Relational Making: Re/Imagining Theories of Child Art

Sunday, Kristine

doi:10.1080/00393541.2015.11518965

Cited by 22 publications

(4 citation statements)

References 20 publications

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“…Many researchers of early childhood art education have declared that children's art should not be marginalized by a preplanned curriculum or understood primarily as individual works (Eckhoff, 2012;Kind, 2018;Rinaldi, 2007;Schulte, 2013;Sunday, 2015;Thompson, 2015;Wilson, 2003). For this reason, and to embrace children's immense imagination and creativity, early childhood educators are encouraged to be attentive, responsive, and mindful, and to welcome every child's unique ways of thinking, being, acting, and perceiving (Aoki, 2004;Eckhoff, 2012;Jardine et al, 2011;Kind, 2010;Rinaldi, 2006;Schulte, 2013).…”

Section: Significance Of the Researchmentioning

confidence: 99%

Flourishing Together Like a Troupe of Dancers in the Early Childhood Art Space

Chung

2022

J Child. Stud.

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This article describes drawing events with a group of toddlers and an educator that I observed during my master’s research study. The article demonstrates how their artmaking space became a pedagogical third site in which the children, educators, and materials flourished together. First, I discuss how posthuman and new materialist perspectives in early childhood education invite consideration of how humans and more-than-humans coconstruct their experiences of mutual teaching and learning. Then, discussing some of the findings from this study, I illustrate how the art space might become a meeting place where children, educators, and materials live together. Finally, I suggest some areas for future research.

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Section: Significance Of the Researchmentioning

confidence: 99%

Flourishing Together Like a Troupe of Dancers in the Early Childhood Art Space

Chung

2022

J Child. Stud.

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“…Any efforts to examine what it means to 'engage (with) art', as a centralized practice in research and in learning and teaching, involves developing an integrated approach to early (teacher-) education; the kind of integrated approach that connects the world of education, research, philosophy, and pedagogy with the different subject-content knowledges identified within the curriculum documents McDowell, 2013;Marshall & Donahue, 2013;Sunday, 2015). The integrated curriculum framework Te Whāriki provides is underpinned by a socio-cultural constructivist approach.…”

Section: Studying Te Whāriki In Contextmentioning

confidence: 99%

“…On occasion when visiting student-teachers undertaking their practical study component in early education settings, I encounter finger painting experiences. These experiences are articulated, by student-teachers and teachers who work with them, as something that engage children in an art activity, yet these articulations indicate that finger painting continues to be understood and offered to children as vital play, a term used by New Zealand author Gwen Somerset in 1976 to describe a form of messy play (with paint) that children need in support of their healthy, self-expressive, socio-emotional development (Kuhaneck, Spitzer, & Miller, 2010;Sunday, 2015); something that contributes to their holistic development, as noted in Te Whāriki. Any attempts to draw on or from (contemporary-) art practices to develop a more complex understanding of the richness of finger painting as an art form has yet to gain prominence in early education discourses.…”

Section: Making History Mattermentioning

confidence: 99%

“…It is not only responsive to a broad range of complex philosophical and theoretical influences that abound in and across the social, cultural communities and the wider landscapes that children, their families and teachers inhabit, it is considerate of the different disciplinary content knowledge/s that contribute to, if not determine, how these influences are known, understood and enacted, or not. This article considers Te Whãriki as a curriculum framework for problematizing and thinking about the complexities involved in engaging with art, 1 and the provocations this engagement might offer early (teacher-)education (Bacchi, 2012;Marshall & Donahue, 2014;Sunday, 2015). It draws on my ongoing interest in developing research and teaching-learning practices in education, and consequently in 'the field' that advocate for a connected-up, in-touch, education system (Carr, Smith, Duncan, Jones, Lee & Marshall, 2010), one that centralizes art, making art matter, giving art greater agency and a vibrant future in education (Fleming, 2010;Winner, Goldstein, & Vincent-Lancrin, 2013).…”

Section: Introductionmentioning

confidence: 99%

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Making art matter-ings: Engaging (with) art in early childhood education, in Aotearoa New Zealand

Craw

2015

Journal of Pedagogy

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This article examines the special nature of Te Whāriki, Aotearoa New Zealand’s early childhood national curriculum, as a dynamic social, cultural document through an exploration of two art-inspired imaginary case studies. Thinking with Te Whāriki retains the potential to ignite thinking post-developmentally about art, pedagogy and practice in teacher education, and in the field. It offers examples of how creating spaces for engaging (with) art as pedagogy acts as a catalyst for change, art offers a dynamic way of knowing, and being-with the different life-worlds we inhabit. While new paradigms for thinking and practicing art in education continue to push the boundaries of developmentally and individually responsive child-centred pedagogies, an emphasis on multiple literacies often gets in the way. This prohibits opportunities for engaging in other more complex approaches to pedagogy and art as subject-content knowledge, something essential for developing a rich curriculum framework. The article draws on research that emphasises the importance of teacher education in opening up spaces for thinking about (the history of) art in/and of education as more than a communication/language tool. It considers an inclusive and broad knowledge-building-communities approach that values the contribution that art, artists, and others offer the 21st early learning environments we find ourselves in.

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Drawing

Duncum

2019

The International Encyclopedia of Art and Design Education

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The chapter begins by distinguishing between directed, free, and spontaneous drawings. It describes five broad theoretical approaches on which drawing research has been conducted: drawing as a reflection of mental operations; drawing as aesthetic expression; drawing as a means of supporting mental and emotional health; drawing as a procedural activity; and drawing as social practice. Diverse perspectives on children's drawing as art are considered. The research methodologies and methods that have been employed, ranging from extensive surveys to case studies of individual children, are described. Ethical issues are raised regarding the display of children's drawings for commercial purposes and in the service of social causes. Different models of development are examined by stages, a U‐shaped curve, multiple pathways, and endpoints. Common drawing characteristics are described, including innate graphic principles, subjects, narrative, styles, themes, and graphic influences. Pedagogic theories are examined and a summary of pedagogic advice is offered in terms of strategies, including perceptual, conversational, and conventional.

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Relational Making: Re/Imagining Theories of Child Art

Cited by 22 publications

References 20 publications

Flourishing Together Like a Troupe of Dancers in the Early Childhood Art Space

Flourishing Together Like a Troupe of Dancers in the Early Childhood Art Space

Making art matter-ings: Engaging (with) art in early childhood education, in Aotearoa New Zealand

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