides adequate attention, reassurance, and guidance.

Moreover, the approved provider of a centre-based service must ensure that an adequate area or areas are available at the education and care service premises for the purposes of conducting the administrative functions of the service.

All types of creative activities and plays require a safe and appropriate space for the regulation of practices. A music room will be perfect for reverberation, a visual arts room will be quiet and serene to focus on reading and drawing, playgrounds will be safe and free with outdoor equipment.

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Answer:

How many times have you heard children yell “I can’t do this!” or “I am not good at this!” in frustration? It is natural to be annoyed when you are not instantly good at something but it is also detrimental to learning. Hence, it is necessary to allot a given set of time period to different activities in order to find out if it’s in tune with the children’s personalities.

Children should be given time to practice their chosen activity before it is declared undoable. Many would be fascinated by painting as their art expression until they realize it’s too demanding and opt for sketching instead. Sometimes piano is not their musical expertise but cello is, yet it takes months to reach that realization.

In these cases, as an educator I would help children in exploring their imagination and interests, providing them with new ideas and opportunities, nudging them to test their boundaries, challenging their minds but always encouraging them to follow their hearts, wherever it leads.