Copyrl ^^ t of the Jorrene Love Ort
1356 The growing role of creativity in a Bleîffihtary school
Statement
Presented in partial fulfillment of Eeguireaicals for the degree of doctor in philosophy in Master's school at Ohio State University
Door
Lorreîje Love Ort, B. Soh.Mus., M.A,
Ohio State University 1955
Approved by:
Adviseur/J Department of Education, Acimov/Xedgiæeots
You can never pay in gratitude;One can only pay "somevdiero in my" somewhat, different in life*
- Anne Morrow Lindbergh of: Listen in % N D
Some places in life This author hopes that one day she can also repay this "SVHO" in nature ", which is then generously shared in the coming process of this creative fragment.
To her adviser.dr.Laura Zirbes, the author is debts to a countless will of greater vision, a great Mrrath of personal faith and understanding and the professional stimulation of being creative constructive while the sights are increased*
To the other members of its committee.Earl Anderson, Dr.Manuel Barkan and Dr.William Ihbride, the author is grateful for their many useful suggestions and their friendly professional inspiration.
To these other members of the Ministry of Education at Ohio State University - and especially for the staff of the University School - the author v/Ishes to express his sincere appreciation.
For children - albeit here or half a Vorld Aivay - the deepest appreciation of the author is warmly expressed in the happy memories that these lovingly evoke.
For her husband, Vergil Kenneth Ort, the author has nothing to stretch, but the hand and a desire that they can continue this rich hand in hand with a creative lifestyle and learn that the candidate years have just started.
Lorrene love ort
- In L - Tab over COOTECTS
Chapter page
In the yeast of creative expression ...... 1 explanation of the problem ......... 7 Challenge ...... 7 Spontaneity ...... 9 Inspiration ......12 The influence of objective contacts vdTh greatness ...... 14 Accessibility and flexibility ...... 18 Care for individuality and group.23 Collaboration and L o v e ...... 27
II The psychological framework for the creative action ... 39 Inspiring so that children can strive ... becomes ...... 59 a-grovdng and a-building ...... 60 about spirit, movement and music...... 63 GREE Creative Moments, ...... 64 recognizes the value of drama ...... 65 recognizes the value of seasonal phenomena • 66 stimulating by the freshness of new materials ......70
III Research into creative expression ...... 84 Review of concepts that are favorable for integrating learning in primary school ...... 84 Discover how these channels can be opened, extensively and related ...... 96 Related creativity and growth ...... 96 Some aspects of syllabus ...... 98 creativity - an integral part of the whole..99 resilience of the teacher ...... 100 child that ofPlan is ......
- M - Table on co*ktetjts (continued)
Capture payment
IV iketîsweses, blockages and friction Thais lîake creativity miss ...... 114 Roviomng concepts unfavorable for integrative learning in primary school ...... 114 concepts posted by some teachers ...... 114 placed view of managers..... 137 blocking of "for lhohness" and stifling..142
V Creative action - A vehicle to save values from obstacles ...... 154 The chain reaction of positivity ...... 154 example and preface - Agents for saving values ... - rough a new self -dimension ..... ... 170 reduces huge obstacles with a realistic and rational aocoptance ...... 174
We, who recognize S0ie expression areas that fall back to certain creative possibilities ... 191 A repertoire of beauty in various art forms..191 offers certain situations ... 195 a cross -defense quality experience with creativity ... 216
VII Possible contribution^ of this study to education in children ...... 267 Summary ...... 267 Possible contributions to Education in Children • 269
Bibliography ...... 297
Autobiography ...... 301
- List of illustrations
Kant
Noma go in v/inter (age 8) ...... 11
Mor Mouse (Alder 7) «...... 14
The Nutcracker I & ROH (els) • ...... 16
Dog (7 years) ...... 26
Red Bain (8 Jars) ...... 29
SimmerTime (Old 7) ...... 33
Tang (age 7) ...... 35
Monotone Block Print (Alder 6) ...... 36
Tri-Color Block Print (Alder 8) ...... 37
Monotone Block Print (Alder 1 1) ...... 38
Autumn trees (age 8) ...... 57
Tap (7 years) ...... 61
A six -year -old saw/one from a birdhouse ... 80
Creative game at pre -school level ... 81
The drummer ...... 82
A four -year paint ...... 83
Design (Age 4) ...... 112
People (4 years) ...... 112
Play outside in Vûnter (5 years) ...... 113
The Great Snow (Age 5), ...... 113
The very old house (6 years) ...... 146
IFysolf (6 years) ...... 147
- - List of illustrations (continued)
Pay
Hearts and flowers (since 6) ...... 148
Crane and Nits (Ago7) ..* ...... 148
Playground (7 years) ...... 149
Clowns (Age 7) ...... 149
Happy Clown (7 years) ...... 150
Design for your father (age 7), ...... «...... 151
Rabbit on a hill (age?) ...... 151
Fun Glovm (Age 7) ...... 1S2
Ballet dancers (since 8) ...... 153
Design (since 8) ...... 153
The room for ...... 174
The room after ... 177
Snotiaiy evening (since 9) ...... 181 m in d Horse (since 9) ...... 181
High Street (9 years) .., ...... 182
Down Ad Ground (9 years) ...... 182
St. Stephen's Church (Siden 9) ...... 183
Boymodeling (since 10) ...... 184
Falling leaves.
People (10 years) ......, ...... 186
Collage (the 10) ...... 187
Oil painting (since 1 1) ...... 188
Oil painting (Age 1) ...... 189
- V-VI * list on Illostrations (continued)
Pag ©
Hfetor color (age 11) ...... 190
A program in the sixth grade, ...... 199
Selection of "Buolceye Blade" ...... 200-203
Pets of the L-by Program* ...... 240
Isouse family at breakfast ...... 247 m o e (since 10) ...... 248
Lfeking p r o p s ...... 249
Picturesque landscape ...... 250
Paint of a giraff -head ...... 261
Ifking silk screen shift ...... 252
An older child.Help a minor o n e ...... 253
To find out more about a HEW process ...... 253
Poster production ...... 254
Light use ...... 255
An "angel" sconer are % n g s ...... 256
"Dev/ faiiy" ...... 257
Kindergarten "IIIishrooms" ...... 258
Hansel, Gretel and Vfltch ...... 259 L%Tchlng Performance ..... 260
Bridale companions ...... 261
The wedding ceremony .262
A boasting soil ...... 263
Puck Transforming Soil ...... 264
- ■ IVJII - List of illustrations (Oont.)
Kant
Family in^3USE ...... 265
Pamlna, îæcedostatos and slaves ...... 266
Vogel ...... 277
Prehistoric animal (Age 10278
Room trips (11 years) ...... 279
Brother and sister who plays a match (10 years) ...... 280
Robin (since 8) ...... 281
Cowboy (10 years) ...... 282
Elephant (9 years), ...... 283
Rabbit (since 7) ...... 284
Rabbits (age 6) ...... 285
Elephant (since 9) ...... 286
Woven blanket (age 8) ...... 287
Hon on a nest (6 years) ...... 288
Brass Bowl (sinds 1 1) ...... 289
Papier-Mache Grouping (Alder 9) ...... 290
Showcase (Alder 9) ...... 291
I/IOU3O, rabbit, dog (since 7) ...... 292
SlicePapierGroup (9 years), ...... 293
Game Board (Siden 11) ...... 294
Canal, rider andThat(Since 9) ...... 295
Pony (since 9) ...... 296
- v3ü-chapier i
Yeast cf creative expression
Up to 8 0 8 world in a grain of sand.And a heaven in a wild flower;Keep infinitely in the palm of your hand.
- William Blake Fra Auguries of Jnnocenoe
Declaration of the problem.
This is a study that is projected among children at a public school, of the immaterial and expansion of the power called creativity, which, when they are faster and stimulated by helping to catalyze as a challenge, spontaneity, inspiration and an objective touch of greatness- To name a few come out to have the human yeast practice and expand to an increasing uprising that finally comes, manifests itself in the unique way that can be identified in his external expression as a real product of personal creativity- That is a painting, a pot, enfilagree or poetry, a mathematical comparison, a dance, a tone structure in musical form ... or whatever.
This study includes the assessment of relevant literature, past and modern;from the middle of children under or with regard to the creative process, and through the help of other forms of children's screens,
- 1 - This study will primarily be limited to creative experiences of children from the kindergarten to the sixth grade, and to project the true identity of the children involved, fictional names will be replaced by facts.
In this study with regard to an intangible, such as filling creativity in young children, there are assumptions.Very personal observations and exploration in this area ... The study and as far as it is scientific, but the full proof - if possible - is not yet.
In addition to the data presented in the context, there are each chapter of photos of the artwork and the activities of children.Nine, ten and eleven -year -old groups;Images related to activities involved in the manufacture of a f*ck;And images of three dimen sional work of a mixed age group of children.
Reaching Yftiat is ifant of the creative potential
The creative potential is often identified and recognized because it makes itself through action with a medium.May is that the ability to set that are closer to the answer of the way of yourself -?Fresh of the clay, the voice and the ear mission by Toon, the intellect that science requires, the body moves to find an answer.
Here are some whose verbal lanterns shed a clearer, stronger light on this subject.
Because we have exploring part of the Oomponents of the creative process, it is important to acknowledge that the Oreativo experience is neither limited to professional artists, nor to those who have an abundance of talent.
There is a versatility of the perception of Fueloep-Millor about creativity:
A number of things seem to be important to create, in many cases creativity seems to be an unintended and often unconscious action.It often seems to play a role in creativity, or as a condition or a katyyst.They can be made of social understanding.With regard to these facts, our task can at its best attempt to create a cultural climate that could devote the truly creative personality
^Manuel Barkan, a Foundation for Art Education (New York: The Ronald Press Company, 1955), P, 118, his life completely to the pursuit of his creative activities A but with this attempt to create a climate, I see onePossibility of attending some basic elements of creativity because they have been transferred to us from creative men., As Leonardo da Vinci said, I have the universe in our mind and in our hand.In our • BIM of specialization, it is therefore important to emphasize an all -inclusive and integrated approach to life and reality.strive to give in contrast to the impulse to possess ... 2
Rogers connect great creativity and loneliness here: “You can't
Be creative without being there and alone;
Loneliness depends on the degree of creativity.Jo more creative 3 • The action is, the more everything is. "
A poet repeats a lot of the same thought here:
The superior moments of the soul only seem to be for her, friend and the apartment of the earth have endlessly withdrawn.
Or she.SELV rose to a remote height.
This fatal abolition is rarely, but as fair.SOM apparently - subject to autocratic air.
^Fenual Barkan and Rosa L. Moeney, editors, Bbemity'a disclosure to favorites »ADE" by the colossal substance of immortality*
- Emily Dickinson.
Zirbes gives the flow to his perception of what Oomponent's of creativity is: "... Involvement in experience ... The tendency to project values individually and in relation to others ... to form materials and ideas to serve his goal... two aim, to introduce, realize, evaluate and transform.
Due to the movements of the dance, Moeney sees a reforming aspect of creativity:
When you see Tina Dancing, a multiple world takes place in these events.Creative action is a way to allow what more or loss is internalized.
Ghiselin notes the confused feelings that precede the pouring of the creative action itself:
The creation usually starts with a vague, even a coherent tension, a kind of desire, lunch or other earlier intimation of approaching or potential decision.A word shower.
4 ^b] ^*, p.13. ^Ibid .. p.16. van the "state of imaginative general Zati."And there is many other testimonies for the same effect.
Transformation of experience as an important part of creativity is presented here by Lawrence K. Frank:
Every individual child "that comes in • The world is made of an organism with ■ wisdom of body, and this non -atom oapaoity tjhich is unique person. He is converted into a human and a personality by learning to live in the cultural world andParty -
With the storage of a few words, Frank shouts into Croativi steps in motion: "The individual makes the internal external and external internal. It is therefore a circular process and it is creative q in my estimate."
Vïhat is the - this thing called creativity - this dedication of the creative potential of the self - this human yeast?You, the reader- the inner peroever, because if you are looking for your eyes ■ for the evolving ideas that will give birth to a formative ans, you, you----
G Brewster Ghiselin, The Creative Process: A Symposium (Berkeley and Los Angeles: TMVersity of California Press, 1952), pp.4-5.7 Barkan and Moeney, op.cit., Pp.17-18.8 Ibid., P.18.soif is involved in this, the imperial walking, the creative
management*
Catalysts who help develop the creative potential of children
Such as ■ Heating is the catalyst that places yeast in a bubbling, brewing and expanding uprising, then there are also catalysts who
act after the apparent slowness, hibernation, of human yeast.This is not either
All catalysts "beyond" or external factors that are considered separate
Of the individual, m a n is even equipped and the "built -in" catalysts if he wants to, but put these "genes" into action.
Challenge
Her is a push that steals the catalyst that stretches the individual
To go beyond the self -increasing an everyday itself.
Sometimes a challenge is an external agent, because some in time it is that is that
An important part of the ego and for many it is often.
A few years ago a teacher was on the door of a now
And great experience and who had his attitude on a pin-point
island in the southern Pacific, 3aoh morning when she greeted Samoan
Students and teachers, she did it with a "good morning, lutita" or a
"Good morning, Matea" - or whatever the name of the person is;
The very young first classes, Uriio did not speak English yet
Aoompanied Eaoh Child's name with the soft Samoan grace, "Talofa
lava I “Prom a child, but this did not give a similar response to
Groooing and no similar smile.I passed the place, like young Simi -Gone
Teacher Hans Oounenanoe reflected accident and his lips were 8 worried "with Incohérent Mumblings* The teacher turned to older students and asked:" Tell me, Vihat I did to insult Simi? "
"Oh, simllll" she smiled understandably, "Îense, ho m a t s that you have to*• .. must*. And the hero that she desperately searched through her verbal ceiling," ... would "u*you him!"With a Fortaard -skying from the hand.
"" You*you? "Asked the teacher who pushed the successive Oooooo'a into muted traits*
"U*U," confirmed the student who pays through the incomprehensible with an emphatic push of de facto strong hands.
Engels, "
The next morning glove - the challenge - the refreshing push - "" u'u " - was thrown down."Good morning, Simi in" M is given the greeting* a smile and bow prior to a worthy, "Talofa Lava, Susugal"
"Than?"Musy the teacher, "Will he not accept the challenge?"
A few mornings later, when the teacher was gathered on her desk early in the morning, she suddenly felt a soft finger tapping her ohek.The purple robes of the chosen.He bent seriously and then said on clear, soft tones: "Good morning, teacher!"
Nudge without and the challenge within - vdiat prime movers are these!
The ability of a child to create now and a challenging problem for himself is his most powerful source of continuous growth and development# It enters him with a life to live and a eagerness to continue beating the now andExciting events that are experienced when it unfolds.Fordi Creative OapaoDy is Solf-generating is the basic practical# It is the safest route to adult living#
"The call to rise" is the synonym of Emily Dickinson for this
Challenge T.
Tiî0 never know how long we are until we are called to rise and then when we are faithful to plan.
The heroism that we recite would be something every day.
Zirbes is considering challenging a factor in the care of creativity: "Relationship: giving people the chance to be formative, to give them freedom to come in, giving them a challenge, so that they strive for and strive to become moreThen they are#"^^
In one case, creativity can therefore be stimulated and translated by the energetic challenge, but again the creative self can respond to a completely different agent, say, spontaneity#
Spontaneity
"I have I got it," Melindas exclaimed, they reasonable
9 Barkan, op.oit#, pp# 195-196# 10 Barkan and Moeney, Up# Cit#, P# 19. 10 Flew in the art area.
"Do you have what?"
"An idea - a great, great idea ... of course for a photo. Now I have problems now. I have to get started now."
She got her paint and brushes, thumb stacks her piece of chipboard on the wall, and then she worked with the absorption assistance attack that did not get a break.
"BN? Has you been used up?"
"No ... my idea. It is all used"
And that was it.
Such a "directlytube"Freshness has a shiny quality that makes the senses the icing by observing it. Dewey is taking care of such spontaneity here:
The spontaneous in art is complete absorption in under -expression that is fresh when freshness keeps emotions and maintains.I am monitored in generating material.
^^ John Dewey, Art as Experience (New York: Minton, Baloh & Company, 1934), s.70* 11
Going home in 1/lblnter
The 8
And away quotes Montessori about spontaneous expression of children;
There can be no 'graduated exercises in drawing' prior to an artistic creation ...*. It is our reason not to sign directly to the child.He indirectly prepares him and releases him from the mysterious and divine work of producing things according to his own feelings.;And almost any idea can look for expression when drawing* The efforts to perfect Suoh expressions are very similar;
Ais "bides into the EJCBEMALE existence in a certain empirical sense.
But there are times ”in which spontaneity pilot lighting burns low and must be regenerated by the spark of inspiration.
Inspiration
The seven-year-old Anita, who usually bubbled with ideas, experienced a rare I-not-in/Diat-to-do day, and she felt Frumpy on the inside and unlike things on the outside.Kicked the table at the table- not too hard but enough to let her foot have the complacent satisfaction with a "so there, me"
After discussing a number of things that Anita might have a real interest, and after a meeting without success, the teacher Anita went to the art office where he lived a mouse family in a very
specialbraden.
Sit in your hand "
The Tflien then looked into the teacher, Anita giggles about the antiquity of a small mouse lying on her finger."He took a bath a minute ago!"If I was a Mormus.
12 Herbert Read, Education Through Art (New York: Pantheon Books, 1946), p.113.eh
During the related art time, the Anita and the mouse family became thoroughly familiar with* "Anita, do you know the poem about mice?"The teacher asked while putting the last mouse chin back in his nest*
"How's things doing?"
"I like mice - their tails are long. Their faces small. They don't have a chin at all."
"That's really a good onelo" and she laughed at the thought of
Chinless Mus*
"Goodbye now, Anita," the teacher smiled*
"Byei" Anita waved and she jumped through the hall and sang,
"I think mice are quite nine CE in"
The next day Anita Grave found in Lerbin* "is that
Will be a secret, "Mita?" Someone would know*
"Huh-uh," the baby answered as she groated after a larger mud ball, "mouse I want to make a mother mouse and two babies I do
Do you know V & Y?"Because I think mice are terribly beautiful!"
Inspiration had "set up".Anita had the feeling, the humor of the mice, the softness and smallness of the mouse and the snoopiness,
And now v; as Ezpres mice in clay sings* 14
Mor Mus
The 7
Defwey says about inspiring
Inspiration.
The impact of objective contacts with quantity
This energy was certainly on the creative potential of the individual.
13 Devrey, op.cit., S.66.15
© Need Young Ifendelssohn's creative genius to produce the beautiful Ziusio of MDSummer Might's Dream »for another, it was the case of large books that found übraham Lincoln to strive to become zero than a hugging, upright border.here:
He ate and drank the precious Vrords.Han's spirit became robust;He no longer knew that he was not poor that his frame was fabric.A loose spirit I bring - Emily Dickinson
Six -year -old Charlotte VDio had the previous year
Italy was strongly influenced by the art treasures of the country.
The influence that stimulated a musical one day seven -year -old Nina Vias.One December morning Nina and MD sang in the art area, and she almost immediately started working with paint and brush, vûiil © she worked, a keeping little tune was teasing by the brush brush on: 16
A later glimpse of the shoulder of O Hi ID told the story - two brightly painted nutmill separated by a Christmas tree listened to Twinlcling rhythm of Tchaikovsky's lively little March »to give the effect of the hina rhythm had allowed brush to Oneblob orPaint to Plop the rhythm pushed on the paper and these rhythmic clots had created a design of rhythm around and created through the painting.
In
The Nutcracker March
The 7
"It's a nutcracker man," she explained, "you have seen M's
Tolbert's nutcracker man?From small pieces that are all composed.
Of such an influence Barkan T/TDTost
Every great work of art that he has observed and internalized to appreciate.Avoidance, as expressions, and those in dividual stems as deep satisfaction of one, as he does the other.
Ruth Strickland is aware of the influence of great literature on children here*
Often a poem or story makes something special for a child;"Ulysses," brings the child to a NEVF A.Chway, which makes him shine an unwanted world whose margin fades forever and forever when he moves.In front of the crown prince of Japan - opened windows on a T/Ider world, wider in time, space, insight and values.Ex -period that loads a child outside himself, helps him to find a star that he can run his car, helps him to live if life that exceeds material - these are creative experiences.^®.
Walter de la Mare ** wrote of the quality of such an influence
14 Barkan, Op.Cit., S.186.15 Ruth G. Strickland, "Creative Activity in the Language Arts in the Elementary School," Elementary English, XXIII (Marts, 1955), s.148.18
“I know well that only the rarest species can be the best in something
Good enough for the young people. "
Foreword for clocks and grass)
Accessibility and flexibility
"7fliere -Mill Irork today?"
the well -filled art area and then on its own large sheet
papier.
"I have a surprise for you," the teacher replied, "we and you and
Terry likes to work in a very special place?
And you can share a coat. "
The "specialty" was disproportionately yawning with an excited,
"Qi yes I"
"Well, then the teacher continued," bring your paint, along
Acme brushes and a can of clean water and you can be supposed to be together
Here in the hall where there is a smooth floor and lots of space
And quiet.Are you not lucky today? "
Flexibility and availability of space includes areas such as*
Large open spaces that have large movements of creative
Strutie - in dance, music, dramatic game, related artwork OSV.}
Adjustable space switched on by movable and portable
Furniture;IS-shaped space halls, lunchrooms, playrooms, etc.
Serve a multiple number of goals;
as a display center or a V/orfcing area;
and materials that make creativity possible;and the most important.19 Space in the ability of every teacher to love and make it for every child he learns*
A teacher VIHO discovered that some children were occasionally dissatisfied with the apparent finality of a schedule, suggested that anyone who would do for this could join her at work in the morning before the day officially started* ihishish, likeShe stated that she was her her
"Time to get ready" - A time to arrange new materials, etc.*, but it can be a good time for others to work too* The idea sprouts and became a most productive period, and some children even cameasked for help teacher with screens, materials and organization* It also made children aware, of the 'back scene' preparation of teaching* as a child was noted, 'îfy, teachers have to love us very much to do all of this for us.
If children get help to realize why time is sometimes shortened in such strange shapes and designs, their reactions are usually fully understandable and useful, but if they think this is simply a different imposition of adults, their reactions are suitable for less attentiveand to be sympathetic *, the more flexible and more accessible that time may be, the more children get the responsibility to help with the planning of the design and use of time, and of course time is considered time based on needsand interests of children - it will also be this element of value as a catalyst for creative growth and development*
#ien children are eternal "yflier-oh so?"Skers, it is a fairly accurate indicator that misses source and working material 20 Aved.must be made available on a TV TV, they can easily be recognized, reached and just as conveniently returned* they must also be stored as far as possible in the field of udiichde must be used, a typewriter must be placed in a letter pitcher, the clay tray must be near the clay table, items to listen to be stored next to the phonograph, etc.
Materials must also have a flexible quality - flexible enough to be moved and flexible enough to be considered with variations in what can be done by them now or even unexplored use or adjustment.
Perhaps in this general consideration of accessibility and flexibility that they serve as catalysts, it is the people involved, and especially the teachers who are important here.
Certainly, humor gives personality a great resilience, flexibility and warmth, and a teacher who illustrates this characteristic is Leland B, Jacobs.
It was the first day, and a warm on it, from the summer quarter of Ohio State University, the class in children's liter students in a room designed for half of this number.jacobs strolling in. He investigated the sardine situation (him became himtold that he wanted a class of Thlrty-Flyh), the dwefillance has his view of the pan.21 and Thon Evan-Lurking Cheshire Cat flirting in him: "L/Vhy, my friends," He let "if I could know thatYou were a cord, I would bake a cake in the "deceased of the simple humor that everyone accepted and felt light, and - strangely enough - the room seemed bigger and airy.and enough space to entertain everything
Flexibility and availability are the evidence in the classroom -
-? Submit a teacher says, "Let's look at this problem together."
Not: "I didn't ask you to do it this way?"
- When a teacher pushes a group but nobody fools - "Look, friends, it's time to clean up."Not, "Gail, you are the slowest person in this room."
- When a teacher has enough of himself to share with everyone, and when his attitude implies that there is enough time to walk around ... A kind of "open door" policy in the classroom.
- Then a teacher is consistent.
-When a teacher has a good shock -absorbing.
- “VDIA A teacher respects the choice, suggestions and ideas of the student and makes something constructive children about them.
-If a teacher can honestly admit that he does not know all the Anstjers and that knowledge is a constant and reform process for himself, as well as others# 22
Lowenfeld refers here to flexibility:
Any form of art expression is ... a dynamic erer-ohanging process.Students, but even more for the teacher, “who need this flexibility, understand and motivate the individual and can change his thinking and adjusting individuals to individuals^®
And again, this author speaks about the values of these elastic properties "art in any form, such as dynamic marketing, will not only confront the maker with always changing problems, but will improve the flexibility of his thinking and emotion.
Barkan offers a thorough assessment of these conditive factors in the following sections:
A teacher fulfills his educational role by making the lake possible for individuals and small groups of children to explore their own ideas and develop their own possibilities -for the full extent.With artificial materials so that children can develop their personal ideas and share them with the rest of the group.
In such a situation there is little stiffness that relates to the use of time, choice of art media, the choice of problems for work and ending activities.material than another;and some have ideas to work on that requires more time than others.^®
^^ Viktor Lowenfeld, Creative and Mental Growth (New York: The Macmillan Company, 1952), s.60.17 Ibid., S.264.18 Barkan, Op.Cit., S.210.23
Barkan further defines the role of the teacher here:
... a teacher has an active role to play.He talks to children about their ideas and helps them expand their understanding by identifying themselves ■ with important aspects of these ideas.For the materials they need.
Provide individuality and group ESA
A person is a person, no matter how small.- Theodore Seuss Geisel
As a child relates to society - although the "community" can be very small - he also starts the Miracu Lous Adventure of Knotwing and he grows himself like a unique individual.
When the child starts to control himself through ADLscipline, who himself generated and constructively creative, he will also free himself from larger experiences with his world and through creative action.
"Look what he did," the children rushed while they pointed to a paint on their almost finished wall painting.
"Gen," asked the teacher, "did you do that?"
"Yes," came the low answer.
"It was an accident.Gone? "
"No" "came the Wirwar's response.
19 Ibid., S.211.24
"Title, do you, why did you do it?"
'I just felt
"Go wash your face. Gene," the teacher suggested, "and get a drink. You will" feel better then. "
The mural was given the dribbled smear, the ends returned to class.
"Gen, assuming you work here," the teacher of the costs suggested, suggested,
"And if you seem to want to paint, why don't you try your own photo?"
The child agreed that he liked this arrangement and started painting a large black object on the paper.
"Issues?"The teacher asked.
"Eity Dog was killed last night. I now paint my dog,"
And the tears came down.
The painting was not done that day, neither the following, nor the following or the next.
Jacket after black paint continued with loving care.So his body protected it against sight, but little by little he started talking and showing others what he did.
"Tibet type of gold do you need?"Come on the answer.
"The color of my dog's eyes."
'Oh, away, you forget that I never really know your dog.
I would say that if you loved him so much, it could only make you a bald straight color. "
So he went to work with the help of a dribble of this color and a drop of it until he finally had his special gold.
"It's a beautiful Colori", the teacher smiled.
"And how did I do it?"He asked with pride, "I used yellow and only the teen-drop black and a bit of the yellowish green.
So he painted the eyes of the dog and he was happy.
The next day Carolyn, a classmate, asked for gold paint.
"Ask Gene," the teacher suggested, "he makes very nice and very special gold paint."
A few minutes later, the gene pushed the teacher impatiently,
"Say," he demanded, "do you mind if I no longer work on my painting? It is now over, and besides Carolyn and Jane make a wall painting and they need me to huipi"
Kbiat means a smear?
% Dog
The 7
By the individual in the creative school Strickland says
We do not encourage creative activities in primary school because of the activities, but to develop creative individuals or*, more precisely, to help each individual build a self that is creative.
School years are in years - as the attitude of the child towards SIG as a teacher, an achievement, a creative Tjdnker
and make forms.We who teach should think of some components of a healthy personality,^®
And a trio of educators respond to individual! Ty if it relates to group
20 Strickland, 0 £, cit., S.147.27
Aa you work with children in m o d e m elementary bohol* You will realize how much learning time is spent on guiding the entire group or small groups.However, always work individually.
Cooperation and love
Love is anterior in life.Posior for death.
- Emily Dickinson.
The teacher was now and the eight -year -old child was very, very careful.She didn't work.
"Sue Lynne, do you want to help me fill these paper cups with paint?" The teacher suggested.
Ho Emwer came and* the child turned her back.
The next day the teacher approached the child again and tried to encourage them to talk about some of her interests.
The next day the teacher smiled and said nothing to sue Lynne and it was Sue Lynne who took the first step!She followed the teacher to the Ivood Supply Room and there, alone,
21 James B. Burr, Lowry W. Harding and Leland B. Jacobs, Student Education in Primary School (New York: Appleton-Contury-Crofts, Inc., 1950), p.253.28 has rejected her • With the problem that worth the effortHad taken* "Are you doing me?"The child asked so scared, so this was not so*
"Vfliy yes. Sue lynne, I just lore you, I love allih others."
"Are you Sura?"
"I could no longer be sure and what else I think you will do some very nice things this year."
The child no longer said until the teacher collected the tools and then she asked, "Do you want to hold my hand?"
"I'll hold your hand if you help contribute."
“It was agreed.
The next day the question came again: "Do you still love me?"
Yes '' the teacher smiled.
"Iphy Mother says she thinks you're doing that too," the child trusted*
Then she added, after a tough break: "You can call me 'Sukie' - that's what my mother calls me."
"Sukie, it must be," the teacher agreed to feel very flattered.
"Nofw I Painted," the child advertised with a relieved sigh,
"Do you want to sit next to me?"
"Sometimes, loser, because there are others -they also need help."
"Well, you have not forgotten 'Somo'bimos'*"
Sukie painted her first photo that day - Red Rain she called it* she said she just loved Redl 29
F
Red rain
The 8
Ashley-Montagu says about such needs
"Toiat is the nature of life?" Can be expressed in a word, oo -ope -rati about the interaction between organisms to mutual support in such a way to give survival benefits to each other# Another word for the same... is love# ^^
It takes time when Marie Easyy let us understand - time to know ourselves, time to know and trust others, time to experience, time to be steamed, time for - work, time and space to leave
22 "p. Ashley-Montau, About Being Human (New York* Henry Schuman, 1950), p. 47. 30 yeast grows and time-yes, much of time-to-creating. Everyone who has ever made a lot of kitchen and / / / / / /or the class by also knowing that a little heat and a pinch of sugar accelerate the action
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Monotone Block Print Sixth Grade Chapter II
The psychological framework of the creative action
Tell me where is fancy bred.Or in the heart or in the head?Where starting, how nourished, answer.
... William Shakespeare (FRA: Iforohont of Venice)
Because fancy is the twins of photos and the grace of the sister
Creativity, perhaps it may be good to make the poet's question and consider where creativity is increased, and further to find out which circ*mstances are the most sensitive to their rise and unfold.
In the exciting symposium of Brewster Ghiselin about creativity, his gifted writers have written their thoughts on this subject from time to the past.
For the young Wolfgang Amadeus Mozart, the case was the actual place - "where" - rather insignificant, and the beauty was made spontaneously, even while held in an uneven car.Safe within the young composer himself, for complete, in almost childish joy, he talks about this happy gift to put together:
When, as it was, all alone, say all alone and of good cheer - to travel in a car or go for a good meal or at night if I can't sleep;And the most enough.Ti'ihenoe and how they come, I don't know;I can't force them either.. If I continue this way, it soon comes to me how I can turn this around or
- 39 - 40
That HAP van Acoouut »to make it a good bowl, that is, comfortable with the rules of counterpoint, to the peouliarities of the various instruments, etc. **
All this relieves my soul, and assuming that I am not a berk, my subject myself enlarged, is methodized and defined, and • The whole, even when it is long, is almost complete and ready in my mind, so that I can investigate whatA nice photo or a beautiful statue, with a moment* I also do not hear in my imagination in succession, because it was "at the end of the invention, this produces, takes place in a pleasant lively dream* still the actual hearing ofThe toutsemble is after all the best* so Ivhat has become so prouet that I don't forget, and it is perhaps the best gift that I have to thank Mingelic Bfeker for*
“If I stay • Write down new ideas, I remove the bag in my memory if I possibly use that sentence, what has been collected in the way I have men* for this reason that is committed quickly enough, because everything is like meEarlier said, I write around me and I even talk, but only about chickens and geese or barbel that makes my nose so big or so aquiline, or in short, it does MozartAnd different from other people.
Ludwig von Beethoven's passion for freeing creativity in a beautiful structure, CF. Sound was carefully drawn from a • VDIO lived in a flood of the Taight Constant Gadet
Ghiselifa, 0 £* oit.# Pp* 34-35* 41 for creative expression, but first took the gigantic Iwas his:
Yesterday in Bçt Way to Vienna, dragged me in my car ... • "As I swallowed, I dreamed that I had gone on a long journey, no less a place than Syria, to Judea and back, and then everything so I so I soIn fact, when I actually arrived Jerusalem.The Holy City gave rise to thoughts about the holy books never under my dream journey, the next cannon came in Mhoved:
U æ g h
0 tot-bi som 0 tot bi-i ir fir tiff o '
Do- ml- nus ha,
, Single, Slmanan Mal Medman 311 0 years old is 20 to
But I hardly woke up when the cannon fell away and I couldn't remember part of it., where we were awake while laughing and seeing in accordance with the legislation of ideas, the same oanon flashed over -most;So when I was awake now, I kept it as fast as Mselaus did the proteus and let it only be changed to three parts #.. 24
24 Ibid., PP# 42, 43# 42
Stephen spends the poet, talks about those who find it necessary to arrange their psychological environment to get better in humor
The problem of creative writing is essentially one of the concentration, and the suspected eccentricities of poets are usually caused by mechanical habits or rituals that have been developed to concentrate.an amount.rope/ards the fire and light with its leaves and against the water with its roots, all at the same time*
Schiller enjoyed having a scent of rotten apples, hidden duringlowFrom his desk under his nose while he composed poetry.Except when I write.
And Plato would make his readers believe that real poets have to look for the edges of madness to catch this gift from the gods;
Anyone who comes into his soul without the madness of mice and knocks on the door of poetry and believes that art will make him something suitable to be called a poet, thinks it
B^ibid., S.114* 4S
The poetry that he accused in his sober senses is beaten by the poetry of food.- Plato
Many want a random creatures only known for the psycho-logical framework that was organized by the gnowing torment, experienced so deeply and thus deliberately expressed by Van Gogh (by by
Ghiselin) Hair:
Vincent van Gogh must have felt such a dissati's group when he wrote to his brother Theo in 1880 about his feeling that he was one of the men who is somehow trapped in one way or another, "One in -Don*T-Weet-Wat-Free, terrible, completely terrible cage "was not the problem that Van Gogh was unable to take action.The man who is doomed to stay inactive whose heart is eaten from a qualifying work, but who does nothing because he is as it is imprisoned in something., I know I might be a completely different man EOVF, then I can be useful how can I be of service in something that lives in me: it can be & "2g
But there are people who have experienced abundantly
Creative AOT, both free and beautiful, has produced in full extent and with excellent quality in a setting almost Joquin and Gay.
Felix Mendelssohn Ivas such a preference.Factie his own name,
Felix, means 'happy'.
Although creativity is often accompanied by a racking, stretching fullness and again by a powerful, urgent and often
26 Ibid., P. 3, 4. 44 Painful extrusion, the process is another important cause of grace.
If a meta-physical interpretation gets the next grace of the simple child, creativity is a true cause of gratitude.
Something has meat and canna eats and what does the VMT ITJ eat
GentlemenKarbadHae Meat
And we can eat.
- Robert B U M S
Inspiring so that children can strive
... there is a spirit in people;And inspiration from the Almighty gives them understanding.
... Bijbelbaan 32: 8
Perhaps it is the teacher's responsibility to be the cause of
GRACE - To offer an environment where creativity can be gathering and cared for, and where children can stretch and continue to grow.
Ghiselin quotes Roger sessions that observe: “Inspiration, so,
Is the impetus that Seta creation is on the move*
2 7 Energy that maintains it. "
Herbert reads the role and character of inspiration in
in this way:
... inspiration must have a quadrupled character and there are actually no trouble making a distinction
?7 'ibid., S.5.45
These states* The sudden solution of the intellectual problem, the 'automatic' or lyrical expression of feeling in poetry, the improvised dance or play activity as a release of suppressed energy, the intuitive fear of now relationships with form in mathematics, music and musicand music architecture - these are the inspired moments when human progress in art and sciences ultimately depends on*2 °
What inspires young people literally seems to breathe the stimulating impulse of creativity*This then becomes a means for willing children to gain new insight*.. feelings*.. and learn, act and respond and interact with a growingworld, to - exert their unique potential and to fulfill the promise of life deeper and meaningful* So the child is through faster spirit
Murphy is considering experiencing the experienced itself:;
Firstly, there is sensitivity, the presence of a need that is satisfied and of more and more material of a certain type of alive - color, space conditions, tone, rhythm.The same type;And the individual learns to create.Moment of excited self -direction to the target, an integration of the accumulated material takes place where both conscious and subconscious warehouses of experience are drawn from*a whole that is the answer to the long search manifesting in a time that is often characterized by theTerm lighting# finally, because the need and performance are constantly restored, it becomes clear that the need is not perfectly satisfied or that secondary needs are
28 Herbert Read, op* oit., P* 112# 46
Still frustrated, and the artwork or science is therefore hammered until it is sufficient#29
This extends to obtain a new perspective of myself, this spread of their own small dimensions, this tingling expansion of the person - this is the beauty of being, faster of Avjarenheid, Self, Self, Self, Self,
Jersild Wrfrites from this acquisition of myself here:
It is acquired itself.It is not complete.Again through his relationship with other people.or against, ®®
And JFEIMS each warns himself to find himself whether he would find real creative involvement*
Of course none of us has the same mental composition, so there is no certain recipe for luring the creative forces to work;The student's point studies himself to find out what is best for him, ®
But what inspires young children?Maybe a great response for things: the fineness and the early night
• With great art and real artists, the raw power and power of
Huge tools - a huge lower jaw ... A midwife is powerful
^®Gfardner MXRPHY, Personality (New York: Harper and Brothers, 1947), P, 466, ®^Arthur T. Jersild, in search of Self (New York: Teachers College, Columbia University, "1952), p. 16,16, ®^Hughes Msarns, Creative Youth (Garden City, New York: Doubleday, Doran, & Co., Inc., 1925), P, 9, 47 Mastications ... and the rhythmic junging of an animated air hammer, a growingJoy of the unexplored artistry of nature and an insanity of productivity that comes from one's own self.
Or inspiration created by an attentive consciousness of
Ifbvementi A world group lukewarm in the rapid swirling farandole of snow, the Scherzo quality of an inhibition of an Egern, a ball of pill that practices spring to an I & Iroh wind music, staccato storage of a quantity connects with thingsThey fly, things, the fast silver blowing of a lick fire and the tension found through expression by someone's OVM lecturer movements.
Sound?This inspires when children have new attention to it.Animal sounds, machinery, plant sounds, sad noises, secret sounds, happy sounds and the restless sound of long silence.
Sounds?There are worlds from VRI.They must inspire and be inspired!
What inspiration is in the active identification of
Fragrance, tools that are the exciting aroma of seasons are -UAIN's burning punchcy, the sterile pures of the winter, spring fresh plate sweet ness and the heavy route of summer.There is a nostalgia about well -known scents -wooden shaves all spicy and cedar trees clean, bread, bread 48 ladders in a satisfied oven, the sneaker smells that inhabits a regrately high school, September smells of freshly painted desks and the wonderful full scent of theOwn gay.-Wefined scent and strange scent, water scent and soil scent, cooked carbon smell and dressed party and perfumery scent 1 every day
And the dynamic involvement of myself in mind is also a first -class mover.All many, many thoughts have come loose that run smoothly over the sealing of uniform place to fool, push or negotiate.
And the fresh, living a victory and response to the view and
Touch and taste -all three -which inspiring companions These views about wonders are always new -grain dancing on a summer wind, a spider brake of fairy -shaped shape and filament, the shady depths of Ooral Beach and the Sea and a cat that owned the rear twisted wake -upTight touch of beauty is the wing of Madame Ceoropia, the relaxing fingers of fingers Backwater -Coolte, the plasticity of summer modder that slases between the US hodden -Tenes, and shocked a fence that hurry up the fingers in hurry.are also tastes that must be calculated.and the 49 needs of the Spirit for self -confidence* .. for love ... to understand*
BEAD writes here about this cottage aesthetic training of
senses t
... the theory of he has all the inodes of self-expression, literary and poetic (verbal) no loss than musical or auditive and is an integrated approach to the reality, which must be called aesthetic education training of these senses as consciousness, and andUltimately, the intelligence and judgment of the human individual is based on* It is only insofar as these senses are brought into a harmonious and habit relationship with the external world that an integrated person is built up* without such integration, not only the psychologically unbalancedTyping, it is known by the psychiatrist, but what is still catastrophic of the general good, the random thinking systems, dogmatic or rationalistic that is looking for despite the natural facts of a logical or intellectual pattern in the world of Crganio life.
This adjustment of the senses to their objective environment is perhaps the most important function of aesthetic education.
Really, inspiration is something made of feathers **. A gift Ivith wings*.. a nice, rising bird*
It was perhaps inspiration that was searched so long ago by this anonymous viriter who argued:
God be in my moor, and in my unde rs -dentist, God are in sight eyes and in my trick, being God in my mouth and in my spoakng, being God in my hare and in my thikyng **.'ï55ô ■
32 Lees, Op.Cit., Pp.
Deway reflects on inspiration of these thoughts: "To be set on fire by a thought or scene must be inspired, % a t is switched on, either out, turn to ashes or must press itself into material that the latter changes" 35 metal to oneRefined product. "
A very special friend of children Trvho constantly inspires the young people by sharing themselves, her reach and width of • wisdom, and her discrimination store once gave a collective gift from various art objects to a school.
Braque Printing in black and white with Hercules that are possessed by the violent bows made of the spring, todatum,
"And why do you like this best?" The child was asked,
"Oh," he immediately replied, "I love the lines" Aîid all these shapes, but especially I love the beautiful colors, "
"Colorsi" proclaimed a confused classmate, "Vjhy, it's just black and white,"
"Oh yes," reassured the first child, "it's up to and hy, I like it.
You see, "He continued:" The black and white shows me all the other beautiful colors in my mind. "
33 John Dweey, On, oit ,, p.65, 51
Children are inspired* Hum and roles at a school bus can sing a song for one child, for the other it can be faster to exist a kaleidoscopic order of colorful shapes and shapes, but for others only presents boring moans -No start.
Then there are children who are apparently inspired by an inner well -tho, and by giving themselves after themselves, they pour an important part of their sincere experience* In the process they often see no one, they do not feel almost presence and givethey sometimes prefer gardening about*
Twelve -year -Dold Jennifer is a warm cocoon while she is wrapped in her own artistic metamorphosis.
Robert, a quiet boy in the fifth grade, has fingers that feathers with spring migration while understandably manipulating a lump of clay*
He apparently prefers loneliness and quiet as V/ORKNG cariers, but his absorption in his work usually surrounds him with this VFHether that they actually exist or not*
Children also have small grilling that they often encourage as inspiring security* eight-year-old Anley likes to have eight-year-old Judy in the area, so there will be a compatible work situation where Anley Judy shows with a speech running account what she is doingWhile she is happy, but Attent Judy listens randomly while she is satisfying Vrork's satisfying on her own projects * Here is a 52 highly productive TV-single vdiosis-inspiring needs that are at least partially satisfied in each other's presence *
Occasionally inspiring grilling in the form of things*
First Class Rita announced one day that she was working on host while she had her very loved, mandarin velvet Haarbowsl even felt a pre-school to this inner "specialty" created by things, because there was a day when he bubbled, "IkanDo akyteiiig today - I have on i®T shoes in "
And the small waste that, as far as I remove, I would do it if I could, but I can't!Guy on their ambitions* in suchsag, the accident that is therefore caused by the will in combination with the supposed non -ness is often so tense that children literally struggle with themselves when they are teasing tears -driven words that he simply could not get his clay to be on the rightHe was asked if he would like to remove the clay for the day and turn to something else* "No!"Do it now, but it doesn't leave me!
The teacher sat down in the neighborhood and started working a bit inactive clay, then another child went to this TVRO and started talking about the behavior of the clay * The newcomer happily noticed that clay seemed to talk to him and heliked it * 53
"It pronounces until you" proclaimed the dubious member, "that is
dom."
"Vfell," said to the other child, "the clay just weighs some sort of your fingers -what to do after it is known, me"
The tear -colored muttered an unbelieving difference,
But slowly his fingers relaxed their hectic efforts and instead of asking for friendship with clay.
"What do you like?"He asked proudly.Clay had the answer.
MSAM's comments here consciously about the indifference of
creative spirit, both impatiently urgently and the requirements of one
Immediate on-Onceness:
We also discover that VFhat seems to be a law of the creative mind that does not, except in rare cases, give his boat at the same time.Always good.Honor is where a sympathetic concept of the forces of the teacher or friend is needed (I wish there could be no real distinction) from the mass of not -so -god can come enough material to build;At least there is an obstacle for the creative mind that is out of the way.
When children are creative to meet the extracted chal
Long, as inspiration has brought them so seductive, they start to realize that 'we are things like dreams are
34 iFearns, o^.cit., P.6.54 low on*.. ”(Irailiam Shakespeare, from: The Tempest. Act IV,
Kiss in).
Capitalization about the interconnected aspect of art
From the point of view of the creative mind, the art of one is;Only the product is different*®^
In a civilization a world is removed, art is life and life is an art - spoken*. Gerdanste and sung, excited*.Maled*. And dramatized*The elements of heaven and earth and sea make it inspiring - they dance, these three, and must be male?The sea forward and then withdraws before the mystery is completed, the sand and the rocks laugh both and cry*.. and man?A Cerulean Sky is framed forever with the eye ... And man?Should he not be an artist?Lifetime combines all this art and more in the fullness and naturalness of happy, cooperative life*
In a different culture, the living pattern is very different*
The satisfactory simplicity is often hidden, the Chiaroscuro of the earth is the pattern that is not so much of sea and heaven, but due to the complexity of
35 ibid., P*8, 55 MAN's Forever Mind*Life's Music is a fretful melody ** A one-off thing ** an immediate thisness mayor pushed an tin-dose calypso-melody through a nasty trumpet, like a rapidly moving Rush ofSynchronization fhythm, and drama is often a pseudo-psychological story that sounds in vain, the locking of the Bovdldored being inner of man* The child of the day often does not see the basic unit of the exciting trilogy of nature, the sea and heaven, but rather he seems to be
Cyclops in a umvilled are - a cyclops with a nyopio -ye *** master's eye of others **.
Although among themselves related to art has a spontaneous –eity in a culture, it is necessary to take care of it quite carefully in another*
Barkan refers to such cultural differences in these para -graphs' s
In other cultures, participation in art was an integral part of the way of life - the ideals and
Ambitions of municipal life* in our o v m culture,
Artistic action is now only recognized as a part of healthy human behavior* as an important aspect of human experience* gives the challenge of art education*
Comparative cultural studies show how artistic action could be widespread and appreciated in lifestyle* In other cultures, participation in art from a lifestyle that seemed to encourage and promote* This is not today the source of artistic energy, we can do todayDon't hope back to Road 56
From the life TVhioh -wpluld it is encouraged to us in the same TVay as for other people.
By misio, poetry, painting and pots
In a certain group in the 4th grade, the art teacher noted that the work of the children was missing a fair vibration of color.
"Mousey" characteristics that have betrayed a "let-be-it-it-and-ton" attitude.
"Jbal" saw a lilliput -s -skeptic, "Colors can't sing"
But the teacher assured him she had heard them and that she was sure that if the group really tried to find them, they would also discover to sing colors.Pointing to his paint and asks: "Singing?"And she Vrov Parry Back v/ITH, "Do it?", she felt another child dancing up and down next to her.
"%11, Beth?"She asked.
"Looki" the child exploded, "the single"
On the wall was the first oil painting of Beth - a painting of autumn trees, and it sang.
®® Broadcast, Op.Cit., P.60.57
Autumn trees
The 8
Shared a favorite poem Valleth Barnet and the group:
There is something in the fall that is native to my blood - touching way, a touch of moods and my heart is like a rhyme, v/with the yellow and the purple and the karmozijnrode storage time.
The string of the Maple Oan shakes Mrs. as a cry of transient insects.
There is something in October the guard put blood Astir;Life must rise and follow her, 1'flien from each tray of Flanæ, calls them and mentions each vagabond by name,
- Bliss Carman 58
So the group spoke about the singing colors ~ bugle -red and yellow and such, and this time everyone can hear them.
Suddenly the idea stretched out, and a child remembered the excitement he had experienced earlier in the fall when he had returned to school and the art area of Gili Gili-taken* "" I'Sy, this room was singing "he had" heDid not address other nodded eagerly and it agreed, and then someone accused: "" "Why didn't you tell us?
A few days later, Beth Schurdded her acquaintance with autumn in the form of a poem, and that is what she wrote:
The leaves come down
Until autumn she revolves around
Rod, yellow and brown.
And when the wind blows
Through the tree.
It blows leaves
Ned
op
Met
Some months passed and Life Magazine consciously worked together by presenting an article about "pots singing" and many children brought in the clip to share VJLTH different art groups.
Helatinfi Whimsy og ititohery
Ab Hello Time A group of fifth classings was' 'stopped' about creating unusual beings to prove the season of the season ::
Of spirits and spirits,
And long -radiant animals,
And all the things that bump at night
Good Lord delivers us.
- From: an old grain from Idtany
De Lijn - "And things that bump at night" was the key.They became fantastic night shapes, which was really great to see.The honorary forms and sounds keep their vigilance*
Towards noon, close to the children are asked to charge
The stories of the Hallovre.So someone ran with the idea that one
Original Round-Robin Hallovie story as told by it made
"Bumpsl" can be fun.The result Vrei
Such in implementation levels of creative attention are seen by
Barakan hair:
A person who participates in the creative process interacts with his idea and his medium* HO when new levels of consciousness in the process because his interaction gets both idea and medium to develop until now and unforeseen forms.Hold on with his original idea.Image and his physical material in harmonious relationship
A growing and building
Sometimes constructing in the process brings a huge in the kiem chain of mutually interconnected.
V a i o had investigated the interstitution of the construction of a university arena, one day was challenged by the idea that music, science, art, dance and language are all similar, although the tools and materials needed in creation and steel and steel and steel and steel andNitter * In the process of exploring this idea, the children were fascinated by the "expression" construction of music and by the powerful agreements that "sound" harmony and melody together, and a child painted an exciting image that the way in which the wayA musical composition for him seemed to grow for him.trunk, and all branches were subsidiaries that led and returned to the ground floor of the music*
37 Ibid., S. 140, 141* 61
This individual experience opened the door to an art discussion where the children looked critically at the work that they themselves did, and the painting, pots and their other deducted order interview* Yfliat target, which tools, V/Hat construction, what usefulness, which whichStroking represented this?How were they like the Arena, such as music?Build different and now media*
Crane
Alder 7 62
Soon ooimnencod to get the story of the construction of St.John Arena and again they found
They construct again.This time their materials have their materials and the tools are more words, sentences, sentences and even paragraphs.
Our Secoiro tour to St.John Arena
Pi le -Driver runs with steam.When the steam is
Turned over, the weight comes to the stack.So we are not working today.
Crames runs on a large tread. The tap lifts the steel beams to the steel plates in concrete.
In Dance, the same children built movement in infinite space in the short term;In playing, their games were built on patterns - some old, some new ones;In science they found that by watering and taking care of their plants, a wonderful thing built "life".
The awareness of these children have materialized a lot through a mutually related vision of the vision, and maybe they learn a little about the beauty for which the poet speaks here:
Beauty is seen in the sunlight.The trees, the birds.
Beauty is heard at night that sigh, rain falls.Or a singer who sang something seriously.
Beauty is in yourself.God deeds, happy thoughts that repeat themselves in your dream.I work.And even in your rest.
About Spirit, Movement and Masio
Hughes Meorns said that: "At best, children's art is always something in the form of a confession; it gives one in 38 stant in privacy of personal thinking and feeling," here is an incident - that documents that thought.
The corridor was long and Shado-Wy and Unfreatable Rescue for a child-haired child who had a drink in the far, far end of the corridor.His arms and with a graceful T-nirl who had easily jumped from reality to a world without figures.Finally on the other side of the hall the dance stopped and with a royal gesture that started with Wi-Fchdet
• Pols, but took the whole body of the child, the dancer rejected his invisible Fe -Hof.
38 Hughes I & Arnsf Creative Power (Garden City, Heiy York:
Doubleday, Doran & Co., Inc., 1930), p.88.64
■ who had stayed through the hall to stand still in a doorway - the better to look unseen - the child told how she had satisfied,
"Have you really seen it. I?"The child asked.
"Andow?"The teacher asked.
"Oh yes," the child radiated, "I was the queen of
Gremlins this morning I "
"How exciting" thriller teacher ", but where was the music for your dance?"
"Ohi" Lo Alice, musicians always travel with Mal "
And the flashing words again repeat a well -informed chorus:
Tell me where Fancy is bred.Or in the heart or in the head?
Sometimes the child is sucking and dancing everything.A quick temporary - he has reached excitingly.
Grabs creative IRFAMENTS
The coma - these breathless moments - not always as antics - tough pleasures, but often in a spongy unexplored.It is great, fast and beautiful.I caught Shakespeare the pure essence of this creative joy when he wrote:
0 Great, great and most beautiful, great me and again great*..
Recognizes the value of drama
An Oombinod grouping of children of class two, three and four listen a lot
Dream music with the intense goal to think about how the music can be danced and dramatized.
"Let's listen to a part of the music again," the teacher suggested, "and let's see ourselves the fairy to prepare for a wedding in the forest."
So they listened, and when the music stopped Ivas, only a small uncertain silence that was suddenly broken by an almost inaud Ible sigh and then a breath, "Ohl I know I know myself"
Everyone turned to small seven-year-old Nancy, whose face looked like she had just seen the Fe-Page Athry during the stage*
"■ What would you do, Nancy?"
"Oh," the child practiced in an almost incoherent bustle of
■ Words, "I would dotvn spwebben and dust from the swamp in"
Er -mas -et creative, poetic moment and the children
Even the grip mental and sailed away*
"I would let the stars shine I"
"I would hang on the moon line"
"I would sprinkle moonbeals through the air - like this me"
"And I would close all rivers for the night I"
"Let's do it"
And they did - Vronderly, Meaningful and all glittering V/with
The glitter that is only a child has a fantasy -oan calls*
Recognition of the value of seasonal phenomena
The story is told that the father of Emily Dickinson, even one
Fiery Naturalist, one day at Sundown quickly rushed to the city
Hall where he called the Dorpsbel -with grin speed and strength*
Because the clock only expressed his tongue in times of great common
Concerned the people of the city from Peaceful Amherst quickly gathered
Fighting Fonernation.vitas der Ramp - A Fire, An earthquake, A
Tlureate of War?
"Looki" proclaimed the older Dickinson and pointed to the answer
to the western horizon*
"Do you see it?"Breathing continued a city of father as
He scanned heaven*
"The Sunseti" exploded the clock* and there.Factic 67
• MS a Magnifione of Na-Fcure that shows both rare and brilliant beauty- a real cause of common concern*
This passion for natural beauty • was introduced into young people
Emily, and therefore it is not surprising that she will later interpret a sunset as follows:
She wipes • With a lot of colored diet.
You fell a purple that in it.You fell an amber wire;And now you have sprinkled the east with Duds from Emeraldi
And yet she puts her spotted brushes.And yet the kites fly until Tassel fades in stars - and then I come a way.
Her • was a sensitive heritage - one that combined the scarce compactness of words - selective words, with a great depth of insight
In nature and the ego one explains this plea:
Beauty creates me until I die
This sensitivity to experience is Gardner's concern
Iiîurphy in this observation^Weuition:
... the first major phase of the development of the makers seems to be an extreme sensitivity to a certain form of experience, usually sensory;for 68
More from Doorn, a curiosity in their relationship;
Another fire, that must have to do with sensory and activities.Combination and selects the most beautiful combination;Creation therefore flows from the original need for a form of experience.39
The complete joy of the beauty of nature and the seasons is experienced exciting by young children, and the unexpected quality of natural phenomena often serves as a high experience that makes children project themselves in such a VMY that this becomes very creative moments in the classroomAs the next story, this kind of sensitivity can suggest.
Long after the summer she should have made a graceful outcome, she threw, and therefore • World Cup that even in December the paintings of the children in the first class were reflected, this long -term stay was reflected, because painted flowers still flourished and the brushedTrees %are not -connected lush lush.
My chill and cold hurried hurried with delayed tasks of frost and freezing, but never spoiled the season with the luxury snow.
Now paintings were lingered and children worked the World Cup for a Unknovai that something could happen to stimulate their vision,
NEV/ Media was introduced, but even these were missing, however, shiny.
39 I.Mrphy, Op.Cit., S.452.69
Explore the possibilities for clay.
And the children seemed hopeful.
Piced, beautiful morning when the world was dressed
swirling snowflake, soft, light-hearted things that had done white-
Completed mushrooms of houses, trees and veins.Mad in one morning like
This was planned aside, and instead of clay,
Large sheets of colored paper and hills paint vibrate
Pristatal were prominently informed.
"The Snow I The Snowi" Caroled One Opgewonden Kind ", it finally
Kamel "
"I feel so" exclaimed another while he turned between tables and chairs,
"Oh yes I" runs a second and a third and then a dozen
Diminutive word "Snow IVF Lake."
Yflien "The Snowstorm" was reduced, the teacher noted,
“You have a lot of dancing - you have swollen and turn and wash like
Light like puffed feathers - snow springs. How would you show now
That with paint?Can dance and be very, very easy
Feather -like too? "
And "oh yes-ik" came fat and fast and had fallen
After "let me show you" required.So the colored paper
were brought for hiding and the children chose their pleasant
Ovm tint, hardly before the frightened paint could catch
Breathable, it was put to work.70
The photos were beautiful, the children were on Tip -tå vdth joy and no mentioned clay, although the change in the plans with the group was later discussed.
In this spirit, Lovvenfeld has critically noticed: “The child must first be able to identify with his own experience before he can be motivated to produce creative or better, the urge to express will only be an intense experience.
Stimulation through the freshness of new materials
The old piece of Doggerel, reserved for brides, comes to me: "Something old and something new ..."
Children, as adults, cherish the safety of old famous things, but they also satisfy the exploration of new materials.Be an introduction to a whole new medium.But whatever situation it is, it usually produces shower and an internal the urge to try, to experiment and create.
A group of Samoan youth who had never experienced finger paint before Vrero was fully enchanted with this simple medium but
40 Lowenfeld, up.cit., P.
"Finger" vnas hardly the adjective to link VDTH Vrord "paint", at least not when it was examined by island students. Fingers, palms, poor and elbows beam used with great rhythmic pleasure until someone remembered his cheap feet, meBen blue feet, black feet, red feet and green for sliding and sliding and sliding and sliding on the highly glazed surface of the paper.
"Malol Jsalo Fa'Afetail" they praised praise at the end of the day.
Praise for a new material, for a NEVR seat of experienced.
Then there were second class valleys in Columbus, Ohio, who one day decided to make a clown,
"■ what kind of clown. Dale?"
"A big clown - really big - big like me, I assume, why even, even
Larger 'n' May 'came the answer, which almost seemed surprised about his own daring.
And Dale made a clown "bigger" n "me.
After this he brought together his clovm and it became bigger 'n*
Bigger
"Gee -Whizl" noted another child, "it's bigger * n * d & lel
Why, it's as big as the teacher! "(This is an ultimative in Sizel)
Dales stimulating new medium was just the size of all this.
The child, which is amazing, exclaimed as uncontrollable lumps of wet paint, slides together, "Holy Cowl to Goting Purplei" starts to exchange the tension by old lamps for new ones - finding unknown properties in alleged well -known materials.
Harmony is an accepted thing when a child is a sophis ticiced ten or so, but see the wonderful sparkle of the eyes of a small child when he discovers two or three piano tests in countless beauty for his young ears with his own small hands."Lyti Lasteni" He recommends breathless for himself or the noar-to-hand world.Here too, there is a freshness of new material with which you can communicate ... Sound!
There are the moments when the pure beauty and communication of music takes the creative listener far outside to new horizon for a search, more sensitive.
Everyone suddenly burst and sang;And I was filled with so much joy AH -Prisoned birds must find in freedom that is bad about the white orchards and dark green fields;
Everyone's voice was suddenly lifted.
Andrews and Leader Here the child regard as a creative musician in a permitted environment
What a new experience is for the child, regardless of what HO achieves with an attitude towards individual interpretation and a spirit of personal participation creative - for him* so help a child who helps to work on square dance stops that hear for the first time andRecognize an OBO -Tone, or who offers an original and constructive suggestion in learning a song, develops and shows proof of creative mind.Finally, he can produce such activities ■ work that is traditionally considered creative, such as musical compositions or texts* will be thrown.But we should not believe that the child does not produce such a work, has no creative urge* All individuals must build a frame of reference in knowledge and interpretation of materials before they hit a lot of original path.Framework is the task of most care for the teacher.Indispensable feature of the teacher who wants to create a Simplic A-Tmosphere in his class.
The emphasis that these authors place on creation
^^ Frances M* Andrews and Joseph A. Leader, accompanying high school students in music experiences* (now York: Prentico-Hall, Inc., 1 9 5 3), pp.5, 6* 74
"1/ïhat is the most important thing in your school life, Novr?"Was a question a third -class teacher for her group.
A very attentive and curious child only wrote two words on his paper: "Kew things."This child prayed for juvenile rights - for growing, stretching, experimenting, discovering, being inspired and striving by stimulation.And others like him, it can really be said, "Look, these dreams dream."
- Bible Genesis 37:19
To further expand this concept, these sections increase the idea of Hopkin that new experiences are of great value in the complete filling of this very real aspect of human needs:
Everyone has a basic biological drive for a new experience in the cultural environment where he lives.Help the group with the calming of this earlier damage so that normal energy can be restored.
New experiences are the sourdough of increasing the level of old experience.Arwid meanings are constantly wearing out.Tivhen- Experience is stabilized by painful interaction, the creation of today meanings is limited, for new contacts with the surrounding culture they are both.The substance and the catalytic or psychological enzyme to renovate the old field- including ego into a more dynamic new.
Now experience, both internally and externally, is crucial for the concept of circular doctrine.
Or denied that the energy movement is reversed because exterior forces tend to control the field.
So effective in arresting adulthood.In creative experience, it is constantly necessary to build myself
But now experiences do not wipe the old away.
Both in the structure and in the past of Belmvior, the subsequent turnout influences.Products from previous rough/th.Some authors refer to creative rise as the entire process, because it includes the need, the materials that have been taken, v/ay, they change, the new result.
Here the child is surrounded by his environmental challenges for selective experience - personalities and groups;Colors and color combinations; Burning and meaning;
Thomas Hopkins, The Emerging Self (Hew York: Harper & Brothers, 1954), p.170.43 Ibid., P.60, 76 and unconscious -Thos © "Thing" -With vdiich Ho vn.Ll Municipality, and the subsequent involvement inThis external will start with the exciting germination, internalization, the active brewing of the process, through the process, through which identification will manifest itself, as he, the child, responds in terms of feeling EMD formation.
By considering this process, something important is also visible.May the expression 'set' itself - numerous for figurative, superfluous 'noun', but when the word is considered more active forms in its more active form, the idea is more dramatic and more powerful.The process in action.The "places" conditions that are beneficial for creativity.Sense is beautifully visualized here the nature of the psychological attitude: "Look, I have put an open door for you and nobody can close it."(Revelation 5* 8).
In posterity, stimuli for the creative action are not links consisting of mere thisness plus one that -not only the glory that encounter the view and/or the pleasure of tonality that indicate the ear, etc.), but the stimulus subtle and subtle andTurn - 77
Fui integration of many things in one to become a state of togetherness, the Snperb unit of countless factors is unique melted on the sensitive
Inner core of what man calls "himself" and integrated this, running
Fusion is therefore a good spring from which the creative action
Streams and the reconstructed and newer self arise.
Although Barkan writes about the impact of the creative process
and the process of integrating such as these two influence and influencing the individual in visual art, the broader concept of the expression
"Art" can be replaced by the more limited in this passage,
and the meaning of Kern vd.ll is stored:
The creative process is not aimed at creating "beauty" in an ordinary sense.He strives for his ideas, feelings and insight into expressive visual form.Integration process is the essence of creativity in visual art.
44 Barakan, Op.Cit., P.139.78
Photos Up Childreii LU The process of creating via various Art Libdia 79
The song of the saw is true when we from the shelves in two.
- James S »Tippett
First class
A six -year -old Sa^vs a birdhouse 80)
On wtw 81
Creative game at Voor-SoHool level 82
If a man does not hold Pao with his company, it can be because he hears another drummer* a lot of him steps to the music he hears, but far away.
- Henry David Thoreau 83
A four -year -old paint chapter III
Exploration of channels to creative expression
... to know that what is impenetrable to us really exists, manifests itself as the highest wisdom and the most glorious beauty ...
- Albert Einstein.
View concepts that are favorable for integrating learning in primary school
Perhaps they are the concepts that are most favorable for integrative lifestyle and learn at primary school.To think about - a melody that is just as wise in fresh as it is scarce for a sentence:
- 9
The higher the plum tree binding is the fritical.
/-i ■ hp jifjljh % • 1 the rich-is cob beer the black are thumbs.
- 84 - 85
Plum trees and teachers can hardly be indicated synonymous, and yet it seems to be a harmonious parallel between the words of this old English cannon and the object called '' teacher. 'The common denominator, it seems that an interpreted is like rough/th*
The higher that the plum tree is coarse /, the warmer the sun grows and the ripe fruit grows on top of the tree walking, where / the creative potential of the sun can best be used to convert flowers into the summer -sweet '
Similarly, the more resilient the teacher uses himself of the growth giving potential of life, the closer he will grow in the heat and power of the creative Fcroe, and from there the fruits of his classroom will actually be sweet.
A teacher who is then considered that he lives and becomes, transforming and breaking and by helping others grow in the same way* He knows, just like the shoemaker's' 'black his thumbs' grows in the vital to do, Detricher is his life- his world- his worlds- his worlds are his life.
There is a subtle interaction between the inner life of man and its visible expression in creative activity.
We are made by our own creations* Life has no larger lessons for us than that* “^®
^^ Charles Francis Potter, Creative Personality (Nov/ York: Punk and Wagnalls Company, 1950), s.93.86
Such a creative scores transcend the gnowing fear that is expressed by
A, B. HUISMANT
I, a strange and scared.
Authoritative worlds, assuming WRLDS, worlds of assigned subject, 'worlds with beautifully packaged answers, worlds of pro-controllers
Ideas, fragmentary worlds in remote abstract, not these are not these
"Plum Tree" Worlds.
In collaboration with all his worlds work together to support the tree, to give it
Power and beauty and to give the necessary Suttenanoe and survival benefits.
From life - collaboration.
But how should the cooperative, integration, the creative teacher know?on.
This way someone knows what Ashley-Montagu wrote here* "The problem
of modern man is the problem of human relationships - of the relationship of man with his fellow people and with himself
Such a teacher is becoming an extrovert person
Just like another man years ago who asked him in S&K e r t
46 Ashley-Montagu, op.cit., S.12.87
... give that I may not try to be comforted so much, please comfort it;
- St.'s Cathedral Francis a Gentina.
A modern teacher talks about the question to give: “And, oh my friend is never afraid to give your thoughts away
Save an idea for your own - an idea to grow up, but give the rest away.
Hughes Ifans remembers another teacher, Vrio gave his students the gift of his warm personality:
It is an informal word, he said, in the morning greeting;The human mind spoke in this;This is what young Jordan spoke about trivial matters, because there are insufficient words to explain the greater magic, the influence of a poison -sensitive per.onality
Barkan is considering the guidance aspect of the role of the teacher in this statement:
To help children develop their creative potential, teachers must load them in the mutual process of dealing with their feelings, ideas and materials.and responsible freedom to become aware of himself in relation to things outside of themselves.^9
47 Leland B. Jacobs, commented during an informal conversion, summer 1949. ^^ Hughes Jffearns, Tho Creative Adult (New York: Double Day, Doran and Company, 1940), p.209.49 Barkan, op.cit., P.148.88
And the Orie teacher sees creation in all problem -solving situation:
Some would make it uneven ... Limit creation to additives to civilization and would therefore say that only the very gifted can create.Need an act of creation and this does not matter how loving or exalted the problem can be.
And he integrates the artistic method in all phases of life and learning:
The cultivation of the artistic impulse, the artistic mood and the artistic method is seen as something of Uni -Goment value rather than as a pure specialty for the rarely gifted.Only through experience with art such as generally recognized, but also in relation to any type of activity.51
A similar thought was expressed long earlier by a teacher with the zeal of a crucifix:
"And do many of your children go into art after departments?"We asked. " - Report about a conversation with Conversation with Conversation Co professor CIZEEK.
And reflect our own belief in creativity in others - in
^^%Lliam H. Kilpatrick, "Creative Teaching" (Education Management, December 1952), pp.138-139.®^Commission for teacher training, teachers of our Tiims (American Council on Education, Washington, D. C., 1944), p.89 children?Bagan SMD Storters hold the mirror here: "Creativity, once encouraged ... will reflect itself in the child, and the B2 process to create his interests and enrich his vision."
Deldma points to the need for a thorough knowledge of the development of children and for a spirit of understanding by the teacher: "" Simply such teachers must of course understand children and be sensitive and respond to their needs.They must be stimulating, flexible and happy with adventure.
The role of the teacher in the use of creative material is expressed by IFearns in the next passage*
The part of the teacher of the use of creative material is educational of enormous importance.From his first act of starting things goes, he is a commander until the end, not noticeable, not harmful, but always as a creative artist who manipulates the unstable spirits for him at every step forward.Ta/without him would not go out at all;
Baruch continues in the discussion of children and materials with these thoughts:
The wise teacher sees that materials are there and in good condition.
®^Mlliam B, Bagan Og C. B. Stendler, M P D E M Elementair Curriculum (Hew York: The Dryden Press, 1953), p.457.®® AGNNES DELIMA, The Little Red Sohool House (nu York: The Macmillan Company, 1944), s.199.54 Mearns, The Creative Adult, Op.Cit.90
The use will never be bored because it still finds ranging and more and more refined kind of use
Snowy and Combs believe that the most important characteristics of all teachers must be these*
But above all they must have a real respect for the potentials and the personal impression, not a master technician, but a kind of person;
And in the end a prophetic voice* speaks here
The teacher who goes into the shadow of the temple among his followers does not give his wisdom, but rather of his faith and his love.
If he is really wise, he does not offer you the house to his wisdom, but you lead to the threshold of your own mind.
These are then selected "plums" - the fruit of some trees that dared to grow loudly.
Experience is the backbone of a program that is being promoted by a teacher who tries to help children find full and insightful explorations in the process of honest learning and creation.Children themselves differ.
^^ Dorothy Baruch, parents and children go to SoHool (Chicago* Scott Forestman, 1939), p.369. ^^ Donald Snigg and Arthur W. Combs, Individual Behavior, (get York* Harper Brothers, 1949), p.243.91
Jorsild writes here about this imique and his Seleotivo operations here:
There is a constant influence between the ego and the stream of experiences involved in the process of life and learning in SoHool.Has in him.In the healthy course of self -development people are involved in a constant process of assimilation and integration of now experiences, new discoveries that your resources, someone's disabilities and someone's relationship with themselves and with O t h e r s *^
In the current work, children often have many experiences, but these Iirtiioh are the most useful for him are the ones defined here
Barkan as a creative experience: "Creative experience is an organic process. A person sees something; he observes its meaning; he reacts to it; he organizes his ftinots in relation to that; he acts in terms of it." ®®
But if a child is exposed to an experience that is an essential creative character, and if he does not perceive its meaning, is it the mistake for the child?
Lack of previous experience:
... we don't get our perception from the things around us, but ... the perceptions come from us.Past.When they come from the past, they must be based on experience*59
®^Jersild, Op.Cit., P.14* ^^ Barkan, Op.Cit., P.65, ®^Earl C. Kelley, Education for \ Vhat is Real (New York: Harper & Brothers Publisher, 1947) , p.25* 92
No t is all creative learning happily learning.Some experiential challenges make the child informed that he has to give up compliance, comfortable ideas, and if he has to accept the new learning as his, he must change.Because of the ego because it contains an element of pain.Jerse Haring assesses this kind of situation in these sections
Vjhenever A student is in a situation where he can learn something that is contrary to a look in himself in which he is strongly involved, will come to the play, although such learning may possibly improve his lifestyle.To learn something that really makes a difference, in the sense that there is a revision or change in self -concept.
The more a child experiences through constructive orreativity, the more resilient he will become to experience further, and the richer his continuous experiences, the safer the potential of the child will arise.
Giving a child enough to experience a child to experience deeply and at his own level of development is one of the great responsibilities of the teacher.
If you want your children to write verses, take enough time to appreciate the little things that happen every day.shadows are expanded under the trees in the after-
60 Jersild, up.cit., Pp.19-20.93
Noon;When you look together
Natalie Robinson Cole emphasizes the same as important if the art program is useful:
Children cannot create from a vacuum.The need to say something and to be fired to say that.
And what has been said about writing and painting is also true for other activities that are promoted by schools.
Continuous experiences that change
Cantril notes:
All observations of people indicate that most people Taio are tailored to something that is approaching normal life, will not be satisfied with their role, unless it gives any potential for an experience to lead someone else in an apparent direction... it is feature of Vaiich, as Naturalist Coghill referred when he said that his philosophy of life was not to be but to be;not of life, but of life'.6b
That the child is a social being that experiences the best he shares with others is later noticed by Cantril with these words: “In particular, it must be emphasized that satisfaction
'6^1Lauree Applegate, Helpiag Children .trite (SCRANTON, Pennsylvania: International Textbook Compai^', 'ï949), p.17. ^^ Natalie Robinson Cole, the Arts in the Classroom (New York: The John Day Company, 1940), p.3. ^^ Hadley Cantril, "" "Vaiy" by Llan's experience (NEVF York: The Læaomillan Company, 1950), p.29. 94 Wanted in OxPorienoe is a satisfaction -in the special culture 64 of the group of v/hich, the individual participating member.
Education must then offer the rich, leading environment, where the child and the groups of children are creative in various forms, species and degrees of meaningful experiences that have too many changes and vary when assimilated and recycled express the essential processes needed toLiving to live to live and become.
Dewey Framing his definition of education in this way:
"We therefore achieve a technical definition of education: it is the reconstruction or reorganization of experience that adds the importance of experience and that increases the ability to lead the course of the subsequent experience." ®^
And Vaiero should teachers discover these necessary experiences?
Is she coming in dried out pellets that are being expanded with a little softening?
Are they manufactured as a stew bracket?
Dewey, the exponent of the experience, gives this employee: “Impulsions are the start of full experience because they go of needs;
64 Ibid., P.30.65 John Dewey, Democracy and Education (New York: The Tlaomillan Company, 1924), p.89.95 and it can only be supplied by introducing certain relationships
(Active relationships, interactions) with the environment. “®®
In a later passage, Dewey is further based on this idea:
Impulsion of need starts an experience that does not know where it is going;
Virtue of experiences from the past.An energies thus in full secrecy strengthen the original impulse, this works more carefully "with insight into the end and method. That is the contour of every experience dressed ivith -meaning.® ^^
Zirbes talks convincingly about the importance of experiences, types of experiences and sharing experiences that are useful in children's lives:
Children need experience because every action and reaction is organized in the nervous system.
Experience must be chosen and led to a dispute and the need for increasingly clear meanings and noise conditions for the processes and conditions involved in social life.
Children need experience with other children.They must learn the ways of democracy through experiences in a group that live, where the public interest is the issue of common care, ... Such experiences are richer and more productive when they have content and Prooesa v a l u e s.g8
®^John Dewey, Art As Experience (Hew York: Minton, Balch & Company, 1934), p.58 »® '^ibid., P.60.®Laura Zirbes," Children warned experiences "(Childhood Education, Bindon October 25, 1948), p.51.96
It is the 'whole self that comes to school, it is the whole self that is looking for important experiences, it is the whole self that solves real and experience problems and it is the whole self that acts, recycling and interacting to varying extent to, withand vrf.din its environment.
There was a child who went out
weekday.
And the first object he looks like
op
He became the object.
And that object became a part
from him for the day
or a certain part
Today.
Or many years
Or stretch cycles this year.
- Walt, inevitable
To discover HIV, these channels can be opened, extensively and related
Relate creativity and groiyth
Perhaps channels of experience and vital discovery can be further opened, extensively and related when school becomes a place where Vdiere -Kinderen develop growing joy instead of growing pine.97
Maoh of this state will be related to how Vrell teachers Vhat understand and deal with, they understand that they are developmental parality for children, as well as as unique individuals.
Growth through creative experience takes place through natural stages of development.With themselves as the center of their universe, they grow in their understanding of the relationship between themselves and other people, things, space and time.
The neuro-muscular control of a child and his conceptual concept interact with each other.The ability of his ability to move and manipulate it allows him
And here the author sees changes that occur with the growth of development and changes: “The dramatic changes in the development of a child are accompanied by the search for new values ... Continuous experience in dealing with new creations is possibleBeing useful for children and young people in complying with the effect of dramatic but natural changes 70 in their lives.
Young children, when they are respected and encouraged, are naturally creative.
69 Barakan, Op.Cit., S.57.70 Ibid., S.82.98
Denied opportunities for constantly targeted activity his image of himself and the conditions that he sees that it is himself and his environment has been distorted*. • • Improved curriculum practice and improved education leads a child against extensive insight and adulthood.71
Some aspects of the curriculum
Curriculum practice that the previous author is about can be improved if creativity in Teim's would be measured by the child's profit and not by the static characteristic of a mutual ground measuring stick or at the time of a clock.
In her book.About his interest*'
It can be added that any other absorbent activity moves in the same way ... If permitted, but the interest is still considered by too many schools as a whip battle boy for that time.
"What needs to be done" comes first, and then, if there is time, the interest can penetrate for* Such old patterns exist too much.
Schools and the schoolman have to do a little creative exploration;They must learn p a t t e m '-mald.ng in a now scale-as heart says here:
"We need a course in problems, not in answers. Wed needed
'^^ ibid., S.215.72 Cole, Op.Pit », p.115, ibid., S.5.99
74* Make pattern.Schools just give us the stories of old patterns. "
Creativity - au integral part of the Livhole
Schools must also state the idea that the creative
The process is only skin deep and a small paint and a small powder, a high note or two to add glitter and a dance step here and there for Glamor
He go *
Teachers are sometimes also wrong."The specialty" or
"Regularity" of their teaching tent is a narrowing factor that
Often talk too hard about subject and less rich experience;
It carries overtones fixed schemes and fewer meetings
The needs of children;And it has the consequences of a shared duality- the entire canvas on one side and the superfluous fringes on the other.
Barkan places the creative process in its fuller context
her*
Participation in the creative process - offers opportunities for individuals to extend part of themselves to an organic overall structure.
Creativity is not reserved for artistic activities alone.
Aad This same author regards the art here that they can work well in general education*
74, Joseph Hart, Mind in Transition (New York* Covici, Friede and Company, 1938), p.362.^^ Barkan, Op.Cit., P.146.100
In the general education of children, art offers unique potential .76
Robert Frost has expressed so powerfully that this need to "waste" beyond the slender limits of "you" or "my" existence and in the wealth of the majority when he votes: "Something that doesn't like a wall ... "And that fact is just as true for walls in the curriculum as it is true for orchards.
The resilience of the teacher
When they allow themselves to become more resistant to the challenges, teachers will discover the joy of creativity in the classroom.Trust and trust.
... the teacher discovers that painting children, clay work, design, dance and writing are all the same.
L%a children deal with what they like to do, barriers are no longer.
76 Ibid., Forord - S.V.101
v/ithin «It is © the attitude of doing your work -north -mhile.
Only when we build the child by giving joy and faith and trust does he build up his creative art.Ivhen that is joy and faith, there is also the good image or writing or Danans.It acts as magic - - the perfect formula.
Working -with these principles, the teacher will develop her own approach, her own moan of pre -sessation, which contributes from her own background of educational experience and understanding.
By giving the children confidence, the teacher will gain confidence by sharing their problems that her own heart becomes easier to enrich their experience, she will also be enriched.
Miat greater challenge to grow than this?
Child as a planner
Every traveler he mentally or physically sails his own Tempo-Congestie limits and his own preferences with regard to different forms., then if it was only an education -planned yes -TO.TO authors talk about the student's participation in these successive statements.
And Kelley notes: "" When working in response to its own purposes, the reward for success or the fine for failure is
77 Cole, op.cit., S.137.78 Barkan, op.cit., S.13 • 102
79 in the deed itself, and in the good that he had hoped to reach. "
This is also not the teacher's right to struggle "boy with a car" a special "Wills of Wings" if possible, because it is the right and joy of a teacher to lift it
Sights and extend the child's vision when these latter are shown
Proof of readyness.
By taking simple actions such as sharing by the child
Sideration and by allowing the child to establish his own sights
And goals start creativity to function widely
school#
A school family
A man who largely enjoys flowers, but who cannot distinguish
A black of another by name refers to the species in his garden
Like an intidle burpees, medium -sized burpees and large burpees,
Nice thing at the garden is the way all different "burpees"
Side each other in a beautiful heterogeneous way.
There may be more "burpee" planning in schools.
Times that the voices can work for small and medium and large children
Ge, plan together, create together, play together and grow
Ge, Suoh transversal quality organizes the creative in
Sights that children otherwise often miss.Maybe also
79 Kelley, Op, Cit., P «69, 103 Be several times -if adults share with children in both creative advertisem*nts and play activities.
Schools the annual cluster children in just an era together
And keep them so isolated for nine months of each year, do not allow natural waste or do not run together
Life seems to be meant.
Suoh heterogeneous planning will also tend to break down very undesirably with a focus on an age group.
Children of a development age are lumpy together that their
Features are increased - and often with their disadvantage.
“VvEborn are sensitive by others of different ages, skills,
and backgrounds, that of them will be a richer creative experience in
Self -discovery.
Jersild says:
... the full members of the school family are aware of the importance of self -proof, the greater the affinity of them.Capacity that he must deal with others.In their intellectual shape.
■ will not only be sensitive on the basis of superior methods for children's research;HO will understand that his students are because he understands himself.From "the wrong side of the tracks."A railway can be a social -economic boundary line*but feelings are not bound by the pear in the rich, is the same as fear of the poor.the Spoorweg.®^
When children are mixed creatively, they start to be more sympathetic, the Iivith problem that Ashley-îjbntagu expresses here: "... 8x every person is a problem looking for a solution."
The YFLA The size of the whole thing is used to increase creativity instead of reducing it, then teaches schools, just like the ■ wise man in these quotes
... the ■ wise man looks in the room and does not consider the little one as too little or the large as too large;Because he knows that there is no limit to dimensions* - - Lao - TSE.
Space for growth
Children must grow in a place Vdiero, there is enough room to stretch.
Creativity offers children who give up who give the boost to extend beyond the preliminary limits of myself.This further reaches, this responds to attention to the urgent rap of creativity on the inner door, this persistent search - these are the factors that are the factors that are the factors
Jersild, op.cit., P.33.81 'Ashley -iifontagu, op.oit., P.12.105 give rise to a more glorious self - a growing self - someone who "continues to escape glory".
A child needs space - he needs space to push the four walls back - to make traveling his own journeys.
I said in my heart: "I am tired of four walls and a ceiling# I need heaven.
Teacher's side
The most important person that opens the doors of creativity is the teacher, because it is based in the hands of this adult
These are then some concern about the thought of every teacher -Van -Guard:
To understand physiological and psychological growth watches and growth needs in children.
To respect the unique and value of his own Tivork of the child and remember the three warnings from Lowenfeld: "Do not give your own photos on an OHILD ... Never prefer the creative work of a child above the others... Let one child copy something ”
To work with children and to work honestly and to dampen someone's personality with a generous sprinkles of humor.
82 Lovrenfeld, Op.Cit., S.3-4# 106
Resistant to new ideas, media, children and others
adults •
To be pleasantly accessible for a child or gross enough
Children when possible, and to give them the necessary confirmation
It is the feeling that there is enough for everyone - enough of time, teacher, materials and Ivarm -Meraden*
To know how you can "get under the skin of a child" without coming out
of his good grace.
Be sensitive to "how-muclmess" that can be expected
Children and the "for Lite" that must be avoided*
To be part of the resourceful background that works
The active foreground of a child*
To give a setting that is rich in important options
Children at an age or many can make intensive explorations
ING self -discovery, self -confidence, perseverance, enthusiasm, Intel
Lecturry honesty, intellectual adventure and new appreciation*®
To help a child evaluate himself and his work (as well as
Different phases of it) with progressive insight*
To introduce new and strange media with intermittent intervals
To stimulate the curiosity of children and to form new problems*
Even a "blessed nothing" stands of material deficit prices
83 J* Marray Lee and Dorris May Lee, The Child and his Curri Culum (New York: Appleton-Century-Crofts, Inc., 1950), P* 588. 107 in Olassroom and to accept this and other problems in education, Refreshing challenges that must be met inventively and resolved.
To prevent children from being assigned to problems, teachers made by problems and problems with pre -cut solutions or those Dewey called "anesthetically":
Things happen, but they are not determined in the complex nor resolutely excluded;We -the spring spring.It is further.
To realize that when the child pushes the door to an open experience, he will invite himself to further adventures, because the doors of the running of a child is the developing square root of his human comparison.
To appreciate a child's vision.
The side of the child
A child also has standards to work, meet problems and solve them and grow creatively.
To find out more about "things" ... how they feel, how they sound, how they move, how they work, how they fit other things and
■ what different tiles can be done with them.
84 John De'Wey, Art as experience, p.40.108
To find out if "I" can use them.
To find out if "1" can do or do something with it*
To find the words and the desire to talk about what "I" have created and to collect the courage to evaluate it honestly*
To have the freedom to ask "why" and "what" and
"How" but to be just as willing to help find the answers*
To enjoy the pleasure and worth working and sharing in a group*
Knowing the pure excitement of success after he was trapped in a problem involved.
Have the right to make choices for themselves and to be big enough to take responsibility that is accompanied by such choices*
To learn tools and a working area and care
These things in an acceptable way*
To be able to use creative material in practical ways and
To use it successfully to meet creative leisure periods.
Have a growing attention for things that are beautiful, well -made and functionally good.
To develop the ingenuity of the use of well -known media in new ways and with new purposes*
To be sensitive to use the best media to express
Things that need to be made.
Have courage to tackle a problem that doesn't seem like
have a visible solution.
To accept changes that occur with someone's work* 109
To have a gross desire to expect better things from a*one yourself*
The program moth
To deliver a variety of materials ■ both of which are: resilient
and resistant for a variety of, t o dimensional and three -dimensional, time -consuming and less time -consuming, flexible and stiff, mobile and idle, real and imaginary ....
To give time to stimulate, solving experiences for children in a happy, social environment.
Give children opportunities to make choices, to learn now appreciates, planning and working in meaningful groups and for evaluating the work and personal contributions of the group.
For the development of originality, imagination and new ways of thinking and with children and delivering things to their specific interests.
To give children the enormous safety to achieve creative and to further give them a continuous looking for beauty.
To give the children a training in miracles like those who appear here: 210 Inihy: "Who does Nruoh of a miracle? As far as I'm concerned, I know nothing but miracles, vjhether, I am about the streets of Manhattan or Dart My Sightt aboutThe Roofaf houses in the direction of heaven.
- It is inevitably*
-Maleries of children in the four^and five -year kindergarten group 112
Design 4-year-old y \ #0
People 4-year-old 113 g
OVTO play in Teinter 5-year-old
The Great Snow 5-Year Chapter IV
IHerti'îeseses, blockages and friction, such as in/Iake Creativity Mist
Muffe morality in schools are taught in vain.From rigid teachers and because stiff rules are the virtue of life with a wrinkle aspect and scare students with her rough commands.
Assessing concepts that are unfavorable for integrative learning in primary school
Concepts posted by Soma teachers
It is not as if the blocking concepts promoted by some teachers, cruel, cordially discussed or even verbal and hard defense - of course all three can be true, but it is rather that these inberbes, blockages and friction that cause the creation of Miss, is revealed daily in the actions of the class.
Sometimes imitative action is the friction - action that repeats what was done in the holiness of the past.
8Ay promotion.Not too rarely is the passage of the classroom, and it is by lethargy and a quiet, "sit-stady" Inerti that this twisted action becomes visible*
When people think back through the mental albums in earlier classrooms, a scene like this will push the memory:
- 114 - 115
Behind her back she was called "Queen's Bee", but the exact year of her creepy and royal Ascension was never officially documented in the mild archives of the school.-Serating eyes, a tendency to flashy print and pointed shoes and a very and invincible attitude towards AG-L-Things «
The "Hive" usually contains around thirty Assoi*Ted Third Class Workers, anemic sipping on the watery and lean honey from the textbook-working folder-bill price from the limited field called "Seat".
It is true that the designer of the agencies had given his product in motion and adjustable properties, but the straight spirit of the teacher had settled all the Suoh activities.
"One, open; two, adjust; three, stopi" cadence.For all ordinary
However, no adjustment was made, and this was in itself unfortunate because the children were so high for half a day in their seats that their toes poked and were numb due to a lack of communication with the Grimmy, with an oil -creating floor #
The length of children had a direct relationship with the fact that they were on their workbooks and this "setting of chickens" may have made educational mosmose possible
(Although a study was never done along this vector), but it ensured a security that was suitable for a remarkable type of regimentation.
In the morning the teacher announced in clear, round tones,
"Workbook One I" and with the person assigns the first and hottest workbook 1x6
■ was immediately emerged.
Discipline was effectively achieved by a well -organized and thoroughly stigmatized cupboard system.
This location perhaps symbolized that they chose were closest
To the pedagogical pearl gates..And only tears, breathing and cramping promises of diligent work can convince the teacher of legal repentance and from there to a change of change.
The capacity was clearly labeled and the class was divided into three reading sections - Daisy One's, Daisy Twos and
Violet, the impeccable starch of the Daisy One -Group -noise completely equated by those who are so clearly marked as defective "seconds" and the violets have not only shrunk but shrunk.
For the victors, the prey also started to bear messages, open doors, hand out materials, greet visitors, and they also knew 117 the happy privilege to be called "charger" to select "pages"
For spelling bees and geography competitions.
In class work there was daily organs to be feared and prevent - the questions and drilled.The teacher and the pious Daisy One group, but if an answer was given incorrectly, the wrong answer had to be given incorrectly, repeated, which was in a ceremony that dutifully fills the blind reporter in a state of infinite woe ## #
But "bikuben" also had moments of happier activity.Six mildly wanted to weeks like American Indians, of course, of course, the bosses, princesses and medicine-mortage were Daisy who was disguised in pale but the spring, and Braves was Pilet-Toting
Daisy Two's, but even the violets in their fronted jute Sack Cladding had a hint of a guard overall joy.
As safe as autumn, Indians meant, so Christmas meant
Ehybhm band, boy band instruments was purchased years earlier
For the common use of the entire school, but somewhat mysterious way, they had finally become the only one on the third act.
From Thanksgiving to Christmas, the Cimbals crashed and the drums knocked in terrible violence every afternoon, and in an unfortunate time near mid -December, Queen Bee made a royal trip to the office of superintendent of Express for Expressfor Express mission to inform the Lord that 'her group was
Clearly "
This message was actually used as a verbal push to inform
The educational potato, such as "Time v r a s now" when he has to find a suitable audience for the percussive musicians in the third grade.
Normally the answer came from one of the three reserved sources - Kiwanis Club, who belonged to the superintendent to the browsers
Club, who belonged to the superintendent's wife, or the gays of the province whose members no longer had the power to resist.
A really good revenge.The highlight of the V program in a final choice that grabs the off-beat guidance of the triangle in thin childish childish guidance "around and around the Christmas tree, singing and dancing so joyfully"
This animated ditty from the sounding resounding and stolen, reproduced by the TDIich group, was Vroadenly Movement -free and does not wear visible signs of Yuletide Cheer of Charm.
This version was always included in the County Sun Under the Banner Picture text "Rhythm Band Plays."
To ensure that the names of the children were correctly mentioned, the teacher wrote the newspaper commentary himself in general, and therefore it was not surprising that her name, as an Abou -Been
Adhem's led the rest - and in the same splendor*
Spring trickled through the tired sludge of VFINTER, but it brought new problems in his wake.Species that were clearly labeled as modern teachers.LLLO would be well from the VFFork group in the second class, to say nothing about these hamsters and parakeets, planning periods, experience diagrams and travel here, there and every 1 % 1 1, next year, next year there should be one endAre all these monkey companies, and the painted paint, clay polcing and the noisy table that bang foolishness.
These hands would be learned to set up dutifully, and these children would rise as third classes.Class The last year* Crawling ideas such as the VMs are not something that should be easy
The second and more formidable problem Ivas the issue of
Teachers in the fourth grade.
Augusta Grace, the old order would remain constant and everything would be
Up to Ell but if the class was delivered in the hands of Emma,
Piper Tfould is intended to pay.Sticks emma* her rows with chairs
Wrere filled with a mishmash of heterogeneous humanity.
never considered the catastrophic results of placing a complex
On the side of the August person in an Aldrich and at 62 years with
age you would have thought she would have learned better, but not
Etamal her only rule was a gold.
Keeper of the other bees of the third class: "If it costs her a month to get them on the Sastled DOVM, it is her own fault and it serves her well."
Yes, the year was everywhere, but the shouting.
Had done her parents for three weeks now (the children
Never changed), and the many photos she set every autumn were finally down again and they carefully arranged in boxes and
Tagged.cat tails and the bittersweet bouquet had that so far
thrown away and Barry had to take the Dusty Geranium home
Back ridge next Monday.He had said quite carefully to be sure,
That his mother had someone who flourished.Select the books that had been
Deleted and repaired was ready to be stored.Factic another year
pulled the feet out of the door - as Toddy think hard
the teacher
Close the door firmly on Friday.121
Teaching is, or it seems to be, something parallel to a religion.Is that the person who becomes a scammer of such a high altar is rarely publicanvdio sings so richly about his self -free dedication to the Almighty.
In the story that was just related to '^uon Bije', the gods seemed to be regimental in the classroom, dictated action and Huber One God - authority.
Such gods require constant aspasem*nt and paaiiguber, and the currency offered must be rich in conformity, uniformity and stiffness.
In his speech at the Western Arts Conference in Columbus,
Ohio, in April 1952, spoke with Zirbes Turling about the aforementioned resistant gods, and although she had lit her special references
The group of v à i o m they speak Ivas, the thoughts expressed there, has a much wider connotation;
IFCHECISATION DO NOT develop.If we expect art development will earn, mechanization is not our resources.Spontaneity because of conformity and easy control.DO. Regulementing is unjustified in most social, developmental school activities and is reprehensible with young children.
• Reduces congestion and prefers informal, flexible seats, equipment and curriculum adjustments.
Dictated action also inhibits spontaneity.Venheid and the distinctive art values.are part of the rich flow of total experience in ■ who finds art education his stimulans and his role.Creative education challenges the student's initiative, develops his potential, increases the level of aspiration to higher competence.This requires a development method.Laissez Faire policy is both out of use.85
Many children exposed to the world of authoritarian Iisme know a bit about originality in the classroom.
"An assumption" - an assumption of • What I know, an assumption of VDIAT
I should know that an assumption of how to laugh, part of me, it will influence, and ultimately transferring the assumption of his general.But as an unsolved problem steadily looking for a solution
Laura Zirbes, "Creative Experience in the Education of Children", Western Arts Association Bulletin (Nov 1952, Volume 36, N. 4), p.9.123 My solution? -is superfioiall and therefore "i" -nho is taught in aSet assumed that Anst/ers never found "me" in the learning process.Can that be an impersonal and collective 'you'.
A child becomes quite a stranger to himself, because although he ever has to shake himself, he does not know himself and does not have a passport for the other inner person.
This is a school world with "do, do, doi" and not "taking time to crush" under this constant pressure of continuously to make the teacher's commandments, there must be times when the child probably with these words from Falstaffsympathizes: "I prayed to be eaten with rust than the barn for nothing with eternal movement.
(Shakespeare)
Barkan interprets such an action here: "To only emphasize the action without the relationship to seeing and feeling creative efforts." ®®
And what effect does this type of teaching have on children?
The effects are probably as different as the children themselves, but here are some options that a few authors probably consider:
It is difficult to understand people who play a lot of time.Children have learned that it is usually wiser not to be themselves for adults.
86 Barkan, on.cit., P.57.87 '"Applegate, at Cit., S. 1, 124
Creativity in all forms is suitable for averted, and here
Applegate refers to the result that such education can have creative speech:
The formal school room stripes gradually the flowers of creative speech of the lips of the children.It takes an actual pattern in youth.Creativity door closes quickly and opens for many Never again .®®
Even a bigger bet is the one to which Jersild refers:
The mistakes, memories of limitations and recycling that children are confronted with at school are often artificial and forced.The failure of the school is despised.Mach from the depreciation that children merge based on false evaluation., When teachers, in competition with the current competitive pressure in our society, put more emphasis on certain school performance than they earn, and put pressure on the child that gives the child the feeling that he is worthless in all respects because he is not a top athlete in some r e s p e c t p p.89
The long range of such lessons is presented here by
Zirbes:
Gradual and cumulative such sterile experiences stunt development.The personality of the growing child is therefore made less creative, more submissive, more the pentes in direction and approval, less adaptable, less safe, less expressive, less extrovert.v/chicken this happens
88 ibid., P.11. 89 Jersild, Up.cit., p.91. 125
For individuals and classes day out and day after year, it is a devastating Blight vjlth permanent person already and cultural consequences, "*^
It is high time, it seems to throw away a few gods in the classroom.And this happens.Select a "Queenbi" that loses his sting -
-Probably fine, flexible and well -qualified teachers will be introduced in the same school system.These newcomers then become the Pacemakers -New masters for a more important and elastic IMY of training young children,
- When Co teachers are helped by managers to build enough courage to dry to find new designs in life and learning instead of borrowing on crutches of old patterns,
- When a "Queenbi" and others of its peers are assigned to the rights of individuals, but no tribute of tyrants.
-Vjhen "Self Royalty" is considered realistic and not considered in a mirror "jump" as it would give itself,
-The knowledge of the classrooms is thus "lively" with essential to experience this regiment, mechanization, stereotypical and their cohorts, are not out of pass for comparison.
And a "Queenbi" can also be helped to change her own personality -
- then, she is exposed to new ideas - which she can be so involved that she will be willing to act
90 Laura Zirbes, "Child Development Through Art Education", Yjestern Arts Association Bulletin (nov ,, 1951, Bind 36, nr., 1), p, 10, 126
"Old lamps to new".
-When workshops and in-aaenrice programs are offered so that all teachers can experience the tension and camera by# grow#
- When schools encourage freshness and stimulation of nerves - ideas, materials and experiences that arrive at the "front door" and creatively pass through the school#
- When community and cooperation are De Doelen, schools schools for themselves instead of Meagemess and Egoishness in competition alone.
Concepts promoted by some managers
"Yes," the superintendent smiled while he leaned back in his Svri-Wel chair and knocked at his point together,
"I never have problems in my school.
If the, "he is proudly added," I can go to a classroom every day, and before I arrive, I know exactly what will languages.is a model school "
A preconceived world without an element of chance or change and an autocrat to keep the functioning sun v/here, does the creative mind work here?
"Young woman," the superintendent thundered, as if he delivered a sermon to a full congregation, "that doesn't mean 127 for me
• What you learn or how you can learn it, as long as you have good
Discipline.The then busy and then stay still - it's a rule.
Order - TLMT is the first line in heaven you know now, "he concluded:" Do you want the job? "
Then keep silent 1 Do she keep myself self -discipline?
Doors for creativity?
"Mother," wrote the "Young Vronian" that night ", what is the first line in heaven?"
"I thought you know," replied the surprised pen from the mother,
"Vichy, love, my best, but" continued the pen, "who said that heaven is talking about 'rules'?"
The years include all kinds of people.For example, a glimpse of a very reserved manager;
"That a nice new school proclaimed a visitor to one of the young inhabitants of the building," and where, "she continued, is your head office?"
"There," the child moves money • "in a closed door," but "she warned," I would not bother him if I were to wear you.
"Yjhy not?"Early visitors.
"He doesn't love people," the child trusted."He keeps the door locked."
"Is it true?"Visitors later asked a member of the faculty.
"Too Truel" come on the answer.
"We are happy when it dies is closed."
Frozen relationship.ïo opportunity for school to act as a
• VVOLE or to work creatively.
However, sometimes the formidable blockade is a huge lump of personal status, since the subsequent incident is related
"Lev. Smith," Come on hesitating and asked a teacher at a teacher threshold: "Can I see you?"
"Dr.Smith, if you want" asked for the irritated and much of August personality.
Conference in about five minutes.Novr, what is my dearest? "And
Mr. of Mr. smiled thinly at one of his smaller basem*nt - an elementary teacher.
The frictions caused by a person's own distortion of status and personal value wanderer DOVM new shoots of creativity with the hard heel in a rough suitcase.
Lowry W. Harding gives his tongue-in-tha-cheok impression of how some managers seem to be stripped by everyone, except for a thin clothing of verbal coverage.
Suggestions are hammered • With a solemn mien.In a grave with a chrale voice it is explained that only the selected, the few who have been chosen are appropriate to consider a proposal for such import.who made the proposal, with the implication that an ordinary mortal is certainly unable to think 129
Such an idea up and push it too.
Now the "Business Expert" makes its sharp access:
He reduces everything to his simplest Terra's time, staff, money - and points out that there is not enough time for current activities.Looks painful and feel guilty.
And the "Blase -Cynical" here evokes a dull eyed bridge:
See everything - know everything before it is explained.If necessary, the names of half a dozen society quoted, which suggests that this specific idea has been tried in them all unfortunate results.
Three stands in sharp relief to the light of one here:
A palette of superintei'tdelvts
Yellow ocher
Number one boy laughs the benign on the creation, ifeniale crew whirl around his fat frame to fawn for favors - precious few.
Law Fry VF, Harding, "21 Sorts of Educational Leadership," Educational Management (February 1949, Bind VI, No. 5), S, 300, ^^ ibid., P, 301, 93 ibid., P, P, P , P, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p.302* 130
Burnt umber
Voodoo priest, aesthetic mysticism.
Catroms.proclamer de cymbals.ride the stem iRe.aviers confusion.
Rode Sienna
Red chef, crazy tribes.
Prismatic light
From Tumoil everything is all about him the Democrat in C One • Full grace and high of wood, hmpooobly adult he takes the sun*
L* l «0.
Adults and children must either be brave to test creativity against such opportunities, otherwise they must - even secret - make 131 to exist during such circ*mstances.Assigned pattern of numb mediumness.
But "moving" is not necessary when administrators take time and space to make a little horizontal and vertical movement, and this takes place -
- Xrfien -edmanders remain resistant to children, teachers and parents ... to learn ..., new ideas ... to doubt ... and even to confuse in i
- ■^'ïhen status does not stand in the way of growth.Elasticity to offer a strong but flexible arc.
-When managers try to improve their knowledge of school life and by leading democratic action instead of closing the door rigid to hide their own limitations.
- When the day and times are considered optimistic to be "change" instead of being considered rigid as something complete
"Changed". Vjhen can inspire change instead of denying hope within a man, so if he still ... and hopes ... and builds ... and becomes.
- When the managers want others to share the dream, the process and the battle with them.*
- then a manager - as a good parent - every teacher tries to build responsibility for cooperative and mature independence.
-In advertisem*nt -manager includes children and communities
Concepts promoted by some curricula
Lîany in our schools does not seem to be effective because we get the building, the material, the curriculum and the teachers all ready, and then the wrong student body for the school.*
The pre-set curriculum-it has been made by the teacher, made by expert or textbook that the average child must be at this level of progress, so the material within the two stiff lids or four sturdy walls or pillar of the teacher should be easySwallowed* In essence, there must be no problems*
But how many children are on average?How many children are satisfied with a more normal invoice of the car?
So often schools struggle desperately to fit the child on the educational shoe instead of mounting the shoe for the child.
94 Kelley, Up* Cit., PP, 82-83* 135 by the craftsmen, and at least one third of the children in the group discover that the shoes fit a certain degree of comfort.A different style would have chosen and others a different color, but then there is not satisfied with every body.Children must be happy that they still have shoes.
of them v a i o not me
It was E. T. Itacs'ivain vdio so consciously noticed;"" The child never sees the curriculum he doesn't create. "
Concepts promoted by some parents
"Now, Henry," his mother reminded him to adjust his scarf,
"Tell the teacher that we decided at home."
"I don't want it," Seven -year -old Henry muttered with his eyes down and shake his lower lip*
"Henry," his mother coached, "remember, honey."
"You wouldn't," came the repeated answer because the child's toe is traced in the floor*
"Very good, Henry," the tones came over the Nertsjaal*.
Then she turned to the teacher, she said with a sweet voice: "Henry wants to make an asht for her father's desk. A really good ceramic stretch to her father's office, you know."
"Don't do it," OAMO do the linked words much lower.
"#Iy, Henry, you never told me," the teacher suggested."Of course, if that is what you really want to make for your father, you can certainly do that."
"Don't you really want it," come the confused voice*
"Now, Henry," the mother interrupted, "you heard what the teacher said."
"But Dad doesn't smoke 1" The child eventually hurried in a desperate attempt.
"Why do you want to make an ashtray, Henry?"
"I don't - she" accused the child who glowed on her mother.
"Well, honey," tweeted the red face Mom, "you know how nice he would be for Dad's office. Especially now that he won the elections. He would be so proud. Just think of how many people the office of the Ash Tray -Dad could use, and just think about how proud he was to say that his own little boy did it "
"I made him a paper weight in front of his desk," the child argued*
"Well, yes," the mother agreed, "but it was just a round ball."
"I glazed," the baby added, "and first laid a decoration with slip."
"He did well too", the Mouse teacher*
"And if father does not smoke. I will not make him an ash drawer," came the targeted answer* 135
"0h honey," the mother sighed and then turned to the teacher she continued, "so Henry's things would have - really ood things. He is our only child that you are bastard."
"It's just the" way I feel, "the teacher agreed," and it's
V à i y one of Henry's paintings is here, "and she indicated a painting at VMLL.
"Well, yes," it agreed that the mother looked quickly, "but I mean something very good for our horn oh," she ran further, "there is just a whole list of things I want him to make.Are you trored, you can help me? "
"If you want Henry to be different from other little boys in this room. I take the list, but you have to come in and help because I am sure he will not work happily as you can see yourself.
Of course, "the teacher added with a happy thought," you would rather wear a bastard, and maybe you don't have any better plans for something spectacular because Henry's muscles are not yet coordinated so well., "Why don't you come in and make things yourself. VFE would be happy that you have ever painted or sawn wood or worked with clay?"
"Fall, no," the mother muttered and seemed to hurry to leave her.
"Goodbye and come again," she invited, "0H and by Vray, don't forget that list and your bastard."
Neither the list nor the sliding mother ever came, and
Henry continued to create without extra parent pressure.136
Creating impressive, creating V/without a children's panel in the core, creating the child's judgment and expecting that the child will create at a much higher level than he is in stand- everything is blocks of V & Iich parentswho sometimes push the child's way - not with a real malignant intention, but in ways those who leave strange scars and underlying frictions.
Concepts promoted by some aspects of culture
In his book.
We assume that the child goes to school to acquire knowledge and that knowledge is something that has been around for a long time and is being transferred to authority.
WO assumes that subjects that are taken on authority are in itself education.
We assume that the best V: a y to indicate that the subject is in non -associed fragments or p a r c e l s.^7
We assume that an excerpt or a package of subject is the same for the student as for t e a c h e r.98
We assume that education is additional to and prepares for life, not on life itself.99
We assume that, since education is not present, it has no social aspects. ^®®
95ibid., S.15.Ibid., S.18,
P* ^° voor ibid., S.18, ^^ ibid., S.16.GGBID., S.17.137
We assume that the teacher can and must give the goal that is necessary to acquire knowledge «101
We assume that it is good to work with tasks without a goal or interest
V I e assume that the answer to the problem is more important than P R O C E S.103
We assume that it is more important to measure what has been learned than to learn.104
It is almost unbelievable that in a very crucial and dynamic period in the development of our country, a period in which schools have to inform young people for flexibility, creativity and greater independent adulthood than there is the aspect of Lot in the culture that thatWould do it back with a view of "What was" that would be a veto tomorrow about the continuous process for just a different view of the past of the glory, yesterday's authority and the printed stability of the registered civilization.Waiting to be seen as observed as bo b o m, being brought in a stmgeling existence, reformed and still designed.
Stereotype - a blocking agent
Not only hectographed and gemimeographed patterns for ooloring-in smack of a disgusting form of stereotype in the classroom, although this type of winding edge is the most obvious
^^^ ibid., p.19.^^ibid., p.19.103 ibid «, p.21.104 ibid., p.22.138 one, but there are all other activities that actually say
"Stay in the lines (lines made by the teacher); Rollovr the directory instructions (instructions of teachers); make your color (and also your thin); don't tap your pryers too hard (or your creative capacities I"
■ '.'. 'Vhen then says the teacher during a discussion period a assigned reading period in a certain area: "Now children can tell me the answer to this question?"is the best material
(The teacher is a judge) and (3) There are answers to all kinds of questions about the material read.In fact, there is only one with person who is known as the answer, and it is usually the answer that is devised by or the textbook or the teacher.
Authority!Regimontationi dictated action!
Some teachers do not leave much to chance if the person who assumes that if a task gets the answer is tempted.
A Aascinese teacher "Wiio once tried to indoctrinate everything
Samoan teachers with the five famous steps of Herbart were very strict in his demand for suitable lessons and real answers.The Samoan explicitly replied: "Lei, Lei I", 139 or "Mol" who determine the secret of the island of the island, the questioner asked "how" of the skills of the native teacher, and completely seriously.Explained that he gave Alvreiys the children the right answers before they started starting five contour stops in class!
Schools in this United States also allow the years to be stereotype by trusting what has been done to serve as an indication of the emphasis, must be placed in the curriculum and what should it be in this curriculumemphasized and what the "onco acquisition should get" Dusting.May, a more objective view of this can be achieved by seeing the curriculum in a rather imaginative and more objective form that this story of animals presents.w, harding of the Ohio
State University Accreditation of the non -published authorship of G. H. Reaviss by Cincinnati Public Schools:
A fable for school children
Affords
(The administration of the school plan with regard to individual differences.)
It was a time when the animals decided to do something heroic to tackle the problems in 'a new world'.
They have taken over an activity plan that consisted of driving, climbing, swimming and flights.
Tho Duck was excellent in SV/Imming, in fact better than his instructor;But he only made passing characters in Flying 140
And very bad at running.In Aivim.But the average was acceptable at school, so that nobody was worried about it except Duck.
The rabbit started at the top of the class of running, but he had a nervous breakdown because of so much makeup in swimming.
Squirrel up to and so excellent to climb until he developed frustration in the flying class where his teacher got him "D" in the race.
Eagle up to and as a problem child and vra's seriously disciplined.In the climbing class he turned everyone else to the top of the tree, but was able to use his o \ m to ay to get there.
At the end of the year, an abnormal eel can swim very well and also run a little, climb and fly, the highest average and T/as Valedictorian.
The prairie dogs stayed outside school and fought for the tax tax because the administration would not add to digging and digging to the curriculum.
Stereotype that exists everywhere in schools reduces the opportunities of the child on creative research and progress.
"Between the lines" - whether it is race, class or color, to "be careful" to learn the answer, to believe without interrogation, as the group liked and v/ait for action
Tdiat -act to take - do without the visibility, the internalizing, making "mine"
Zirbe's characterizes stereotypical learning as an opposite orreatity here: “I am third -an other characteristic %of Vay to achieve this is to recognize creativity of the opposite;Stereotypical regimency, frustration, oppression, lack of any incentive to strive.
Next Zirbes occupies a position compared to this VFHO teachers in Absolute:
VFE is against the kind of people who teach people as if it were the final knowledge.In a time of change we must learn to teach activities and to a world that is not predictable.Are willing to believe something? ^®®
Ultimately, this same author explains: "Why" from her position in contrast to stereotypical learning
Early by introducing random edges and standards by replacing stereotypes with creative images, blocking educational development and inbits it should free it ... by premature weight, by addiction to patterns, models or instructions and the sanctions that follow with themUse their use, teaching and stereotypes personalities at the expense of the essential spontaneity of Tfhich Dynamic self -publication and individuality of expression depends ... something happens with originality when it is blocked or rejected* something happens to self -confidence when it becomeschallenged.Especially regrettable in social approval is linked to dependence on stereotypes that inhibit really creative behavior in young children*^^ "^^
^^^ Barkan and Mooney, Editors. Conference on Creativity, Op.Cit., P.20, ^^^ Ibid., P.28, 107 Zirbes, "Cliild Development Through Art Education", Op.oit., S. 10, 142
Aad a poet and philosopher speak about the useless useless thing about such a doctrine, because he says about teaching;
Îlo Man can reveal you, but the ■ who is already half asleep in the damping of your knowledge.
In Samoa, the Polynesians refer to Blinde -yde -yde -ii-enations as a leader of a place colorful and in the right way referred to as "nowhere else".Only cut the waves deeper through old pattern channels.Stereotypes is an educational "not another coast", ",
The blockade of "for hhchness" and suffocated
Sometimes a child gets an excess of goodness in a child
of life he grows in almost the same VM Y as he is with spoon -fed narners
8 -tuffy.han's Life is so devoured -with life at the top of Ivonder, seeing the essence of greatness, Hearing beauty -Beauty and feeling the amazing dimensions of splendor that he has no time to develop myself orTo expand his OIVNV/potential to expand ities.
Often there is too much "wanting-for" for children.
The secret of the door must be instructions, the wish must be V/Hetted, 143
Sonos is warned, but the find must be the Oiwi search assignment of the child.
Leland B »Jacobs used to refer to an apparently desired state as
A "Blessed nothing!"
unlimited possibilities to build, grow, find and
For appreciation.This condition, Hoedjover, does not lower the need for raw materials for building or a seed or so from beauty from which other beauty can arise, but it gives the nursery to develop his own skills, a freedom of Hamat makes his
own unique choice of beauty and that leaves a need for
Search and develop.
Shame that child whose parents say: "We are not an icnow" what to give
Hello m.han has everything that such a child can be compared to a
Pate de Foie Gras Goose.These chickens get so much food that
Against his overcrowded death, the head must be kept in a vice • VVHILE
More and even more food is framed DOVM It protests.
Just as too much food kills the goose and too much fuel
Smothers the fire, so also Vri.ll too much of everything it wipes away
Because it continues.
uss beauties and the most beautiful exports are those who are man
Find and men possible for and in themselves.
M s M must know the void to look forward to the fullness he needs
chill vri.th tidnter to look forward to in the spring, he must feel the weight
of sorrow to find the wings of joy and he must knead the requirements
of searching before he discovers conquest.144
Too-Muohness is a Vreiddlod mode, a bewildered time for things and men trying to hibernate I/VHO, but for those who look
Hyperion Gates, a life that is more scarce in his wealth - will lead the child for his search for 'heaven'.
Paintings of Kindben in SEC, seven and eight year old groups 146
(Tempera) Age 6
The very old house
Msoiy animals such as this old house and such
They came to live in it.
Soon all animals will soon notice the house and
Go live there.I'm having fun.
The history of the child.147
O
(Tempera) Since 6
One day I go on the donkey to paint an image of a house.
I happened to see on the donkey and
I saw that it was full and I didn't get paint.
-in
*
Hearts and Floors (Tempera) Age 6
Crane And Rivets (Tempera) Age 7 149
-Playground (tempera) since 7
CLOLMS (Tempera) Alder 7 150
To enforce
To enforce
% % &
Happy Clovjn (Tempera) Alder 7
Olctoi is in the ring and that is there
Raining large drops.Folk laughs
At OlCTM.Clomi laughs too.
He is a happy Clovvn.
- History of children.151 R
I j / r ''
Design to. '. Ÿ father (tempera) Age 7
MNWNTI.III.1^.
P&F*
Rabbit on a tray (Jutebroderi) Age 7 152
“Funny Clotoi (Tempera) Age 7 153
M
• Ballet dancers (colored pencils) since 8
“Design (chalk) since 8 chapter y
Creative action - A vehicle to save appreciation of obstacles
A good life is one, such as Oan Oonvort - barriers for funds.- Laura Zirbes
The chain reaction of positive
Tom Sawyer and a grinning gang of boys in/riiitewashing aunt
Pollys hek; I-denk-in-tour, I-Dink-I-Uphill puffen
From the small engine that could;Scrooge slid over his delayed
Christmas position;The forward care of Florence Nightingale, Clara Barton and Sister Kenny;
View of Marconi, Bell, Edison, The Wright Brothers and countless
Speak more;and the hopeful belief in humanity as seen in
Great positive actions of men such as Lincoln, Gandhi and Albert
Schweitzer - all these, from fiction and from real life and
countless millions more that mentally make more moles of mentally
Bergen prove that by one out of positivity 'into the door
De Wall "can be opened for a search diversity of hopeful others.
The door is just as much for children as adults and
Child who tries to open its own doors every day becomes quite competent
Because of this performance, the older it grows.
Grog was sleep and half a year old and he needed help
By measuring a piece of wood.See the teacher busy with a group of a group
He continued to tackle his own problem other children.He got one
- 154 - 155 Ruler and Beoame intensively busy with his work.
He wanted to put a stamp in the middle of a piece of wood one and three centimeters wide, so he explained: "The tree measured so", and he indicated on Niler, "and it is not the tag -mark or at theHalf -inch -tmark, so I didn't know what to do and then I saw all these other brands (eighth), so I counted them and there were fourteen of them.
"Righti" answered a proud teacher, "How 7/Hat do you think a lot of inch is called?"She asked about an eighth.
"Oh, I think I came out," the boy flirted, "I found out that there are eight of these things in an inch, then they could be 'eighth'?"
"Could be and AREI" agreed with the teacher."What would you call so much space now?"And she gave the original measurement one and three quarters of inches.
The boy thought for a moment and then counted Quiokly: "I understand" He said excitedly: "Fourteen Ostres I"
"You could do that," agreed with the teacher, "but what about a different name?
If you know that eight -eight make an inch, why don't you start by telling me that your measurement is an inch and so much more eighth? “156
"I get it, I got it," the boy quickly proclaimed, "an inch and six eighth boy, oh boy" he announced: "M 1 1 my father is crazy worth the evening"
Then Greg made his OIM meeting and helped to push
"Doors" also opens for his classmates*
Being creative to being creative with both others and themselves is a wonderful personality dimension to cultivate* One of the excellent public school managers in the country makes it a point to write personal congratulations to school people throughout the country, is worth itacknowledge.
A highly respected older teacher who sometimes brought
"Problems" to a younger and newer Teooher always said before he went out, "I never leave you without help.sturdy extension hand and one day with a glowing, not her senior who received help, and she was the newcomer to be fooled and who was needed and appreciated and an integral part of the staff* the older and the older and the older andWeler teacher shared real problems, so that she can also share herself, her thanks and her friendship.
A fed or a note, a unommendation that is sincerely given adds, so that the muoh status for both the giver and the recipient that it is a shame to believe that someone's thoughts if you collect them gracefully, in ... artJoy and believe imaeaaourly.
A good deed that tongue dies, sucks a thousand waiting.Our praise is our salary.- Shakes Pearo, from: a mnter*s Speech
Teachers who find good quality in a child Oan do more to build further by starting with the only exemplary character that is Istic than by trying to reform a number of losses in attractive properties, so that everyone is one to get upto grow "." Or as the song decides: "You have to mark the positive and eliminate the negative.,"
For some children, the most important obstacle to get started - it turns the inflammation and the starter gives a push.Until AOT, even if the action itself is imperfect, because because the proverb is thinking "nothing dared, nothing was achieved", ",
Collier said 'why' of a need for action here:
It is from the needs of the action that knowledge is dynamically authorized.The actions, and OO Disoeverers of the corrections of errors, then through and through and in 158
Despite the BLTMers or even on the basis of them, the vital energies, self -confidence increases, strength in folds, builds up experience against wisdom and the most powerful of all the principles and ideals, deep democracy, slowly wins f i e l d s, 1 0 8 8
The chain reaction of the posteraa is the building agent.Gentlemen
Zirbes that regards it in such a light: “Creativity consists of pose
The Tivivity, the person is constructive and extrovert and is concerned with
live.
And Moeney emphasizes the point further* "in the creative
process that is a positive orientation, .. It is a direct, positive,
Claimable operation.
All kinds of things are built by positive thinking -
A school creates a wonderful version that was once only required
Thinking, a well -known lecture is today on a one -Oneloosely moss,
A M M is confident and long where only the shy boy stood yesterday,
A nation that grew earlier yesterday was only prairie -cunres
Faith causes a lack of paths, and today is filled with promise because
Yesterday was successfully realized.
108 John Collier, "The United States Indian Administration As Laboratory for Bbhnio Research", Social Research, september 1945 (Volume 12, No. 3), P, 298, 109 Barkan and Mooney, Editors, O £, Cit., Cit. , Cit., Cit., Cit., Cit., Cit., Cit., Cit.s.17.110 Ibid., P, 17, 159
Example and Regulation - »Agents to save values
It was early in the morning - an hour before school Coramenoed - and the teacher thought she worked alone* suddenly she hit feet that skipped, and then a head stuck her curious road through the door.Part of the child's anatomy,
"You're an early bird tools"
'Toiat are you doing early? "O M L D required*
“Mön, many things* Today I fired the oven, cleaned the paper cupboard, tackled the plants of water, cleaned up by paintpot, watered the glazes, oh, "she laughed," I do a lot "for school things" such as* here, "she offered the curious little one," you can feed the fish. "
"Brenda is in the room* Should she also come?"
"In any case", the teoher and encouraged in a few minutes for two minutes
Schippers appeared through the door.
"Come on me and Brenda helps?"
'Yilhat would you like to do?There is the crayonboksTo clean
From "y a m stable" some loose tails must have, we need some cans of fresh water, and maybe someone wants to help me cover dust. "
"Huh," drawn skippy ", we all do that in a short time,
HM Brenda?”160
They 'worked together with chat and laugh and.
Later in the morning VDXEN the same children came to the art area -with their total group the others told what they had done to help*
“We want to help the tool“ LEFB-Outors required*
"You do it," the teacher smiled, "every day" and then disbelief on their faces, she added: "When you are beautiful in front of the area during the Olean-Up-through your tools, by the Opsawdust to returnsweeping, cleaning up DryPP, distance declarations and recurring materials - You allow another group to come in and enjoy without you "
The day on which the "Olean -Up" clock varied, every child really buzzed in his efforts to help,
"Bowl exclaimed," called a young guy when he gave the teacher a loving blow before he traveled, "I think the room will continue today* Yfe, all shared to make it beautiful."
Learning to share all kinds of yourself also leads to personal happiness and social happiness, but teachers must help set the example - to determine the regulations - so that children do not feel that they are being exploited by adults*
Teachers must also occasionally show children an example of the battle before they see the full glory* 161
"A surprised child said who saw a great symphony leader who mopped his sweating head while working a hard passage during a
Inspiring general test, "Lify, I never knew that good musicians had to work
so hard.tiühy, they even try harder than me when I practice
klarinet -looson "
Knowledge won with an example, children often give the desire to stand on "humpback" in the field of growing.
Due to active examples and lived orders, the child gets the sights of teachers and adults, just like teachers get information about the child by seeing him unfolded, among other things.
"Going" is not all sides full-fat to teachers must also experience the fight before they are successful.Jind is healthy and good and correct.Or what is "easy" for them for them.
fight, but they must also learn that when meeting the competition, in
solving problems and by not being afraid of tackling new ones are there
A wonderful search for life ... an exhausting person and that there is a deep rewarding happiness in KOV/ING that has "I"
^^^ Applegate, Op.Cit., S.30;
Yfell, son.I tell you: life for me is not a crystal staircase* It has had tacks in it.And splinter.And boards to go up.I'm on A -Klimbin.Go, honey, I*I still climb.
- Langston Hughes
The excretion of creative fights are growing a new self -dimension
Ho stood up, a long teenager, and looked at the small children who worked with the clay, the tree, with paint, with a needle and wire, with tissue and with blocksprintTools* "Is it not won what they do with their hands?"I can do some things they can't do*.
He also had Knotm, but while mixing chemicals in a laboratory there had been an accident, and now his arms had steel extensions*
"U* would never know him for the boy he used to bet," remembered a teh.
He is now so friendly and polite and attentive. You will ever be noticed how he even appreciates the very small things that people do, and he does his best to tell them too.New person wore and a very nice there.
Learning your potential self and making a huge physical and personal adjustment this is not small tricks for everyone.
Perhaps this is a VMY and a difficult to learn what IMS said so clearly here:
Wise men are not sitting and crying their evil.But currently hinders ways of crushing.
Grovdlng A new self -dimension is usually less dramatic, but even fewer efforts generally leave their mark on the individual*
"I want to make a copper come," announced the nine -year -old child.
"Did you think Vaxat is concerned?" The teacher asked.
"0h safe!"The child shrugged.
"Tell me," the teoher suggested.
"Oh, cut a piece of metal and inserts it," breeze the boy*
"Vfell, Eon, assumes that we are talking about the very first things you will probably do."
"Yfell, first I will cut it out*"
"Y8 What shape will it be?"
"0h, I didn't think about it."
"Kenneth, have you ever cut metal?"
"Ho, but it looks easy."
"Let's try to cut a piece of scrap to see if you can do it."
The cut was not that easy, but the boy prevented the fight*.
Then the TVO project discussed further: "You can take a long time, you know," warned the teher, but the child decided to tackle the problem* he made a lot of designs he discussed
Belonging to his classmates and teachers, and eventually he decided for the VDIAT a "best" choice for him.He outlined the shape of copper, and the first time he placed the shape he, like Eparainondas, at 165
Smack in the middle of the magazine in Poplar another discovery*
Halfvrny through the Møysom task to cut in his shape, he became weak until a classmate pushed him by saying:
"I thought you said you know how difficult it was" then he cut me
"Well," he cried one day, "it's all* now I am pounds."
"Tivith the tagging edges, I exclaimed another boy who had previously worked in copper.
The auxiliary assistance was appreciated and Kenneth smoothed the edges until they were razor."It's nice enough to stop now," he announced.
"Great joke," remarked a classmate, "you are just starting to say."
From the fungus Anvil and March, and from there yours came first, Kenneth asked his neighbors every fifth blow when they thought he was ready.
"To be honest, know, you would think that your primitive man was. VFHY, that thing has 'ruffles' everywhere."
Then Kenneth used his own eyes and Beoame intensely critically about dents, backs and ruffles.One day he kept his bowl to light and turned this Ivay and it placed it on the table and slowly turned it out to look at it from all kinds of corners.
"Yes," Kenneth breathed into the rare atmosphere - his very best Vrork.
"You know it will really make the VDA shine, you polish it," the Teoer Oomvered -authorization*
"Polish It I Thy It's Beautiful Now" proclaimed the satisfied craftsman*
"Hero," teacher suggested ... Wing the boy a piece of steel wool, "try to rub your bowl until you can see a bright light shine by*"
TFL-Th a sigh of the baby started rubbing, and then he said that everyone could hear: "viewing" The linked lights had started their magic* now the boy rubbed a revenge until the whole piece sparkled like a newRelief ear*
"Do you want it to stay so nice?"
"Yilhat you mean - don't you want it?"
"Copper gets boring when it is exposed to air," the teacher explained, "but you could put a special varnish about what GMS/Ays would keep it shiny."
The last step* It was ready* Everyone gathered around the child on the day he took his bowl home*
"Do you want to give it?"
"Oh no," makes the genuine answer to* "I will wear it home in Hçt, very my own hands. I just never knew that I could do something so beautiful*" 167
Kenneth then knew what Kuth Strickland meant when she wrote:
'' He was given the opportunity to develop the initiative and
Joy of thinking and working?Maybe he never had the experience
Ethce of the girl who said that when she was doing something hard, "Not 112 you just like to feel your brain cells crack?"
Being able to make your own 'brain hook' is the biggest excitement of all*
Create interest: in UEW options and therefore to refrain from the grip on the ideas' that have offered an obstacle
"I don't eat it", the seven -year -old boy full
put his fork in the works on the plate for him*
"Why not, Kim?"
"That's not good," came the indignant response*
** Did you ever try? ”The teacher smiled*
** NOL "Come on the explosive answer*
"It's very good," the teacher continued and then signed
Several other children in the conversation she asked: "Susie,
Can your mother make macaroni and cheese? "
"Yes, but not as good as this, I cried" the child*
"Vfell, Robert," the teacher suggested turning to another
child, 'we assume that we will start with you and walk around the tables
All the ingredients think that we could put in this oven shot**
Let's see if you are all good chefs1 '
112 Ruth G* Strickland, Op* cit., P* 14 = 7* 168
So the cooking exploration began.Think, there is something else here, tools ”
"What is it?" Someone would know.
"I think it just has the teenage little Uionl", the reluctant taste that is proudly mentioned.
Not long after, the child's mother asked the dietitian from the school to the last macaroni and cheese recipe."Kim just loves it," she explained, "but he never eats it at home. He says the school uses special ingredients!"
Some children even told about helping their mothers to cook at home to find out the hidden details.Now the lunch talk is often focused on "you know what ... cooked?"
The previous story was a very elementary story, but in his way it illustrates what Kelley expressed here: "The ability to be trained depends on, it seems that the individual must abandon new environment requirements.
Very often children and adults refuse to give up old ideas or ways when they are pushed or obtained or persuaded or cajoles.are hired, but.
115 Kelley, Op.Bit., P.52.169 Until the person himself is ready, makes a "corn for the boiler to fail" observation a bit good.
"I want to make a paper Raohe panel," said nine years old
Merilee.
"Google" proclaimed the teacher.
"Yes, but I don't want to work in the Goku Stufi" Fussy the child.
"You mean the wheat flour of the mixture and impressing?"
"Uh-huh, that's gooky I"
"How do you recommend making paper machine differently?"
"I don't know," the child complained.
"Let's go on and see Jean work," suggested teacher.
"Look," said the teacher who works with the hands of the pasta mixture, "it is the most comfortable to feel - just like lumpy sauce me"
"Lumpy Grayyl" called out the baby: "Oh Mine," and a giggle jumped out before it could be caught again.
'Jean and the Teoher continued to work with the pasta and
Merilee followed the mixture.I experience
The next morning the baby arrived in the room commonood for a long time in the room.
"Wash."Company for dinner tonight, "she reminded himself*
"This must be special business sauce", so she worked with a poldering conversation with herself and enjoys "Goky Goo" huge*
Later, when the camel started to take shape, she entrusted another girl: "This is my prime rib of Oamel, and this is Goky-Goo Camel Sauce 1" Tîhereupon both children laughed in great joy.
A teasing humor will often lure the VDI-proof, which sometimes runs a country* of this trait (both in turtles and humans), the poet has said:
Too many proof forces believe - the turtle will not try it unless you leave it;
Use elasticity and understanding to house obstacles, then Bather resistance
"Guess what to do today" Jerry demanded from the teacher*
"I can't guess. Tell" comes the smiling answer*
'A main stone
"A what?"The frightened teacher requires*
"You know, a tombstone," the child repeated*
"Jerry, do you know what a tombstone is?"
Yes, it is the stone to put your name in the cemetery.
"Tfoll* Tell me, Jerry, 7jhy you are so interested in making a tombstone on a wonderful spring day like this?"
"Because the tombstone costs a lot of money and the Ray family is trying to e-mod-oh-mize," the big vord oame slovfly, "and things here (which the clay and the oven indicates) is completely free> so" would relaxare: "Today I have to make a tombstone."
"EM," Teacher mused.
"#Iiat?"The child asked.
"I was just thinking," Gløgende teacher, "Jerry, do you know how big you want your tombstone?"
"Oh, about as big," the child said that a colossal marker measuring in the air*
"Quite big, hm?"The teacher asked*
"Scream, it should be," the child reminded the child important, "because it must have a radiation name and everything about Iæ on it."
"Oh to be sure," the teacher coordinated."Well, so - let's take a turn."
"Yilhere to?"
"Looking at our stock of clay and looking in the oven," replied the teacher who took a benchmark on the way.
So they went to teachers and looked inside. "Not much clay today," the boy noticed.
"MNM, about enough for six pots on medium size. I say," the teacher guessed, and then they ran to the oven.172
"How big you said, Jerry?" The teacher asked.
The child demonstrated dutifully and the Theeman measured and noted the corresponding numbers. They then measured the oven.
"Huh," said the boy, "we* 11 have never 'fired her*.
"Looks bad," it was once with Teoer, "and not enough clay today. By the way, Jerry," she continued, "we*couldn't say much about that tombstone because we don't know enough yet.
"Gee whiz, I hadn't thought of that," the child that noticed, "not even the anger about all the wonderful things that I will do one of one of" will do "
"No, and they can even think that you were still alive and it would be a foolish tombstone," the teacher suggested.
"You know I think that's right," the boy justified, "I think
I prefer to start a jute borens today if you don't mind changing my plans. "
Children get "big ideas" and some of them are great and very possible, and others have been able to understand much more than young spirits in fast dreams from childhood. To resist ideas with Ultimatum released in negatives and spot, doesIt hurts children and builds "Can't Do" worlds - Worlds where teachers and other unsympathetic 173
Adults BOome Domiæiederig Andres.
The child's ideas and helps him to realize the possibilities and/or
Limitations usually give him enough background to make his oveni
Intelligent decisions.
Strengthen the class report, but it also provides richer insight
In the "how he taps" from the inner self* of a child*
The more small and large learns to be resistant to each
Others and each other's problems, the happier this world of adults and children becomes, and the fewer disturbing differences that will be there. Robert Frost knew this voard he wrote:
"Men work together," I told him from the heart, "they work together or apart."- Robert Frost.
Nowadays the emphasis is placed on flexibility and
Resiliency no longer reflects overtones of an attribute con
considered charming - it now reflects an urgent and vital neod
Because the world of the day* Ashley-Montagu says: "... the likelihood
The survival of individual or living things increases with the extent
where they adapt harmoniously to each other and to
their environment."
114 Ashley-Mbntagu, Op.Cit., S.44.174
Reducing a huge meeting of obstacles through realistic and rational acceptance
Teoer was watching her.
■ With chairs that are stacked randomly, they supported light lines in different lengths of dusty green fixtures.Some threads were shortened with the help of a tongue press and a bit rope, and others with the doors of the plague.Faces and papers covered with a fuzzy jacket green fungus.The Teoer of himself,
"One thing is certain. This place is certainly not missing" and then she hugged herself, "... or work."
'M I*.n 'j y - • i "13%; t ... 4.! _if
VI 175
She blew the dust from a chair and sat Dovci to absorb
Room further.M n d o w v.s delicious but it looks better to be framed
Tsith gords and Lyders with a few plants along the edge.Can be geraniums cheerful.If the threads were simply cut and shades were washed and cleaned.
It was as if every tired piece had a plate with the text "Paint Me".
"Space," the teacher believed, "Ivhat, we really need more space."It was a big order.Watercolor, space for wood and metal areas, space for tools and materials, space for clay work, space for tranquility ... for disblades ... for mobile phones ... for supplies, but especially room for children - Live and leather andEnjoy the beautiful fullness of the work.Sol The problem was one of the planning areas.
The wall suddenly took on a new aspect of the utility.
“You want to make a beautiful donkey! You are large and spacious, both long and low, and you are -in the face of a Celotex -cover, two layers of paint and -with a little abracadabra and a presto -chango that we will haveYou have transformed.
Squares of Gili Painted Celotex that fit into the windowsGlassSharing the area of adjacent seemed a good idea.
These would not only give daring color*, but they can make good display areas such as ■ good.Celotex that hides the glass windows #
Spaoe for storage, and the old car,
Visions of space; with children who were in it, the past flowed.
M t H Help from other buoyancy hands, the room came all the shiny clear and shimmering many moons and more back pain later#
The tension oame ■ vdth the tension in children.
It is so happy as a circus 1 "said one." It has mirrors everywhere! "Another mtoh of light shouted in luminous pools on the newly painted surfaces." I have never seen the ceiling before, "someone else noticed thenHe started looking#"look!"
“This space even has goldfish, I just have everything ... and that's it
Signals "
The room, ■ was absolutely not ideal.Ho, but it made the most Vihat where it was, and with Wiiat sources it was available for the reooavorsie.Approach to the problem, but life rarely works so gentle or so handy.178
An almye thinks, if only one specific unpleasantness that he could clean up, life would be as promising as it promises to be. But in fact we just change the fear# - Christopher pry from: The Dark La Light Enough ##
Teachers have problems with all other people - fear#
Of them is only different because they apply unique to given situations#
■ Who does not know about housing problems, planning problems, time problems, human problems, material problems and even problems that apparently have no solution?Realistic London drama Wiio wrote:
Things without everything must be without account;What was done# - I am William Shakespeare#
Problems that are realistically accepted are no longer fear.
Tdio is high in his explorations and the search for better experiences in life and life was quoted, M foulen ■ when I reach every search until I am a 115 new up* life is a series of is a series of missions without end*
1x5 The Forman (Xjclahom) Transcription, June 23, 1955 <180
Paintings of children in the nine, ten and eleven -year -old groups 181
'Snowy Night (Tempera) Siden 9
1000 50 500 hours (oil) Thank you 9 182
High Street (chalk) ■ since 9
1 ^ ^
Downhill (Block print on canvas) Age 9 183
M
St.stephen's Church (Tempera) Alder 9 184
Boy Modeling (oil) page for 10 185
Falling leaves (oil) Age 10 186
People (crayon -sketches of 10 187
Collage Alder 10 188
u
Oil painting since 11 189
'Oil painting Age 11 190
4
Titat color age 11 chapter we
Recognizes some expressions of expression that give a relapse to certain creative possibilities
It is not Goethe who creates Faust, but Faust creates Goethe.- G. G. Jung
A repertoire of beauty in different art forms
Just as the child needs a growing repertoire of friends and acquaintances - it is better to acquire a sympathetic stream of itself
• With society, he also needs an expansion repertoire of vital experiences - the better to fit harmoniously with culture in an intelligent way.Should a child experience if he gets involved in beauty?
"Beauty is truth, truth beauty - that is all you know on earth and everything you need to know,"
So if beauty is synonymous with the truth, the child must express himself in his own symbols - symbols VDiioh represent fair, real and valid dedication to the ego.The "open sesame" of the Eimring itself, and it is through such a involvement of creating and life that the child wrote his understanding of -what Chaucer wrote long ago*
- 191 - 192
'' Keep the high Isnay, your soul pioneer.And you have to free the truth, there is no fear '
The target.Of the education that Herbert Leest is to create artists - these "MHO print for Vrall" in a framework that is a repertoire:
Education promotes Gro ”, but apart from physical maturation, growth only appears in expression - audible or visible signs and symbols.Uneven sides.When he can make good sounds, he is a good speaker, a good musician, a good poet;If he can take good photos, he is a good painter or sculptor;as good movements, a good dancer or work;Good tools or tools, a good professional.Is nothing but the good presentation of sounds, images, etc. The goal of Eduoation is therefore the creation of artists - of people who are effective in the different expressions of expression.
From the appreciation of Beauty Reader says: "... we only approve 117 beauty based on our own creative ambitions ..."
In this consideration, Dewey hit a Somemiat fuller agreement:
To observe, a viewer must create his own experiments., clarify, abbreviated and condensed according to his interest.
^^ ®Road, Op.Cit., S.11 # 117 Ibid., S.292.O 'Dewey, Op.Cit., S.54.195
Because the child can appreciate it as Lee and
Leo has come up with this:
The experience of the child of self -expression through art provides a solid basis for appreciation.Also created in comparable media*, he has met and solved some of the same problems, although not so good.Insight into the work of the artist, with such experiences as a background, he can choose the parts that are played by different instruments in an ensemble or orchestra and their contribution to the whole.Can notice the feeling by using certain words or groups of words.But the child's comments about all these must be spontaneous and volunteers.Are not easy to come, a few sincere expressions of the teacher's own feelings must be all the necessary stimulation.And if such feelings are not present in the child, and insisting that he expresses them, only leads to hypocrisy.
A repertoire of beauty in a child's life is often a composite thing - an unknown completely devoid of categories and artificial barriers.
The art all works for the child.Ho writes a story and illustrates it, or a letter to his mother and puts a gay limit around it.of his experiences related to adult categories of subject or adult classification of experiences.
The human repertoire of beauty is a very personal commitment.
He creates and is made to do.He identifies myself with a glimpse of beauty and is refined himself.
119 Lee and Leo, op.cit., P. 593, 594. 120 Strickland, Up.cit., P. 149. 194 strengthened his theme and discovers that he "became part of everything he met"extends for centuries and finds out
At the time and now it looks like experiencing. This is what prays for beauty when the centuries were then:
In beauty I go happy. "With beauty in front of me, I go, with beauty behind me, I go. I go with the beauty below me."Ifflth beauty over me, I go, with beauty all around me, I go.
It is done again in beauty.This is done in beauty.This is done in beauty.It is done in beauty.- Traditional Navajo Indian from: Navaho Night Chant
And here is the man who prays beauty when the centuries are now:
0 world, I can't keep you close enough to your wind, your wide gray sky in you, that rolls your forest and rice, this fall day, evil and the housing and anything but to cry with color1 that spans tocrush the loan from the Black Bluffi World, the world,, I can't bring you close enough
For a long time I have a glory in it.But I never knew this;Here is such a passion that comes apart me - Lord, I fear leaves no burning leaves;Prithee, leaves no bird rings.- Edna St.Vincent m L Lay
It is therefore due to the enormous involvement of the need for and
To find, experience, experience and transform many men of many ages and of many unique variations and of many unique variations that transcend the characteristics of Maiay-Nosa and are miraculously transformed into one concept, communicate, sympathetic, perception
“It is who, over time, experience and faith, continues to Toivard, becomes a more great one.
There is only one man in Ivorld and his name is completely man.Carl Sandburg.
The repertoire of "Beauty will not be. It changes as the man who perceives it - who experiences it - and then assimilates and transforms it into myself. The atmospheres of life are also made of flux and the tune away, but
Ifemory plays a deterrent for our changing round layer.
Yet all the experience is an Archhurothro '
Glitter The developed world, V a l i o s o Marge fades forever and forever when I move.- Tennyson out: "Ulysses"
Provides certain situations
Real and vital involvement in various art forms are generally the start of a type of gross RBH and behavior that arises from the scary limits of self -consciousness and shifted to the more complete awareness of person who has a new personal dimension that the child through a development ofself -consciousness ... a detection
From his own creative potential, a visualization beyond "I" to the 196 yot vague opportunities for "I" and they give themselves an objective perspective of reach and form found in and through the richer concept of beauty.
The more a child of vital art forms - with a repertoire of beauty, the better he will communicate VDTH offers from others. He appreciates a price "... the price of honesty, sincerity, depth of expression, the simplicity ofTruth and the power that the artist and art form communicates to him.
Just as it is Groivth, who gives children to appreciate the beauty of RD-the and to communicate in the art forms of modern "others" and with "KOVMS" in the various art fields, then it is refreshing for children to see the backbow betterTo see objective to see their own work when they are placed in an environment where it deserves this communication and the consideration of itself and others.
For example, children can use their art forms useful in such creative situations as they;This media music.
T-V activities and various other audiovisual involvement.197
Lee and Lee quotes from the yearbook of TVRIJN-SECONSTEN from the
Department of the primary school sectors provides an overview of these essential aspects of the planning of primary schools:
The most striking features of programs for the ethical and social development of students were founded by more than a Himred Elementary Rectors.
1. Original programs that have initiated, developed and presented Afapils with a minimum of teacher guidance and coarse of school and class activities.An.Class takes the meeting again in accordance with a schedule plan, president or president chairman, director and teacher who are back in the background.
2. Music: community singing, school orchestras, bands, glee clubs, rhythm tires, harmonica bands, individual school songs and music rating with the help of radio and phonography -recordings.
3. Visual presentation: slides, especially those of students;
4. Student council reports and discussions about school problems; security patrols, sanitary patroles.bed participation, health files and school citizenship.
5. "Exterior" speakers and artists.
The point underlined by these experienced clients is the need for programs developed by the children.
121 Lee en Lee, Op.Cit., Pp.
A Tory -Senspelt heterogeneous program prepared by children of the Upper Elementary School to their parents is presented on page 199 »
The planning of NMS done by the children, the program of their own, and they designed the cover and carried out the programs on the duplicates of the school.
On pages 200 to 203, samples of children's meters and associated illustrations from "Buckeye Leaves", the annual student publication of the University School of the Ohio State
University, one of the pleasures of this publication, is that the work of young children is mixed by their seniors.
"Book" with the older groups.199
Sahit (D. Emily Kabril Kaby
in
In 200 Little Blacknosis Hy M Argaret D Eatherage, 4th class Toot!Toot!.To jump up and down.Had shot from a spark of the engine.Alt this happened in the year 1831.
m k m m
S I
«
M of the village
MLES
that class 201
T -piece shark and the small fish
Door Susan Kirshbaum, 2e klas
The shark said, "Tifhat takes place around the hero?"
The little fish said from above: "You have to know*that they drop an anchor of a ship."
Under the shark was an old immersed pirate ship* again, the little fish said, "There are you going, big shark?"
The shark replied: "I just swim around to see what I can find."The shark was hungry* he thought about eating the little fish over him, so he broke on him* he missed him* the little fish was luckily swam away and the big shark no longer saw him* 202 205
Bunny and De Boer of Elizabeth Sillens, 2nd class A rabbit started to see what he could see.
Then the farmer came to catch the little bunny.Bunny saw the farmer and jumped away from him.204
If a first pair of pants# as a new ear of the coin - is to see our own words on prints for the first time* - Llauree applegate
Ohanance To discover the value and value of his own creative efforts, it is greatly strengthened when the child can see his work in printed form.
Creative writing gives the children something to be proud of.Win in confidence and balance, and I have noticed that for the first time they had a sense of pride in themselves as people.Therapy.A teacher who teaches who assesses the effectiveness of creative writing of what it has done with the author -uses completely different standards to assess than the teacher who is occupied by writing as a goal in himself.
Fortunately, the adult VRTIO is the trusted receiver of the great offers that a child can offer from his own imaginative warehouse, because as Applegate notes:
A child will not burn it - the bags of his mind to someone he does not trust a shy boy - will tone the treasures in his pocket on a strange. He has so much miracle, questions, fears and dreams and so few adult friendsIf he can share them.
122 Applegate, Op.Cit., S.3, 123 Ibid., S.1.205
Here four poems have been given as a "goodbye" gift to a teacher of a most sensitive and loving sixth class girl.Actually skat
A secret
The waves roll in. The air is blue.
Sea shells shine in the sun.
The seagulls are going to whisper on wheels in s k y.pine trees in a play Yjhen, a game that blows past.
I am far from the noisy world outside. In my own quiet world. All a broken by seagulls screams from the quiet rocks of Steen.-G.S.
A creek
Laughs, Gargler on the road.Glittering, flashy in the light.
Foam at a waterfall.Light over oks.
On and further it slides out of the hills.It can't climb.206
Spring jitters
Today is a lazy, lazy day.
Oh to lie so green in the grass.Oh to the Vratoh clouds float by.Oh to smell the flowers sweet.I have spring fever.åh myi s.
A cat sang
An oat has soft and quiet feet, they hardly make a sound, the patterns don't do in the street as little boys.
And when we are children in bed.And quickly your icnow slept, the cat slides the kitchen door to turn soft white snow.
An oats eat fish and milk and mice ■ that I don't think is very nice, but Kitty loves the mouse as much as mother.
I like to see the oats again.The I claim the fireplace.And shy him out of the kitchen door to roam the snow again.- G. S.
And here is another "gift" that was firmly folded, and vdion nobody looked, "was quickly shared in the teachers' pocket of the teacher. This poem was written by a girl in seventh grade who seemed boring and withdrawn: 207
While I am sitting and looking forward to the country, the World Cup Bridge and Green, I think what God has given me. And I want to give him something for it.
When I sit and look at the people who created God, I think the world is good.And the grass looks at heaven.And people look at heaven.
And I thought VFE should not harm the country all Broivn and Groen.
The teacher asked and received permission to share the poem with the overall group, but the child insisted that the Anony Mousty was read./Them a very talented classmate showered the young writer with: "vdiy,
Florence, it's nice, write a little more1 "The pure joy, and thank you that glowing on the girl's face was the proof of the verbal pudding that Mauree Applegate" baked here ":
Yiflaat makes creative writing for other boys and girls than to help them express themselves better?(And well know that they need it.) First, it gives them chimneys.See around the happiest people.their inner steam and pressure. ^^^
124 Ibid., S.2. 208
If a cliff and bowl with varied verses has to be cultivated and enjoyed, all children need the genuine inspiration, appreciation and sensitivity that a real VA.M and understanding teacher can give here.
If you really appreciate writing your children, they will write more.Ros is as powerful as "Vigoro" causing growth."I love the poem that Susie made Ja Terday," will produce a number of new Brussels sprouts.In the class poetry book or sent in a striking place, a different poem product is' but has not made the mistake to only praise and place the best Verso.ros and to place the best lines for each child.Looks the best for an artist.But in ... about all the little petuner and bachelor buttons that just suffer a garden? ^^ ®
Just like poetry, the letters of the children - when they are free and childish - also give beautiful creative things.There is a bit
"Boost" and a "talk about" to put the "yeast" in action.Ethel
Mabie Falk notes here:
If we want children to write letters, I think we should saturate them with ideas for writing and with the feeling that letters are as natural and if necessary as a conversation,
This same author promotes her thinking about writing the letters of children completely needed:
^^^ ibid., S.19. 2GG Ethel L & .Bie Falk, "Letters to Enrich Children's Experience", Elementary English Review 18 (Marts, 1941), s.79* 209
1 problem.Mustnjeg says that it is "our conventional social sexual intercourse, but then don't let us run from all the spontaneity and the naturalness of nature and they - prematurely - the kind of boring, reserved letter writers who have become most of us, not
"Don't say it is" sometimes a little delayed, and a family cherishes a rather surprising and spontaneous letter written by a very young lady who had serious problems with her seven -year -old mind.A grandmother who fortunately had a very good sense of humor:
Dear grandmother
I'm Baptist.Mother says you are nothing.
I hope you go to Hevun.
X love
(name)
Applegate sets slightly higher standards for writing letters:
127 I'hid., S.82* 210
Too many basic toacors assess the letters of children according to the standards of adults «Children speak naturally and freely against people with Nshom, they feel safe.AV/Ay from the city where she lived, and said, "VFE misses a lot, but we will come over it."How the child knows that we are approaching that we will last a long time.
And here are some "when" si'fcuations, as Applegate suggests them - the times in which writing letters are useful as a creative activity for children:
Some classes at school write letters to the children in the next room.Can that say, you have to write it.
Another important channel through "that children can discover many opportunities to creatively create" v/ride is the news document of the school.
Nobody who mainly writes experience benefits from various of the natural buoys of children than the school Ne -wspap.If they can), they duplicate it.
128 Applegate, Op.Cit., S.115, 129 Ibid., S.120.211
And they deliver it.The teacher is just a counselor and mentor.
A school newspaper gives the children the activity they are looking for.Reporting that was made on the flight is twice as interesting as a composition conceived and written at the regular school table. "
Publishing a school newspaper produces good social
Habits, such as V I E I L as better habits for vnrite. It gives a child practice when planning, in working with others, to do good work, to evaluate the work and get the work done on time. These by products of theWriting newspapers are more important for a democratic life than the inherent value of the newspaper.Loo
-times children, individually or as a group, includes
increases to a new level of communication - one where the symbols are
Very different and loss well known.
Form of communication is a reasonable part of Symbolare, but if they can be monitored exciting and challenging search
Further adventures go A-Tempo.
Sometimes, and especially with very young children, the teacher takes the tunes of children, rhythms and songs, but later, but later,
Children in L will help to record their own music.
% and this is a true and spontaneous desire that must be drawn benefit
and children must have the joy to learn to read and
Press itself in this new medium.
130 Ibid., S. 153-154.212
Hero is a song - Sound and Poetry - composed by a fourth grade
Group of V/Hich ”was deeply busy with an Indian device. Every child made his OTM copy of the song, and moreover some children made beautiful Indian boundaries around the edge of the music, many played it
The rhythm of the song on an Indiandrum, others could play the music
On special instruments, the 7fole group danced to the music and sang the song, and the school used it as a "germ" as a rich and sensitive thanksgiving program based#
-9 ewe__ce._j_ .1 k .. ■ a
Oh dankzij can-tan-to-wit.give-
From all good, îbr de Braine. good rain and sunshine, r> r the goodness of can- > TP: liü i .i m m ^ tan-to-wd.Oh Oh oh.Oh Oh oh.213 The authors, Leo and Lee, present ways in ■ because children can be helped to reach by producing their own musical creative experiences Î î The first step is to mislead the child that music is a language and that he can express his feelings through it.Is completely outside them.About the characters. The following requirement is a wealth of the experience of VDIich students who get feelings ■ as they want to express.This point cannot be emphasized too much.Has the invincible desire to express these feelings. This expression should be at the time of inspiration or feeling. It cannot fit into a program is regulated by the clock. A period in which every child is not expected to make music can be reserved.Being aware of the characters and taking advantage of the feelings of a child the moment he wants to express them. The teacher, more hurry, can have in mind to create a situation that is likely to result in creative musical expressions. Tjriving of this spontaneous music must first be the responsibility of the teacher.The individual child.This may not occur in primary school, depending on the interests and skills of the students. (Treatment of music often stimulates Orreativenoss in other areas. Words are given to create a music number, usually at the same time, but sometimes for and some and about 214 Time then. Eaak is brought into art while the children illustrate the thoughts and feelings they have expressed in Vrords and Music.151 This gregarial nature, this connection with '' Wasted over ', this beautiful camera - this is one of the violent properties of art, for example. Apead.ng here;'Fifth grade has problems with the mural, you say? Difficult time with the sea, isn't it?What about Debussy Leifer?Listening can help them solve their problem.It also has a quiet 132 parts.IVQ.GHT does the work. " Like Barkus, the art is' 'prepared' - they are flexible, Resistant and fluent. Listen to a child who sings while painting ... while it dances or when it jumps through the long street of childhood We are the fairies of the country*.ch, there A in ETT This was the complaining melody that started the approach Five sun-drenched small people who jump and dance from a side garden 131 Lee and Lee, op.cit., P.607.132 ■ 'Association for Childhood Education International, Art for Children's Growing (Washington, D. C.; Association for Childhood Eduoation International, 1955), P.42* 215 It was at least for them,Filament van Fe Dust.Clover Lei, the next one wore a feather plume in his hand, another flattening of a pure pink scarf behind her while she danced a tissue over the jump through the shot of morning sunlight, and for the last time a sturdy Zinnia wore whose clear petals were picked The TheBreeze I-Wenever The dancer feels stone in "the country's fe" know no artistic "fence", because most children combined the art forms freely and joyfully* Perhaps it is children who almost answer "how do it", Enigma of a "busy little bees" joy of the cross fertilizer process for art, because it is children vjho ~ pr.mittered- "improve any railing time" by creative activityand transformation, "Today", says one, "let's be" i " One creates a Posy wreath for itself, another waves a brilliant petal flower, and the creative whole begins. Dance and Feer Singing - Kids Dance and Kids Singi Fe Do this, and fairies do that - children are also moving fairies. If they have to choose from a cluster of art, they choose children, the artificial grooves in a beautiful heterogeneous garden that is "free to pick", in this real "kindergarten", children think they are more moving under the flowers - howMore abundantly the flower like the bees, those looking for honey, prove Flower* 216 A cross -quality Expolienoe M t H creativity There are times at school life and living knowledge of the general group Activities seem very desirable, but the energy sector for such an expert Iennes often have a fair chance and unexpected start*, which is the case in subsequent development at the university school (Ohio State University, Columbus, Ohio)* In the fall of 1954, the seven -year -olds became the right ones Sung VDTH A new children's publication entitled Pet of the with. The story about the highly cultivated Petrini -Muis -Voets ■ who Distinguished Residence M S a Harp Case on the ceiling of the Metro Politan Opera House* Soon the charm of this mouse story was too discovered by the six -year -olds and their neighbors, the eight -year -old Olds* In general, the deal seemed to be that here is in fact a nice story for the children-a very direct story* In the meantime, the eleven -year -old group Ms finds much Saturday Isfactions in the story of Thurbers.Thirteen watches* These children had transformed the story into a spectacle that they had dramatized it, and, and, and, and, and, and, and, and and and As a group they were pretty ubiquitous -with the subtleties of history and quirky writing* The medium -year holidays came and went, and during a staff meeting in January the teachers in primary school began to play with the idea that perhaps - perhaps - perhaps - a uniform primary school performance with regard to Selective experience in the field of art would be a rich remedy Experience for all basic children* It would also be the most Interesting is that they unanimously matched to experiment -VDTH transversal quality 217 Groups in this proposed commitment* how "will start" In an adventure of four months* to accelerate questions, a subcommittee ■ were appointed to consider some possible materials music, literacages, and other art forms* To believe that OHILDRON must be vital to worry ■ A planning program, the teachers led the staff back to Their classrooms* Miat thought the children of such a plan? The possibilities as children as preliminary themes -as have to build A larger program? Two weeks later, the staff met again when taking children with you Idoas, under ideas from the committee and individual thinking in Dis Cussion* The following options were submitted on this point As a suggestion about what else thinking, discussion and assessment can be lively; Schumann's scenes from childhood, ifets pet, Midsummer Night's Dream (Music and History). Dertien Horlges in De Grote Quillow* Moreover, it was noted that certain selected ideas of Thurber stories (the thirteen clocks and the big pillow) maybe ■ Well, suitable for Schumann music, like some of Milne Stories* about these and other conditions have been agreed with personnel when reporting back During the next meeting, which was established for seventh February* the results of this kind of exploration with children must be assessed, and A theme must also be selected during this meeting* Now, in connection -with the selected options, group, group Teachers and children started a critical study of the limited 218 materials* When the children in the sixth grade had the deepest movements in the Thurber stories, they shared part of their knowledge with younger children and the younger children liked to share their copy of Patof a meeting with high school* Everyone seemed to have at least one nodding knowledge with it The new clothes of the emperor, so this was not a certain problem* The third class had the dream of the Midsummer Master the year before "Meet" under -school it was just a few scattered children who recognized parts of Schumann's music, so it was the chance that was the least known* To increase their limited knowledge, children treat different IClnds van experiences* story tell, mention of music, dramatizing whole stories and special parts plots with the resting time as a literary and musical absorbent time, has insightful group discussions about "Why* s" of preferences and "How Cane is" of presentation,Presentation, there are transversal quality activities with previously mentioned experiences plus dance and singing say in painting impressions with regard to stories, theater sets, costumes and other relevant things of interest* 219 Before the middle of the year, the accompanying art area was heir of two very prominent and soft mice* Ifother mouse ims a blank black* of course nobody knew what father was and ■ Vdiich was until - but it runs for the story It is enough to say that children throughout the school were completely fond of the mice and the mice seemed to have a mutual love for the children* It was in this happiness with an important decision in February 1955, when Mr.* and Fires* Mouse took advantage of their identity and to get nine beautiful babies from spring confused things that some were brown, others were black, but one was a pure whiteBube The interest in all the things that Iæ0u3e has activated in a short time in a short time, and although Mrs. * Mouse, with a certain "external" help, released a stiff visiting time schedule on her front door, there were always curious nose firmly pressed against the separation screen * Does it have to have said? Mets pets! The official recording of the choice of a theme IMs posted on Elementary Staff Bulletin, February 7, 1955* It was mentioned here* Mets Pets were selected as the theme of the elementary Spring Program* 220 1* All class groups then in opportunities.This theme* 2, î.îodifications with regard to various musical, dance and art acts that he must do in the theme of group work fur with it* 3* Individuals in different groups that are interested and "Lead Out" must form a coordination committee for the project. 4. Communication between the teachers involved and groups must be emphasized to make cross -quality -grouping and planning possible* Shortly thereafter in February the tenth notes of The Junior Council indicated that the children very seriously considered "the problem of converting the story of converting Pet of the IFET for a game of much larger dimensions. Here is the mentality of the children: Some ideas for increasing the pet with his: Let the audience and the actors change space, have two families of mice that the cat kittens can get to ask the orchestra to get some choir, mr.terbook to Rosoee (A doll to bring some who sing, dance, a ball and parties use the magic flute and other operas such as: Hansel and Gretel, Alda, Pagliaccl, M L in A M Tell, Midsommer Might's Dream and Tivinnie The Pooh. Because the plot of the story complications with regard to: (Li) The Petrini Mouse family, (2) a cat with green eyes called Mefisto, and (3) an exciting version of the opera. Again, further progress will be noted in the protocols of the Junior Council on 17 February 1955. Here the children wrote: Various groups have read Hansel and Gretel and thought it would be very good for an operetta in the with -Kelle -animal. There was a growing concern and a greater activity in the classrooms Ivhioh increasingly concentrated on this new commitment "HVI, children and teachers had agreed to have been jointly. All basic children who learned to recognize parts of the music from the magical flute, and the group in second grade had risen until now he was able to discover that they were able to read a simplified libretto from Hans and Gretel. First classes that had danced and sang and play acting, Hansel and Gretel, now interpreted their ideas about the opera by painting a mural painting of this story. 'Not all trees have the same color.Your tree is fine, but I paint my this chartreuse i " "Bled Gretel really a Ballettøj, as they showed Second night on TV? " "Let's make his house and Grete a normal brown." " Why?" "Well, they didn't have enough money to paint them." "Okay, but let's put a rose bush - a big one. Even poor 222 people have embarrassed themselves." "You have made Dew -Fee too big. She is as big as people!" "Ooool, I just love this pepper -map house painting. It makes me hungry every time I have a donut painter." "HOV/have you made air color? I want it really soft baby blue. Is it the most vdiite?" "This is a pretty good photo, I think." The cans with spilled paint are forgotten - the green "waste" turned into a tree! Forgetting are also the many journeys that children have made to clean brushes, to itch buckets with wings and the "drops" to mushrooms.AllA merger of the whole, the pleasure of collaboration and the beauty of the mural is back. First lessons also started to find yourself Humperdinck tunes on the piano. Launch in the third grade shared his tree version of Midsummer Might's Dream V/with his group, and Susie shared his data about the same story. The enchantment of music and the joy of history ensured that these children explore the possibilities of these media fairly richly for dance, art and acting. Hansel and Grete climbed the stairs to the fourth grade at about the same time as Peter Pan Children fascinated on the T-7*. The last story immediately gave great ideas to the first. "We/Hy", "the fourteen angels demanded," the fourteen angelsIn him and Grete 223 that could not Fly in and out? " "But how?"Asked a doubt about Thomas. "Well, one of ... RLS justified," we can wave from the balcony of this gym and then slide down. " "Say, it's a nice idea, Joanel" approved another person. "Ydiat species costumes will wear angels?"AWKED M's Morris. "Oh, vdiite with real full skirts and lots of glitter and wings and everything you know." "Well," commented on the teacher v/with a quirky smile, "How Vri.ll A Costume so does it look like a rope? " "Oh it's easy" come the answer, "we are all girls who are Angels can wear blue jeans' Angels in jeans in things really hurried. Somewhere in the early Isarch, the decision was made that Hansel And Gretel, Midsummer Night's Dream and the magical whistle would be the three operas that would be included in the total production. Midsummer Night's Dream was not a real opera was discussed children but when it had opera elements and when it had been Given by Wells Saddler Company in Metropolitan Opera House In the early autumn season, 1954, the children decided it should be be with. Collections to "shape" experiences and thinking and thinking then came. There were musical mornings, play meetings, heterogeneous assemblies (singing, playing, dancing, listening, etc.), And all these Activities start to complete the players in more 224 clear and purely defined -holeo Children also started to identify with the piece. Some would be peppercase ohilde, others saw themselves as Fe, quite a bit chose to be the rolling snake in the magic Whistle, and a very long boy in the second class wanted that above everything was a blanket on the Fair Fairy Queen.Titania, would run One of the interesting problems was the chosen mobility. One day a child chose to be this, and the next day he throws that part to hire another!The result of the result that the big question for an interval of a few weeks was: “Yfell, today you really decided you want to choose to work?"But an even more interesting and reef/arcing results Vrais that all children knew a lot about all parts and saw themselves the piece as a whole. The children gradually arranged in three large groups.And witch should just be big!six. Suddenly prayed, if it seemed it was the date of 50 March 1955, and the staff struggled to "think" by thinking "and to plan almost five hours per afternoon. Hero is the summary that comes from the important session* 225 Pet van food Staff meeting Wednesday, Maroh 30 Aanwezig: Loomis, Morris, Utterback, Tivilesberg, Sohatz, Swales, Klohr, Ort, Wimmer, Cheats, Tolbert Discussion I reported values observed in transversal quality experiences 1) Interest and willingness to practice parts with young children from representatives of the higher class. 2) Apparently a sense of connection and common concern about the development of the project. S) Section of scenes clearly made it better. 4) Creative thinking about 'HVHAT can be done', ',', ' 5) Older children the patient vdth young and helpful. 6) Representatives who enthusiastically report to disadvantaged groups. II -Problems 1) Communication at personnel level, the availability of staff 2) The size of groups 3) Need of materials 4) Planning of groups in quality Decisions 8 In special plan for 4 - 8 April 9:15 Spécial 9: 15- Special 9:15 Hansel & To B E 9:15 Chorus Groupa 10:00 Groups Gretel â.m. in KDGN - 1 »& 2 - Ranked room 100 Hansel& Gretel 11:15 in EOCM 100 Yfed.10: 15 to Magic Hansel & Gretel (later in the gym) Fluit 11: 20-4, 5, 6 1: 30- Let Summer 1:30 Lüd Summer 2:00 Staff Wight's Wight'8 Planning P. M,> F 3:00 Dream Dream Lunchroom Z T Z F 4 2, 3, 4 Ïo m 0> 227 Pet of Liîat His and Gret 1 hytteabten I Witch's Gingerbread Scene Woods House Children Pets of the lining Orchestra (Nocturne) Midsummer Night's Dream Below: preparation of wedding forest games for wedding Pets on 14et Orchestra (Overture) Liîagic fluit Opening scene Tamino Papageno Dieren Monostatos Whistle Pet Van with 228 His and Gret I -Sign II -groups HANSEL -DANSER TIL Cottage Dance Grietel Mor Morning Scene - Fugle, Peter, Fader Flowers, Bomen Sand Man Dew Fairy Angels M T C H Jack In The Pulpit Forest - Birds, Flovrers, Trees, Night Scene III Song List Gingread Children *Susie Little Susie ♦ BrothergomeOG Dance IV Dances - ♦ Peters Sang ♦ Lille Lüan I Woods Brother Come and Dance Sandmans Sang vader en moeder ♦ Bøn Sandman Og Woods Creatures Dew Fairy's Song Angels Witch's Song Dew Fairy Gepermoze Kinderen Gepergierde kinderen Gepergierde kinderen ♦ De heks is dood V parts to emphasize 1. Work with dramatic action with character group 2* gingerbread children's dance and song 3. Angel's scene 4 »Make three fewer special groups for Monday and Tuesday work* We plan Monday Tuesday Wednesday Thursday Friday 9:15 am - 11:15 pm 9.15 am - 10:00 am 9:15 AM must be 9.15 pm Special All - R. 100 arranged choir groups later Gym 2:00 Staff plan ning ning ning ning ning ning Scener: I I Hytten II -Featen I Woods III Mtch'a House IV Gingerbread Children 229 Mdsunaner Night's Dream Grader 2, 3, 4 I -Sign II -groups Fairy Queen Court Fairy King Court Puck 5 Hjælpere (Sennep Sease PeaseBlossom) Bundklovne (Quince, Bottom, Flute Starveling. Luck, Snout) Orchestra Leader Orchestra Minister Wedding Party's I Dance F. Dramati S. In The Woods Bottom's Play Puck and Helpers who are preparing for wedding we Arts Clowns Low Instruments T instrumental Nocturne Timetable: Monday Tuesday Wednesday Thursday Friday 4.5 April 6 April 1:30 - 3:00 1:30 - 3:00 Meeting before 9:15 Chorus R. 100 R. 100 2:00 Regular 2.3.4 Class Gym - 2.3.4 2 & 4 Select Proposed points that must be emphasized: 1. Large movements are needed.Story again 6 »See 4th class promotion from fragments of Nick Bottom and Actors in Games Scenes t in l forest in -repair for wedding III Bottom's Play IV Wedding 230 Magic whistle I -Sign II -groups Tamino Jhiimals Serpent Servants Papageno Ladies In Waiting Fomina Monostatos It Instrumental & Orkester III NUMBERS 1 Scenes: I open scene - in the forest Tamino and Snake Ladies in Mitere Kill Serpent Admiiring Tamino, runs to tell that the queen of May Papageno is coming to catch birds Tamino Avsakens and Credits Papageno - to save his life ladies in ■ waiting return,Put a torn locks on Papageno Give Portrait to Tamino and let them search for Papageno II Monostatos keeps pamina in captivity Papageno and Mbnostato meet and scares each other to escape Papageno III Papageno spelen TLOWN - Charms Mbnostato and Services Vdio -Dance The Tamino plays flute - the animals of the animal are charming and dancing Scheme for Week - 4-8.April Next combined work session: Tuesday - 10:15 am Thursday - Must be regularly choir Friday 9:15 AM Staff meeting Wednesday at 12:00 Lunchrome 2SX OHILDRON was not worried to continue "and "Fohotgirig by" in the planning and protocol of the Junior Coimoil meeting at Mon.roh 31, 1955, indicates that interest* Pets from HFET The issue of the date of pot of the IMS raised* The date that was huge, which was useful for the VNAs of the school, Friday, Îlay 20th OM19* 15 hours VFE asked the characters to discuss different ways in which the Junior Council could help with cap of the mat. Other suggestions than those in the last minutes of the last fear were: Enlightenment, re -calculation and the group to meet things*The proposal was made that the Petrinis Dream, the dream of Kddaumer Eight. Also the proposal to produce your OVM costumes before it has been given with Kelle animal. At the moment most children had found the special group in -because they preferred to work, but some children still tried the protagonists.She did this), but now that try-outs, I don't know what I want to do. " It can be added that she has taken her share in the court recorder and did a great job, but more than any others enjoyed Slie real 'try-outs'. All rehearsals were groups of representative children of other qualities. One -hole* the aesthetic and critical values for children who are elaborated and expand, just like their understanding of things and the relationships of people and people -with the game* It was a kindergarten who told the mother that she would go a "bear trainer" in the pet with each other."A bear that trained, the 232 mother," Tlïhy, how are you going to do your part? " "So," the child explained, carefully stopping the invisible ends of the long training clothing of a bride "What confusing things are I am Help a fourth grade that words are also cumbersome. Up/chicken comes for the role of the aggressive plague base, the child would use words smuggled by Ye Olde Marrie Blngland.Lords and Prithee.One day the child put briefly in his normal floating spectacle and said, "I just can't use that word anymore." "What word is that?"A teacher asked. "That word" prithee*"came the red faces of the baby. "Vichy not?"The teacher asked further. "It is not fun." "Ifot nice?" "Iio.Someone said it was outside the door, me ' So the story of how words were condensed had to be told then and there.Used decent and acceptable. The last April v/so busy* The following is a schedule for Hi?paperE i m u t a e y staff f Special schedule for Iveek on 25 - 29 note changes. Eel Teacher: Remind your groups of their appointments Monday Tuesday Wednesday Thursday Friday at 8:00 PM Conference 8:00 PM Conference 9:15 Midsommer 9:15 PET With TH -LSHERG -Oort Morris - Ort Bottoms Play Cast Room 100 - ORT Gym - Loomis 9:40 Hansel & Gretel 9: 15 Hansel & Gretel 10:00 Mansel & Gretel Gingerbread Chil Forest Night Scene 9:15 I & Dsummer Speaking parts 9:15 Stagen Com- Dren - Gym - Gym Gremlins Sandman & Dew Mittee - Tolbert Swales - Wllsberg Gym - Inmmer Fairies - Gym - Gym - Tolbert Woodberry - Stewart Hoffman, Evans, Evans, Evans, Evans 10:30 MDaUMmer 10:00 ïæsummer 11:00 Magic Fløjte 10:30 Hansel & Gret* Titania, Oberon Yifedding Scene - Tamino & Serpent Gingerbread Gremlins, Puck All Gremlins Roosv.Tolbert Orchestra Gym - Wimmer 1:00 LIO -Summent 1:00 at 1:45 Midsummer »Room 108 Gremlins organized by all parts in 1:00 Magic Flute Room 100 - TDMmer Miss vdmmer Complucing Serpent Bottom's Play Tamino Loading Scene 1 Ivill Practice Part of this time i108 ElemEektaeïStaff (continued) Monday Tuesday, Wednesday Thursday Friday Local 108 2î00 Magio Flute 2:00 Magio Flute 3:30 PET or with 2:00 Magic Flute Animais Serrant's personnel planning Papageno Toom 100 - VFI.Mmer Room 100 - Wimmer Meeting - Monostatos Lunch House Pamina 2: 00PET or with Servants Room 215 - Loomis 2:00 Student council Luss Loomis Room 215 RO 235 Mushrooms, snakes, women's women, wild animals in these characters and many more presented costume problems, but costumes • Was held at the level '' suggestion 'at a level of XVhich children could help and do by or in I'Sholo. Made made by Kids Garteners who were under umbrellas, IVHLCH had inserted on spots. '' Share 'of the segmented snake -Was a child dressed in black tights and ■ Wearing a hood (each child made his own) VDIich "was set with Glitter Glitter. Ladies-in-Waiting-Word-Word-WORLD Elogant cheese cloths, Costume Jev/Elry, Fans, Frilly Blumes and Long skirts. The Wild Animals.The wild animals. • went on their OVM and followed flashy animals OOS-Times As v / e r e "backwards" from hall ovm 'one. Simplicity 'was also the basic tone of staging. The first and second classes decorated a gingerbread house and made their own cage and oven. It was busy making the outdoor oven of which a child noted: “The oven had to be painted in a dark terracotta, I think it's a clay oven, your friend. A child who produced a poster for hours that Ivhich would be used as a scene.Live and striking production. Difficult closure projects were also on light. Lighting, curtains, production of programs, sitting schemes for children 236 and guests, summaries of property and the hundred and another thing that "had to produce" were identified by children and teachers and were carefully and were carefully and were carefully andIntelligent taken care of* The last part of the piece of VNAs did not develop.* Pet van de Met Tilpasset AF C, C, D.B.G.W. Rolling team P. P. - Papa Petrini R - Sig M. P* - Mama Petrini M - MEA D - Doe Prom.- Prompter (I ifouse house) Petrini Dancing to Magic Flute P. P. Oh, I almost forgot it. I have to turn the pages to the Suffløren tonight. We are going to make his and Gret Small mice all argue* Let's be papal gel, please let's go. M, P. No, new diss, it's too late to be out. P. P. Yes, there is also an oats called Mefisto. M. P. Yes, let's go to bed now. M. P. does not cry now. Small m c e j oh, good me Mother starts the story - fade out- His and Grete on the main scene Then Mama ends the story back in the mouse house M. P. and they happily lived until the end of their days. D «Oh, Mom, tell us another R. Yes, mother tells us another. M. P. Not tonight, but if you're good tomorrow, I'll tell you again MDSuramer Night's dream. Small mice, oh goodnight, night mother. Mother Neurent Melody Midsummer Night's Dream on the Main Scene The next morning back in the mouse house M. P. Time to get up Ohildenl Little Mice Yawns and got up for breakfast D. Ify, I had a nice dream last night. R. Tai What did you dream? D, I dreamed of the dream of the Summer Night screen M. it also II R. I made tools M. P. I wonder how it happened?Oh, I know - to the dream music of Midsom Night that I sang for you last night. Little Mouse: Oh, yes, that would have been 238 P. Po (oh, yes) say, I almost forgot it, I have a poster for you and a nice surprise. The Sufflør gave me this last night and told me that there would be a children's opera this afternoon and your mother and I thought thatyou might want to take with you because it should be the magical whistle, the little mice: oh, boy, I yippee in oh, goody I M, P »Now you all have to clean up. Make sure your ears are clean. You don't miss any note in (Washing mice and mothers come to inspect them) P, P, let's go now.I can't go all the way with you because I have to hurry to the Box of the Proiqpter. In de Suffler's Box, Prom, look here now, my pet, we have to do extra good today. P, P, yes, I want. The magical flute on the main scene dancing here, P. is charmed and starts dancing Prom, come back here, petrinii Mefisto jumps on him and is also charmed, (Prompt trek petrini in) Prom, come here, I have to make up for now, never be an operator again, Scene De Familie Petrini en de Mefisto -Arm in Arm.239 Mille the larger number of children danced, sang, And the dramatization of the piece was another group of selected children who, as orchestra members, set their time aside to the many instrumental repetitions that were needed to perform the very beautiful music that the piece comprised.Forty hours through, arranging the music inspired these children to practice outside their usual performance limits. School a deep sense of pride and responsibility. It was below Intense period later commented on many parents that children did their most meaningful practice. The rehearsals of the past week all felt just as surprised and enthusiastic as the Vaiite rabbit in Alice in Ivonderland who continued to call, "Oh, my soul and whistle I" and the questions: vjher, or where, will All these children are sitting on?% Has the donkey head? Vichy we can't sing Backstage? Miat does something when we put our heads under it Curtain? "" What happened to the music?Do we really have to be ready? Ost.osv.osv. Where var. One of the highlights was perhaps the morning performance for the higher class.kinderen "on stage" work together with their elderly Comrades among the audience in a way that was really a pleasure to see. The evening performance, given for parents and friends, was beautiful To also witness, but some of the glitter children achieved %mhen There was no communication with other children.240 t »240 The elementary children van University school Gift Adapted from the story book Pet of the with, by Lydia and Don Freeman the Viking Press ” University of Ohio University school gymnasium May 18 at 1:00 pm 10.00 May 19 at 1:00 pm19.30. 1955 stage _Qrch0str.i (pet of t '> e moth cx^crtorc) gay van de pot on the internet Of his and gret Cottage Scene Forest Scene Witches*s House Home For Pet Van de Met Orchestra (Nocturne) Van Cutter Summer Night Dream The Fairy Court J Bund1*8 Games Wedding Scene Home For Pet Van de Met Orchestra (Overture) Of the magical flute The Queen of the Bommonostato*s Palace nearby 5^ Last music numbers OUTTURE FOR PETS OF THAG MEET FRAGENTS AGAINST by Mr.*, Cheater Junior orchestra His en Grete Humperd Inc Susie;Little Susie Hansel, Grete, koorbroer, kom en dans Hans, Gretel, kleuterschool dansers Peter's verdriet Vader Little Man in the Forest Gretel, Kor Sandmandssang en Dans Sandmandbøn, "Fourteen Angels" -Choir, Angel's Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Dance Interlude, Prayer Orchestra Morn Dance Dans Dauw Fairies Nibble, Nibble Mousie Hocus Jpocus Witch The Witch Is Gone, Song and Dance -Gingerbread Children, Cast and Chorus Mn D Sutrii.ier Night's Dreum Mendelssohn Noctui'ne Orchestra Overture Puck, Titania, Fairy Court, Oberon, Spirits, Clowns with Bottom's Speel Scherzo Woodland, Spirits Wedding Orchestra, Minister, Wedding Assistants Helena, Lights, Hermia, Demetrius, Gasten Iflc flute Mozart Orchestra Ouverture arranged by MR, cheats Ouverure, recorded Ed Tamino.Serpent, ladies in het wachten solo-the bindman's song fapgino sunc-song of the portrait tamino pigeon-that is de devil monostatoc a papagine solo-the manly heart famineDUET-VI MUST FICE TAIN'INO PAMINU AID PAPAGINO MAGIC C MUSI C CRCLIBI: AT: 'A magical i'lute music and flnad- orchestra ar.-, huisdier van de ivet The Petrini family lived in the attic of the Metropolitan Opera House in an old Harpbox.Maestro Petrini worked for his daily Kaastrap in the Opera House that leaves for the Suffler. In addition to his family - Madame Petr Ini and the three small Petrini.doe Ray andHe loved the opera * When our story is opened, the Petrinis dancing their favorite dance of their favorite opera, animal dance in the Magic Flute, Debby Berry Cast - pets from with The Mouse Family I4Aestro Petr Ini Frank Darby 5 Fred Deatherage 6 Understudy I^Dame Petrini Barbara Heiks 4 Garrett Nanny 5 Understudy Teeny-Weeny Petrinis Doe-Liz Sillins 2 Ray-Jimmy Miller 2 Mee— Ann Saslaw 1 Mefisto- Cat - Grace Seiberling 6 Cynthia Coon 6 \ His and Gret The scene opens Laers Hans and Grete was called by their father and was told what works to do Instead of working, they danced and sang their mother at home and was very angry with them* she sent them into the forest to choose berries » They were lost and fell asleep »Fourteen angels came to keep an eye on them* In the morning, when they woke up, they found a small house made of all kinds of cookies and sweets, so they started eating something from the small house came my c h and she caught them*but they fooled her and pushed her into theOven* Hansel and Grietel saw the cookies -kids and let them free* Hansel and Grietel's father and mother came, and they all took the children to their own families* Maribeth Evans Mary Louise Laughlin 5 ca st - alfd (} rt%teij Hother Îîary Louise Laughlin 6 Maribeth Evans 6 understudy Fader Peter Thorpe 6 John Lehoczlcy 6 understudy Gretel Ronnie Farher 1 Nancy Goodson 1 understudy Hansel Alan Sticloaey 2 Bill Hanly 1 understudy Dansere Margaret Mikelson Sk Christine Ernst 5k Pam Rybak Ricky Potter Stevie Beyer 5k Jon Chafetz 5K Sandmand Nancy Fenholt 1 Angela Seiberling 1 Angels Donnie Becker I4.k Janet Mikelson UK Judy Smith I | K Lynn Rutherford 1 Ellen Woodberry 1 Kip Kungere DEW -FIs Money Ellen Smith 2 Lucyann Kerry 5k Jeanie Rotter 2 Aarzes Sylvia Neilson Honningkager Børn John Vokor 1 Kathy Morris 1 I, Ynda Lee Latham 1 Cathy Jucius 1 Frank Loi-nu '' 1 Tommy Herman 1 Joanna van Wormmer 1 Thominy Randall J. Kenny T/Abman 1 Carol Johnson 1 Paul Hoffman 1 Bill Hanly 1 'Debby McClung 1 Teddy Hess 1 Nancy Good Søn 1 Katie Hess 2 Sherman Randall 2 Jon Kennedy Landscape Bomen Jimmy Heicks 5K Steve Skin Johnny Weaver 5K Svampe Adrian Stilson 5K Mike Trudeau $ K Fred Smith Butterflies Nancy Weingarth 5k Suzanne Simpson $ K Strawberry Karen Sa Slaw 4-K Barbara End Ter 4-K Francie Barton 4-K Jack- i.n-the-Pi Ilpit Dickie Volker 5K Philip Stickney Birds Jimmy Patterson 4K Tim Hustaine 4-K Chris Sicaras 5K Billy Hull 5K Blomster Ralphie Lowry 4K Greg Trudeau J+K Rosemary Cox 4-K Renata Jones 5K 7 m3dsl] î «r wightî s droom Our adaptation of the dream of 14ID Suiier Night takes place in a forest near the city of Athens, fairies^ Queen Titania and King Oberon have had a fight* Oberon enters the forest to seek reconciliation* He and his Nisd, Purk, playing a trick in Titania, by placing the juice from a magical flower in her eyes, she falls in love with the first person she sees when she wakes up. In the meantime and a set of noisy clowns come into the forest to practice their play for the wedding of some loved ones from Athens, Puck turns Scaly Botton's head into a donkey. When Titania wakes up, she falls in love with the donkey.oberon and Puck feel regrets, break the spell, restore the soil and Titania to their natural state. The preparation and wedding of the lovers from Athens continues. In Morris O Roll herd - The dream of the Midsummer Night Puck Peter Mikelson 3 Titania Abbie McClintock 3 Dronning ^ s Court PeaseBlossom Margaret Blac!A/OOD A PeaseBlossom Elaine Campbell 3 Moth Ann Parie Mickle 4- Moth Jean Mueller 3 Cobweb Leslie Hauck 3 Cobweb Lynn Wilson 3 Mosterdzaad Aleta Sunico 3 Oberon OG Court Oberon Keith Fisher 4 Jeffrey Smith 3 Ihidoi-Aiudy Guards in Obérants Court Jeffrey Smith 3 Billy Priest 2 Queen of Gremli ns Wendy Hess 3 Gremlins Tony Talat 3, George Marshall 2, David Baker 2, Roger Louis 2^ Warren Campbell 2^ Billy Priest 2 Steffanie Woodruff 3- Sue Carroll McClung 3, Mimi William 4;Sandra Sunico4- David Raduege 4, Margaret Deatherage 4 Bottom( s Flay Bottom Genny Laughlin 4 fløjte Kathy Eveland 4 Snout Mike McCoy 3 Quince John Fitts 4 Snug Mark Reynard 4 Starveling Christopher Seiberling 3 9 Bryllupsscene Forberedelse til vjedding før Gremlins) Wedding Bride Janice Higgy 3 Lynne Skilken 2 Bruids Alan Reichert 3 Danny Nemzer 2 Flowering maidens Susan Robison 3 ann shaw 4 Togbærere Nickie McCoy K Karen Jones K David Tolbert K Lucia Buchanan K Minister Richard Belzer 3 Allen Cohen 3 understudie Orchester Leder Howard Ramseur 3 Orkester Medlemmer Allen Cohen 3 Charles Reichert 3 Denis Eastman 3 Curt Morris 3 Jay Graf 2 Eddie Cox 2 Susan Kirschbaum 2 Robin Foshay 2 Retstaler Sandra Shaffer 4 10 The magic flute Tmiino^ a Princguts lost in a foi-usl in the Rique of the Queen Oi 'Night: "Jusl while shooting his last pill, a terrible Sei-Pcnit comes from 1 forest. After a Sti'ugglo; uhil: H He willProbably losing, he fainted. Tcim.ino tries to save Hei "with Pap Ageiio^ the foolish bii-d-d-c.i tcher. Papagcjîu finds his way to, the palace of the wise mono's tales that keep pciiina trapped. If Pap-Gono and Paiin.ria ai 'e eescaped ... monos tat us and his slaves catch them. In the meantime^ tamino^ lost in a forest^ plays the magical flute to lead the others to him. The animals are charming and dancing - (this is almost the end of our adjustment). The real story continues, Graco s eib orl.ing cast - The Magic Fluto Tamino l&ke Mooney 5 John Shaw 5 Understudy De slang Allinson Randall 5 Bill Hess 6 Bucky Reynolds 5 Paul Neil sen 6 Leonard Shartle 5 Maribeth Evans 6 Caroline Hildreth 6 Ilary Louise Laughlin 6 Damer I Linda Marco 5 Jane Taylor 5 Waiting Anne Venard 5 Karon Mullor 5 Joann Vorhees 5 Vicki Bowen 5 Elaine Morris 5 Debby Berry 6 Natalie Zubcr Papageno Dick Baker 5 Ricky Morris 5 understudy Pamina Harriet Williams 6 Pat Pfeiffer 6 Monostaten Eddie Violet 6 Jimmy Ansman 5 understudy Slaver Don Prebus 4 Mark Sommer 4 Harold Giles 4 Chris Wickens '4 Franklin Seiberling 4 Lary Larson 6 Ricky îforris 5 A n i m a l: Jonc d Ever Eaux 4 Donald Smith 5 Mary Livingston 4 Gail Vjilliams 6 Grace Seiberling 6 Cynthia Coon 6 Mary Ellen Anderson 6 Laurel Sillins 5 Peter Woodruff 5 Danny Reuter 5 James Bitonte 5 Papagena Nanny Garrett 5 (2 Junior Orchestra For "pets from with" Viol Ins I'lute 8 Bonnie Kay 8 Almus Thorp 8 Joel Barkan 8 Karen Follis 7 Harriet Hess 8 Sylvia Vlaanderen 6 Carl Wolfrom 7 Marguerite Robbins 5 Margaret van Ness 8 Ann Hanna 8 Clar Inet.i Pty PfeFer 6 John Cowan 6 Frances Edse 6Peter Thorp 6 Lynn McCallister 8 Carlo Wolff 6 Marcia Sommer 6 Donald Prebus K Saxofoner Marty Lewis 8 VI Olas Skip Woodruff 8 Nancy Heiks 8 Charlotte Jones 8 Trompeter Nelson Robbins 8 Cello Eddie Violet 6 Connie Foshay 8 Randy Livingston 8 Bashorn Bob Hughes 8 Christ MARCO 7 Percussie Neils Keiper 7 Phil Heine 8 Trombone Hans Bozler 5 Bruce Kay 6 Grades 4-5-8-7*-'B 13 Our thanks, To all parents^ students^ and teachers who helped with this production in too many ways to name others than the following; Programforside Margaret Blackiwod H Scence Îîice Grace Seiberling 6 Script to magical Cynthia Coon 6 flute and pets from helpers; Flute Jane Tener 11 Lighting Bill Hess 6 Paul Neilsen 6 and Features John Lechoczkji "6 Grank Darby 5 Fred Deatherage 6 Dave Clark IZ Ushers James bit ont e 5 Jimmy Arism ^ an ^ John Shaw 5 John Weaver 1; Junior Council , J- The primary school production^ Pet of the METG is an attempt to focus the creative needs of children through two special goals, alongside those who constantly give direction to the syllabus at the University School «« These two special goals are: 1) Planning with children and the various special teachers in the basic personnel a curriculum experience that will help participants make new and larger integrations between the various special areas and their own current group studies, and 2) To design with children and the basic personnel a curriculum experience that will "cut" class groups in ways to invite creativity and promote in learning and collaboration ** While seeing this production we can encourage you to help us evaluate it in the light of these goals* Personnel planning Group PET by the with Personal Group Mary Tolbert Paul Klohr Carl Snyder Herbert Goon LORRENO QRT CECILE SI-JALES Shirley Wimmer Marcia Stewart Lewis Evans Martha Woodberry Margaret Stanton Nell Morris William Jennings Roberta Uttorback Eleanor Becker Esther Schatz Justine Frelich Mary Wilsberg Caroline G 311.I John Tibbett I-lary Jane Loomis 16 241 Thon was over and only memories, some photos and a program were back. But was it all? Then the baking and the evaluation came. Here some thoughts have been given by the children* A third class said she kept looking for a part that she could really do well. She chose to be a clown because she thought she was a good acrobat, but she discovered that there were others who ■ Wore better, so she had to improve. A boy said he had learned that it made no difference who you were in the play, but the most important thing was to do your bit really well. Almost all children thought they had learned a lot about dance - the design elements, where it is better to make body movements meaningful and how they fit the movements of the music. A child keeps Mrs. Swales high because this teacher discovered that the name of a child was omitted in the program and she corrected the omission. Children became aware of many more children at school. A toddler proclaimed when he saw a child in the fourth grade: "Oh, there is the bottom that is bottom" Children from the same family said they enjoyed working together. Mark developed such an interest in the music of the piece he wrote to \ Tosu asking if they would play all the selections used in the play. Pet Van de With on his favorite program..242 All Ohildron found that they not only learned "v/orlds" about music, art, dance, instruments, literature and self -discipline, but they also grew to know so many people ".. Teachers and students*.. If only was facesBeen for them before "the funny" has noticed a child, "to say" hello "to all these now friends at school. These were some of the many evaluations of children, and here there is one that stands out completely in his sensitivity due to evaluation. It was written as part of a letter to the sister of the riter, but it was graciously shared with the school when therequest for it was announced Home, 8atp.Rclay, M Y 21, 1955 Last Thursday evening I went to the university school. At the spring party in the basic department. It is so nice and so good for children, tools they had developed an operetta based on the book Pet of the Ifit, a story of a mouse in themetropolitan opera -house, HO had the courage to raise his family and live in an old Harp case in the retail space behind the stage. Naturally his whole family participated in all notions in You could see how it could be usedIn the development of an operetta where scenes by Hans and Grete, the M g i o flute and Cutting Summer Night Dream could be included. Surprised one hundred children and about a dozen studies were in it - others wore in a certain role behind the scenes. The rolling team with theParticipation of some students had performed before high school during an event in the morning - instead of a general test. The little thing - dance, speech, action and attitude - connected to the values of spontaneity that try to promote creative experiences at a good school.The children participated so full and of course that parents must have felt the difference between the things that belonged to a more formal 'production' in 243. ■ which children are involved.The young people had implemented the adjustments and developed the continuity of teacher guidance.In the plans, or rather the continuous planning, all the staff were involved ■ that had some relationship with the children in the regular curriculum, and the children were also involved.* The groups were deliberately composed of mixed age levels.For example, the angel choir sang and fluttered, Vaiile 'guardian angels' were played by the junior orchestra of the school, and Hans and Grietje slept, and the icy mice with their cheerful pink ears looked over the balcony railing, I could have been free for children who happinessmiss as part of their education.There were angels, some boys, some girls, but not linked to gender.* The two smallest angels were ten of the four -year -old kindergarten, I think, and they hit and waved their wings in a rhythmic reaction to the music and led the groupTheir costume was so simple and not uniform.They were all in white and all had a courtyard and a piece of film -like white material that was attached to the back by being collected in the middle.They held a corner in each hand while they "flew" barefoot, and waved their "wings."One of the free -lengths was black, and that also applied to a few others.The lead mouse was black - and others, but after I had noticed it, I forgot, or I almost did it, and then I realized what it meant* Hot a teacher as proof during implementation, but there must have been a few behind the scenes to explain the seemingly inevitable evenness of the current when the groups stepped into the stage or left the stage, I drove through the classrooms at VA, Y UpTo the gym, where it all was performed, ■ with the audience that was in the floors on the one hand and on the balcony* there was no excitement and the children looked so happy as they are in ordered but free play and conversation■ their teachers were greeted parents and helped to adjust wings, tail feathers, flower hats or fur. In enjoying themselves while they were waiting. They were quiet, but not too quiet because they would have been silent. I noticed thatthere were some dance groups and spontaneous groups different players who used the fact that people were in a costume to use it as an opportunity to find and play their own creative fantasies, which means something, if there was only one tree or onefew angels, or a flower mixed ■ with a few ginger cakes or animals or mushrooms while the others were in other classrooms and waited to be guided to their input with the real keywords* They could perform glasses and dance through their property for themselves, andall the more relaxed and ready for it and what came afterwards when the 244 ATE on the floor for the public as a privileged observers and helped sing* The large and strip parties - dialogue, dance, pantomime, acrobatics, etc. Bottom, what a screaming witch was, was in character every minute, and the dialogue and action were so well coordinated, especially in the fine parts that would be funny, theBig boys in the main roles said their princely replicas and made their "things" of real estate or theater switches* The gemimeographic programs were distributed by children who served as USHERS* They were decorated with colored shawls of the mice, and they contain a graph of coninuity, a list of all participants and under studies, and ex -planning of the sequences and scenes that were thoseWere those were written together by their authors - some children - some employees* There was also a statement about the way in which the staff assessed the entire experience of the start to conclusion, and a suggestion that parents participate in the contribution of their evaluations.The story about how things developed that were responsible for what, how the special area people became the resources people for production, how the other staff worked together and with the children who accepted teachers, how the children were involved in continuous planning,And how this seemed to offer the form of a curriculum experience and to contribute to the needs of children in ways that were very different from the regular class activities, in which each class worked with SIN teacher with access to special staff and facilities planned the programWhile art, music, music, music, literature, physical education and other things were merged and the children were not sorted at degree or age level* The parents were inclined to notice the expected adjustment and responsibility, and also the effectsOn their children* they actually worn with a view to the criteria with which the staff has assessed the experience* is not as interesting as a supplement to "reports to parents" somnormal or earlier?This with you, and also the recognition that I felt like a permanent or foster parent or both when I saw so much of my former students and their children and enjoyed so many of my friends and their children "in the round."circulated to express my joy to them and who! never met. The youngest was 4 or 5 - a boy. He looked up at me and smiled when I said: *'Of who you were an age 11 -' 'and you saw me when I had to jump over the sponge that was in theI had to do something that I couldn't shout against him that he had to move and I couldn't just stand still and stop the showl "I said:" Of course I didn't do it right, I "His sister was a gingerbreadGirl, but she now shone at the school, so she knew what to expect.Individual schools also miss. I think that if the TMXTH renderer some people who were there, there was a background of similar experiences over the years, which led them to make sure they had a pleasant evening. (signed) Laura Zirbes This was really an experience that was rich in making, growing and renovating sights.Ivlany's values could only be known to those who made the experience, because who can say what a child carries with him, which is never included in himself?However, there were other values, the essence of which was suggested in Scripture, which can be mentioned as illustrative of values that must be sought and that are related to other 'festivals' and the like.246 "In Process" scenes from various phases of PET of Tee with 247 The mouse family for breakfast 248 How (Silk Print) Age 10 249 .Tre Elemental "Bakers" carefully decorate the wedding cake for Midsummer Night *s Dream. Another classmate prepares a portable basis* 250 for Painting for the Tiagio flute 251 Tito girls from the fourth grade paint a giraffe head that is used in animal consultations from The Magic Flute 252 Three girls from the sixth grade make programs in screen printing program.253 M Larger hands help smaller hands on a silk seam squeegee. Two sixth class students show younger children the tension by painting a silk pressure program.254 A poster is announced that the festival is approaching* 255 TVRO AIJCBH-Grado Boys learn the porches by dealing with the lights on Cue.256 J In Toaoer binds an angelic cheese "wings." 257 G "The Dewfeen" sounds a foot link of clocks ■ while some "angels" and a "jack-in-the- Prodicastol ”a # 258 On stage in two kindergarten "mushrooms", their role plays serious Mien (Soeiio of: His and Grete) 259 '■ u i ■■ i?: The Abracadabra of Vatohs Rcagic has imprisoned Hans and Grietje.The gingerbread Children on Goodies House VMTCH Avith mixed feelings (scene of; Hans and Grete) .260 Actors in a scene become the audience in another here a "bird" "Strawberry Plants" and the friend Lilliput The Tesepans look with full absorption when the piece continues* 261 The excitement of the V/Edding scene I. Midsummer Night Dreamed Here the grooms come in gaping wonder 1 262 1 *'Take this nicely • Woman to be your love/feast Vradded • Kone? " And from under the tour and back Tho-Props, look faces wait for the expected "I do i" (Scene FRA: Mdsumitier Night's Dream) 263 "I can. Do everything 1" has a boasting soil (soon from: Msomer ottes dream) 264 1 A spriteful '' Pack 'that is about to complete the transformation from bully to a donkey, (Scène Van; Midsommer M ^ H T's Dream) 265 Type 3 "Now, Omldron," Antile another mouse, "Wear tails nicely and don't forget to hit your ears." Father mice adapt to tires before he guides his proud family to the opera* 266 Pamim fights beautifully against the flesh of the cunning monostatos and his "slaves".Chapter TII Possible C0otribut10h3 in this study for children's education V7E has to build happy memories and write in our personalities.- Laura Zirbes • Cv Today it is the goodness that makes the happy memories possible that one can build up the joys of the following morning, and this seems - this rich experience - rich and expensive classrooms everywhere. It is so generally thought "Happiness" who try to induce creative teachers in the classroom: - When they try to use the interconnected aspects of art, so that children can understand a new wealth and a new happiness through a more uniform form of beauty. - When they try to offer channels of inspiration that children can strive along. - When they grab the shiny sparkle of a creative moment and help children build on this exciting happiness. - When they offer stimulation through the freshness of today materials* - And when they ever try to open, expand and relate the possibilities of creative expression. - 267 - 268 It is time that there are slow, staring and rubbing that creativity missed, and that in itself are negative for integrating learning in primary school »reversed by the resilient teacher that the positive values of creative action offer a rescue potential for even negativesituations. For such a creative person, the statement is "a good life is a life that can translate obstacles into funds" an action saturated thought. It contains: - that there is a chain reaction of positivity that can be brought about by someone ... a constructive person, whose thoughts and actions also encourage others to look up constructively. - This example and regulations can also serve as agents in reducing values from obstacles. - that the excitement of creative struggle ... striving for a new self -distribution ... is a means to save itself from harmful negativity. - This by giving grip on the ideas that have set an obstacle and by arousing interest in new opportunities, there is another way to convert a blocking obstacle into a building. - that the flexibility of robustness and understanding can do more to create positive transformation than the stiffness of resistance and anger. - and that a realistic and rational acceptance of problems often reduces the apparently enormous size of observed obstacles.269 In the first place, primary education teachers are looking for areas who repeat rich creative opportunities for entire classrooms and schools for children, whether these areas now have the form of children's meetings, classrooms or school newspapers, individual letters or group letters, school letters,Festivals and plays or whatever.The emphasis in a stimulating class and a growing school is on the positive and creative. Possible contribution to the upbringing of children The contributions of this study to children's education seem to stick to the need to help children find a positive creative Vrorld, one that is creative "with the science that: -To assume happiness, schools must offer opportunities to let go of part of the "prisoners" in children by important experiences in all phases of educational life and learning. -To give seductive, seductive and challenging boarding schools, schools have to do more than organize facts in a rattles framework called "syllabus" ... a pre-pushed and pro-restricted skeleton, because facts alone do not make schools ... or do not make any makeschools ... or children ... or teachers. Listen to a playwright who mock the lean bone -feiten Facts?Bones, colonel.The skeleton that I see dangling at the Anatomieschool is made of facts.But each of the S'fkudents ensures that the skeleton looks like a completely stranger.- Christopher Fry from: The Dark is Light Enough 270 - In order to help a child enter his legacy of happiness, the child must be given the opportunity to fully involve himself, because while he internalizes himself with the environment and processes, he manifests this inner, creative excitement also inPositive appearance.Because such actions and behavior ensure growth and insight into the Self, they give rise to the associated value of self -control, because only if a child gets the chance to deal with it and grow it to new dimensions himself, you start to reach it.Enough to be one with it for yourself to get control of it, and a large and adult society consists of a self -concrete population. Kelley speaks here about this necessary aspect of society: "Our society needs people who have experience with self -control when they were young, so that they practice practicing it when they are free from the teacher or parents*" - Learning to learn what is important about the development and continuous willingness of a child is a crucial condition in the classroom. -To be sensitive to the child's educational nutrition plan, Hans-Timing, his intake, his assimilation cycle, his unique wishes growing fundamentally too well in the classroom. -To arouse the child's interest by activating his creative drives with a small push of challenge, spontaneity, inspiration, a glimpse of greatness, robustness, accessibility, cooperation and love requires 133 Kelley, on, cit., Pp.69, 271 m r m t h and understanding of the role of the teacher. - Give him a broader concept of life and learning in a creative world by exploring the opportunities for groups in different steps and age groups, requires desire and cooperation of the entire staff. - Ensuring that creativity is not only associated with certain aspects of time and learning, requires a rich and resourceful teacher or a group of teachers. Offering large stimulating situations in which children are fully and fully involved is a challenge for all teachers. - Encourage every child to find the "door in the wall" for itself ... A door that leads to other doors and from there to even more others, is a great responsibility of all teachers, because it through the doors of the SelfDiscovering that is ultimately reflected in the full manifestation of the person that creativity is realized in the most exciting way. Barkan says: "Creating every thing v in e and everything that learns to create becomes part of us." ^^^ -to appreciate that creative learning contributes enormously to the development of the unique character of children, because it acknowledges: “As a Ttvin does not keep up with his companions, maybe it is because he herts another drummer. " - Henry David Thoreau. L34 Barkan, Op.Cit., s.81. 272 - To be sensitive to the knowledge that if creativity contributes to the unique character of the self - and it certainly does - then it must also contribute to the harmonious group of eggs - to clusters From children with different capacities, degrees and desires to create. Only when a child learns to live together and harmoniously with others and with himself, does he become a valuable and desirable member of society.It is because of the creative challenges School that the child strengthens the spanning width and projects the self -bridge to the continent of others. Selægers Stretch wrote the philosopher: No one is an island, entirely for himself; every man is a piece of the continent, one of the most important; if a lump is washed away by the sea, Europe is less, as enthusiastic as a Forbjerg bar, as well as a country house of yourswere friends or themselves; the death of every man reduces me because I am involved in Lüankind; and therefore never send to know who the clock asks; it counts for you. John Donne of: the 17th dedication - to be sympathetic for the recognition that getting creative knowledge takes place gradually and for a period of many years. It is not forced learning, but a "permanent" learning - one third of deeper and growing perceptions. It is also a simultaneousLearning - one that takes place when faith and love include the way - his lifelong pilgrimage through worlds of life and learning. The young Zeeman talks about such journeys here: 273 Put it down in a dry way and then go aside To guide my steps.But don't push - ¥ s y steps are small because my legs are short and there is muoh to see that you have seen it but no longer see - feel sorry for me ■ If I have traveled completely through books uphill and downstairs, % head will go through so much knowledge. Do not go with mice that I go too fast to see and hear this beautiful world. Let the joy keep up with the growth.- Audrey M.Linaberry - to acknowledge that the contributions that make the growing role of creativity in the world of a child is almost incomprehensible, because creativity has no limits - know only about "the world without end" ... an open world where growth is endlessAnd where the challenge is always present. In such an environment there can be positive, creative education and learning about a world that constantly changes and grows - a world that gives an unpanded heaven, or, as the poet expressed it: "Ah,But the reach of a man should surpass his fat, or what is a heaven "- Robert Browning. - In order to take the challenge that it is the role of a teacher to help a child reach his "air" and if he is a wise teacher, he will know that "heaven is not bound within a single bound. He will leave the joy in climbing, he will give love and wisdom to lead the long Ascension, and he will be resistant to the child in the long period of Grodng and Creation. Creative schools that look bad to such teachers, for like L& AMS says: "... that kind of school will always depend on 274 135 about that kind of teachers in the classroom*" - Knowing that it is not enough that children exist or survive.Even Captain Cook recognized this condition a long time ago when he discovered a group of remote, primitive men."They are satisfied to be naked," he said, "but ambitious to be healthy."All men - big and small - are ambitious to feel good, to be worthy, to gain status, to be recognized, and it is the role of the school in current culture to help children get closer to creative ambitions - to help them show themHow they can achieve fineness through the refinement of rich experience and life.As the child gets a finer dimension, as his clouds of glory become less dressed and more floating, and as he becomes more aware of his perceptual value for himself and society as a person, his inner glory will also start to shine.That creativity reflects the purest tone and sings the most beautiful song, because it is the necessary right of every child to shine and shine and retain Only about to grow and shine through the wonderful life of a creative life. Creativity is the world of a child;It is capable of "why"; SLCY?Let me try it, I let myself try it! Creativity is a luminous world - it radiates from Povfor from one light in ... a 'catchy' light ... a light that a world would cause- 135 Hughes Meams, Creative Youth, Op* Cit., P.129* 275 MJR world, your world and all the exciting related worlds - to a boundless glory# Creativity is given to all people, because in his infinite wisdom and grace the giver knew that not one or a few, but that "every little soul will shine, shine, shine." Ll .. 1 ^- w ^ ~ h = fz- d v- # l- «1-« 1- 1l j "mster rabbit, ms-ter rabbit," sour ears mighty long. " BV 'Ry Little'ja, dear Lord, I am wrong. Bv'ry Little'ja, Soul Must Shine, Diinae, Shine, ... bv .. 'ry S P— = - S ___ I y ' -% TR E/ Small soul must shine,., Shine, Shine - Folk song from Virginia# Three Dbiehsional Yi/Ork of children from different age groups — 276 «» 277 Bird 6 years old (Wood, yarn and paper) 278 Prehistoric Animal Age 10 (Glazed LER) 279 Space Travel Age 11 (L & Tal or GIPS-OFPARIS) 280 Brother and sister who play a match (Glayed Clay) Age 10 281 Robin 8 years (Papior chewing) 282 Cowboy ago 10 (glazed clay) 285 Elephant 9 years (paper maohe) 284 #3 ï - u î t r ■ - '!, • "" KX, * J * #"« -%"in 0 # Rabbits 7 years (Paper Maché) 285 Rabbits 6 years (Glazed clay) 286 P '' f c ';' I wr; ,, Elephant 9 (Glazed clay) 287 V/ovn bug ago 8 288 Chicken on heat ago 6 (Burned clay) 289 Brass Bowl Age 11 290 '.J ^ -.'' the route In % #/i;VI.M M Card -Paper-Maché group Age 9,291 A board from the fourth grade, such as 6, arranged by children as part of a travel and transport unit, was a favorite; !Sea Chantey, the lanterns of an old ship and a model side Mouao, rabbit and dogs of 7 years (Glazed clay) 293 Cut Paper Group Alder 9 294 '' '' \ I, 'V' Playing board Age 11 (Hout) 295 a a s m Camel, Spin and.tas Age 9 (Glazed clay) 296 Pony the 9 (Paper-Macho, Yarn, Learning) Bibliography - 297 - 298 BIBLIOGRAPHY A. Marion Comoil on Education, Commission on Teacher Education, Teachers for our time.washington, D. G.: American Council on Education, 1944. 178 s. Andre^TS, Frances M. and Leader, Joseph A. Guidance of youth school students in 11x5ic.new York: Prontice-Hall, Inc., 1953. 372 S. Applegate, Mauree, helps children write.scranton, Pennsylvania: International TextBook Company, 1949. 173 S. Afley-Montagu, F., About being human.New York: Henry Schuman, 1950, 125 p. Barkan, Manuel, a foundation for art education.New York: The Ronald Press Company, 1955. 235 s. Baruch, Dorothy, parents and children go to school.Chicago;Scott Porsman, 1939. 504 p. Burr, James, Harding, Lowry vf., Og Jacobs, Leland B., StudentunderVisning I Folkeskolen.New York: Appleton-Century-Crofts, Inc., 1950. 440 pp. Cantril, Hadley, de "Yfliy" van Nans -ervaring.New York;The î & Omillan Company, 1950. 198 s. Cole, Natalie Robinson, The Arts in the Classroom.Nevr York;The John Day Company, 1940. 137 s. De Lima, Agnes, het Little Red School House.New York;The I & .cmillan Company, 1944. 355 p. Dewey, John, art as experience.New York;Mnton, Balch & Company, 1934. 355 p. Dewey, John, Democracy and Education.New York;The Macmillan Company, 1924. 434 p. Ghiselin, Brewster, the creative process;A symposium.Berkeley and Los Angeles;University of California Press, 1952. 259 p. Hart, Joseph, Spirit in Trupping Hopkins, L »Thomas, Emerfiirtp; Selv.Hew York: Harper & Brothers, 1954, 366 s. Jersild, Arthur T., looking for the Self.New York: Teachers College, Columbia University, 1952, 141 pp. Kelley, Earl C., Education for Lalhat is echt, nu York: Harper & Brothers Publishers, 1947, 114 s. Lee, J, Imrray OG Lee, Dorris Î & Y.The child and his curriculum, now York: Appleton-Century-Crofts, Inc., 1950, 710 s. Lowenfeld, Viktor, Kreativ en Ifental Growth. New York: The Nacmillan Company, 1952. 408 s. Moams, Hughes, The Creative Adult, New York: Doubleday, Doran and Company, 1940, 300 s. Meams, Hughes, Creative Power.Garden City, nu York: Doubleday, Doran and Company, Inc., 1925, 234 pp, Idirphy, Gardner, persoon.New York: Harper and Brothers, 1947, 999 s. Potter, Charles Francis, Kreativ Personlighed.New York: Funk and Wagnalls Company, 1950. 310 s., Ragan, William B. OG Steadier, C. B., Modem Elementary Curriculum.New York: The Dryden Press, 1953. 570 s. Read, Herbert, Education by Kunst.new York: Pantheon Books, 1945, 320 S. Snygg, Donald and Combs, Arthur W., Individual behavior.New York: Harper Brothers, 1949. 386 p. B »Periodics Collier, John, "Verenigde Staten Indian Administration As A Laboratory of Ethnic Relations," Social Research, 12: 265-303, sept., 1945* Falk, Ethel î & Bie, "Letters to Enrich Children's Experience", Elementary English Review, 18: 77-82, Lüaroh, 1941. Harding, Lowry W., "Twenty-one varieties of educational leadership", educational leadership, 6: 299-302, February 1949, 300 Icilpatrich, ¥ fî.lliam H., "Creative Teaching," Educational Leadership, 138-139, 167, dec., 1952. Strickland, Ruth G., "Creative activities in the language arts in primary school," Elementary English, 32: 147-149, Marts, 1955. Zirbes, Laura, "Child Development Through Art Education" Western Arts Association Bulletin, 36: 7-10, nov., 1951. Zirbes, Laura, "Children Reed Experiences", Childhood Education, 25:51, oktober 1948. Zirbes, Laura, "Creative Experience in the Education of Children", Western Arts Association Bulletin, 36: 6-13, november 1952 » C. Releases of learned organizations De Association for Child Education, Art for Children's Growing.Washington, D. C .: Association for Childhood Education International, 1955. 48 pp., Barkan, Manuel and Moeney, Ross L., editors.de conference on creativity: a report on the Rockefeller Foundation.columbus, Ohio: Ohio State University, 1953. 166 pp. D. Letter up News in transcription by Norman (Oklahoma), June 23, 1955, E. comments Jacobs, Leland, commented during an informal conversation, summer, 1 949. Autobiography I, the Lorrene Lcrrye Ort, was born in Sedalia, Missouri, April 17, 1918* I received my real education at primary schools Ifobridge, South Dakota.% Bachelor's degree obtained on Oberlin College, Cberlin, Ohio, where I obtained the Bachelor's council in school music in 1939.From 1939 to 1942 and again from From 1945 to 1951 I taught at the public schools of Napoleon, Ohio* At Ohio State University I obtained the degree of Master of Arts in 1950, from 1951 to 1953 I was director of the Feloti Ifemorial Teacher school in Pago Pago, American Samoa. in July 1953, I came back at Ohio State University to keep studying* During the academic year 1954-1955 I was instructor in University School at Ohio State University, where I was "Coordinator of Elementary Art* - 301 -
