Here’s some links to explore connections:
To explore the concept of Ubuntu
Link to NAREA (North American Reggio Emilia Alliance)
Link to Global Children at Harvard Graduate School of Education, Project Zero
Link to Brenee Brown
Link to article on Curiosity
Much love! And feel free to respond below and start a conversation.
Here are some of the links I am using/will use as resources within this work:
Talking to children ages 5-8 about homelessness
National Coalition for the Homeless lesson plan for ages K-2nd grade
Any Refugee, sending a postcard to displaced children
An Interview with Wangari Maathai
http://www.motherjones.com/politics/2005/01/root-causes-interview-wangari-maathai
There is a symbiotic relationship I have with my profession/s. Artist and Atelierista.
When I am both teaching and creating art I am immersed in and blessed with: aha moments of discovery, the anxiousness of the unknown, the struggle and challenges of making ideas into something visible, the struggle and challenges of materials, tools, and media, limitations of time, deep thought, play, experimentation, expanses of altered time, introspection, reflection, conversation, mistakes, mistakes that are paradigm shifting, collaboration, the feelings of exhilaration and fear within expression.
I start this blog off with these thoughts because, the children conceptualized, experienced, and sketched the music of Bach played live by Joshua Bell on a Stradivarius Violin in Union Station surrounded by a gazillion people, and it is breathtaking. Every part of this experience is breathtaking.
This is Liam’s sketches while listening to Joshua Bell perform live at Union Station.
This year, the Kindergarten classes are engaged in a year-long exploration and encounter with Union Station, located about 8 blocks from School.
The poetry of these pictures illustrate the connections, interactions, observations, and encounters that the Kindergarten Citizens experienced in the last few months. In and out of Union Station, the immersion, awe, and thinking is evident in the Historic gem of a building, teaming with humanity. The children’s presence seamlessly adds to the hustle and bustle as they sprawled and pointed and pondered.
But wait, this blog post is about the children’s conceptualization and making visible the music of Joshua Bell.
Perhaps you have seen the viral video clip of Joshua Bell, one of the best concert violinist in the world played for free, for 45 minutes, on a violin worth 3.5 million dollars at a subway station in Wash DC. Over a thousand people passed by Bell, only seven stopped to listen him play, including a 3-year old boy, and only one person recognized him.
So imagine my excitement when a week after taking the Kindergarten children on another excursion to Union Station I saw this headline in the Washington Post:
WASHINGTON (AP) – Joshua Bell wants a do-over in Washington.
The Grammy-winning violinist played for change in a D.C. Metro station in 2007 during an experiment with The Washington Post, and almost no one paid attention. It made for a good magazine story that won the Pulitzer Prize. But Bell hasn’t been able to live it down after seven years.
Now, Bell tells the Post (http://wapo.st/ZGRQRm ) he is planning another public performance
in the main hall at Washington’s Union Station. And he hopes to have an audience this time. The performance is set for Sept. 30 at 12:30 p.m.
I love my colleagues at SWS! When I squeeled that we HAD to take the kids in just 3 days, both Kindergarten Teachers, Margaret Ricks and Laura McCarthy took a breath and made this last minute hustle with chaperones and schedule changes a reality.
But first: I showed the kids the above video about all the grown ups who walked by a world class violinist, because he looked like just some guy in jeans and a baseball cap. Here’s their faces as they watched:
They were flabbergasted.
Parent, Emily Greif told me there was a childrens book made about what happened, and how it was the child who heard and wanted to stop to hear the music, but the Mom was too much in a hurry. The child noticed.
She lent us the book. Here’s a short trailer about it: The Man with the Violin
The children wanted to hear the book again and again. The day before the Joshua Bell concert, the children would yell out as they passed me, “We’re going to Joshua Bell tomorrow!”
The day of, many parents in excitement pulled up some Joshua Bell music for their children to listen to. Even before the concert, children were doing this at home:
Finally the day arrived.
The kids had to eat quickly and then walk briskly to Union Station. Spirits were high. They sang as they walked. And then we arrived.
You cannot imagine the adult crowd. Almost 45 minutes before start time and it was packed!
Being a short person who can readily scoot to the front, I attempted to part the crowds like Moses, shouting out, “Please make way for the 5 year olds! Excuse me can I lead these children through so they can see?” I was almost to the inner circle just one row of people to go, I had 40 5 year olds and a dozen adults protecting them from the throngs. And then a voice rang out. “It’s first come first serve and we were here first. We are not moving!!!”
“Can they please just scoot in front of you and sit? The adults will stand back.”
“We were here first!!!”
And so I signaled, to go back the other way.
As the crowd capacity grew I finally said, “Everyone sit! We are claiming our ground!”
The adults encircled the children with love and passed out the sketchbooks.
It was loud and chaotic.
And then something completely magical happened…
First, they started sketching the noise and the crowd.
Lily’s diagram or map of the concert.
And then the second magical thing happened. The music started. And the din of the crowd silenced. The haunting and soaring, the joyful and the somber sounds of Bach surrounded us all. And this is what I witnessed:
Sasha F.’s sketch
Edwin’s sketch (below)
Bryce
Auden
Apolena
Milena’s sketch
Please watch this brief video clip of what is was like there, in the moment these images were taken. The magic of making sound visible.
The experience was seemingly spiritual, as the sounds and the sketching melted away the sea of adult legs pressing in on and around the children. Their being, their presence as participants in this historic moment solidified and confirmed their citizenship. In fact their sense of noticing and hearing surpassed the majority of the crowd of almost 1,500 who were jostling to get closer and closer and closer. In fact, the children managed to get the closest…inside, in their hearts and souls.
The newspapers gave great reviews to the event, but I wanted Joshua Bell to know about these small folks and their experience with his music. I sent Joshua Bell’s “people” an email with some photos of the children and their sketches of his music.
A week later I received this response, and a package in the mail.
Dear Marla,
Thank you so very much for your email to the Joshua Bell team. I am based in Los Angeles and just returned today.
I found the children’s drawings quite fantastic and thank you for sending them along. How lucky they are to have you as their teacher, someone who thinks “out of the box” and knows a good teaching moment when there is one.
I’d very much like to send you the new Bach CD for the children to listen to and an autographed photo of Joshua if you will kindly provide me with your mailing address.
With sincere thanks and best wishes,
Jane
Jane Covner
Press Representative / JAG Entertainment
4265 Hazeltine Ave. / Sherman Oaks, CA 91423
jcovner@jagpr.com
“Music gives a soul to the universe, wings to the mind,
flight to the imagination, and life to everything.” …Plato
Her response moved me. She also validated the depth of young children and the importance and beauty of their collective voice.
The very first time I handed out the Union Station Sketchbooks,
“real artist sketchbooks” to the children,
and the first time the children sketched into them
at Union Station, Mason Grace turned to me and said;
“This journal is like a bible.”
And I say to that, Amen.
This year at SWS, I have three new classrooms of children to interact with. For the first time we have two 3 year old preschool classrooms and one classroom with non-categorical medically fragile children.
Scarlett, one of our children from our first SWS 3 year old PreSchool program
and
Ayanna, who is in Ms. Maureen’s non-categorical class next door
Because they are located on the ground floor, many people have not had the opportunity to greet the possibilities that grow with these new populations.
In a Reggio context, this has been an opportunity to truly believe in the concept of the 100 Languages.
The idea that children are able to express themselves through 100 Languages and that teachers/facilitators need to be “Visual Listeners” to observe, understand and extend that conversation (especially non-verbal conversations) has always been a tenant that I embrace.
In the context of our new classes, the pre-school children do not necessarily possess the strongest ability of expression verbally and with the medically fragile children, the majority are non-verbal.
With the preschool children, my goal has been to engage the senses, develop their capacity to be in a small group that gives and receives, and the experience/environment to express themselves and their theories and for them to find value in this.
Using the outdoors and the garden as a provocation to “see,” I set up this provocation in the studio.
“There’s something on the round carpet for you to see. Please walk around it, look closely, have a seat, and think about what it is.”
“It looks like a snowflake!” Abbey
“Green stripes!” Joe-Joe
“Green pictures!” Oskar
“A flower and the petals.” Miles
“Like the sun!” Emily
“It looks like a spider.” Coby
“I think it looks like a spider web.” William M.
“It looks like a diamond.” Elana
The previous week I had the children paint and asked them what they “saw” or imagined in a painting. Because of this, they returned to this type of thinking and few children noticed or verbalized that everything was green without prompting.
“There are 100’s of greens in the world, and we are going to hunt for them in the garden today.”
I attended a conference where a presenter shared that because of the extended time young children are spending on ipods, iphones, and other close range viewing screens- children are not developing full spectrum color sight as well as full long range distance sight.
As an artist and human this appalled me. To counter this possibility, the intention was to get the children to observe all the nuances of color outside, especially in our vibrant garden.
After an exciting and intense green hunt, the children engaged in painting only in green. It also was an opportunity to introduce small brushes and small paintings, another way to make marks, learn to take care of paint colors, and have a shared experience in the studio.
“What do you think of your small green paintings?”
“This one (green color) is kinda blue. The dark green, it is melting all the light colors up.” William T.
“Mine is beautiful.” Jillian
“They look like the grown up paintings.” Simon
Continuing the provocation of nature and the garden, I facilitated embodying leaves and the concept of metaphor within the concept of the fall leaves and three year old children.
With the non-categorical medically fragile children I began a journey of non-verbal communication and relationship through materials and the senses.
My goal is to develop a relationship of caring and trust, a community of “makers” and an awakening of senses through projects and materials.
.
At first I was a little timid. How much can I touch, move, adapt with these young children. What is safe for them? What is a good risk? How much can I expect?
(Making musical percussive shakers)
The beauty of eye contact and a pat from a child who initially stayed across the room and by week three began to join me and “make”, observing a child realize they are making marks instead of watching others make marks, the reactions to cause and effect, the feel and sound of materials, the lightness of being when I began spontaneously singing to engage them in a new project, the non-verbal greetings of joy when I walked in by week four, the deep beauty and surprise of touch (both human and materials.) The richness in these small moments of connection is vast. 
The continuity of the garden and nature explorations and inspirations continues with the Prek 4’s and Kindergarten classes.
I have such gratitude for the community (led by Jennifer Mampara and Nicole Mogul) in creating and maintaining the garden that greets every child, family member, friend, and visitor as they enter our school.
At a staff meeting last month, 2nd grade teacher Erika Bowman spoke with great admiration and awe at a community who makes it a value to create and grow a bountiful garden, the first year existence in new location.
For the PreK 4’s, all the project work has been about facilitating the development of visual voice to express their observations in the garden.
Each small group picked a vegetable to touch, observe and then sketch. Before beginning each child was asked to observe their plant silently and think about something they noticed after looking really really really closely. Then we took turns sharing and listening, learning that listening to your friend is an important part of the curriculum. Listening to another child gives the group new ways of thinking, seeing, and doing. This is a practice that I want the children to value.
Here’ a radish conversation:
“Whoa, there’s a pink thing down there!! Charlie B.
“There’s spikes on the stem.” Liam
“The leaves are a little pokey.” Priya
“There are lines on the leaf.” Julia
“The shape on the leaves is blurry like, wiggly.” Santino
One of the cabbage groups had a very interesting conversation that developed into theory building:
“I can see little holes in the leaves.” Myles T.
“Caterpillar must have ate it.” Quinn
“I see a bubble. It’s a bubble of water.” Melin
“Why do you think the leaves have those bubbles?” Ms. McLean
“I think maybe a bumble bee came. I think a bumble bee came and sting the leaf to make a bubble” Edwin
“I think it’s juice that someone spilled.” Quinn
“I think it’s bumble bee honey. I think a bumble bee ate the leaf, then licked it and the bumble bee made a juicy on the leaf.” Anais.
“Yeah, I think it’s from a bumble bee licking it.” Myles T.
In the following weeks children used their sketches from the garden with a corresponding photo of the vegetable and used paint to make an observational painting in the studio.
This time the children had to be extremely observent not only about line and form but color. 
Going through the same thinking process, children were asked to silently look closely and observe the color and then we went around the table and listened to each other’s observations.
“The white on the leaf is cause the sun is shining.” Mason
The following week each group progressed to making Observational Art of the same vegetable, this time using materials.
First they had to shop and collect materials. Next they had to arrange the pieces so it made sense using their photo, observational drawing and observational painting as a resource.
“Why do you have all the colors if we only need greens and red and pink ?” asked Gabriel. He had a radish and was a little disappointed when I asked him if his radish had all the rainbow of materials color that he had placed on his paper.
“Because then I would be doing all your thinking. You get to make your own decisions and this is how I can see your thinking. It’s hard but your brain will grow.” Ms. McLean
Before gluing, I ask children to place the obkects on the paper, allowing them to edit and change, unti shape, form and space begin to come together and make sense into the form of their vegetable plant. When I see they have solid ideas forming, I place the glue down for them to use. Because of this process, children usually continiue to add and delete objects as they observe nuances not noticed before.
Sometimes a child will need what is called scaffolding.
“I see the red stem very clearly. What do you see inside the leaf?
“Red lines!”
Andrew then went back, getting more materials to show his new observation. (below)
Children are learning to make visual metaphors by using objects to represent and symbolize real thinking and observations. This is no different then learning that letters symbolize words that can represent thinking and observations. This is literacy.
Cora’s cabbage
Melin’s cabbage
Ava’s Swiss Chard
When looking at their representations, I avoid having children at this stage present their own work.
Here are the two “scripts” I give them:
“Please share what was difficult or hard about making this observational painting.”
And/Or,
(With the Materials Observational Art project, each child was asked to “read” the art of another child’s work in the group and respond,) “When you look at Ingrid’s Observational Art, what is it telling you she noticed.”
This intentional reflection practice encourages children to utilize visual thinking strategies (instead of “I made a stem.”), listening (the artist is eager to hear what his/her friend sees in his/her art) and another layer of observation development. It also illustrates the belief that every child has something to learn from another.
Using the garden and nature as a provocation with all grades, (but with a different approach) allows for a continuity and collective understanding for the representations throughout the school.
The Kindergarten children were challenged to tackle symbolism and meaning through color and objects.
In this provocation, they were asked to make a plan for a collaborative sculpture where every color or image had to represent or symbolize something from our garden or nature experiences.
These plans stayed up on the big whiteboard in the common are. They were a constant reference point and guide as children made choices as to which part of their plan they wanted to create to be added to the collaborative group sculpture.
Here’s Noah working on wrapping blue fabric around sticks he had painted yellow. “It represents the sun and the sky.”
As children progressed in making all the small symbollic pieces, the counter became a bounty and source of ideas.
Each week Kindergarten children returned to see visually what the next step was.
Last week many of the small group sculptures were assembled.
The process was truly an act of trusting the group, as the head became unbalanced and balanced as the children took turns drilling and adding pieces.
An unintentional lesson was in fact Balalnce.
Nature Garden Centerpiece/Sculpture (Orange/Gold Variation) 10/22/13
My sticks look like flat oranges. It represents oranges. –Lilah
I planned to do the stick. I painted it gold. The gold represents the sun. –Dorian
I made it be like an acorn tree. I painted it blue like water around the earth. –Aksel
I painted the head golden like hot lava. –Gabriel
I made the thing about some flowers that are in our garden. They are kind of colorful and they are are very soft. And they are small. The petals are warm. Flowers are important in nature because they are beautiful. –Anabel
I painted the golden part on the head. I was thinking of rocks. Some rocks are golden.
-Kamrin
The acorns represent the sky, the blue acorns. The sky has clouds. The sun shines on it. –Sofie
Nature Garden Centerpiece/Sculpture (Blue Variation) 10/22/13
I made flowers. They help bees and butterflies live. –Mira
Flowers make the world a beautiful place. –Willa
I did the sun. It helps flowers grow. –Dylan
I made grass. Grass is good for the world because it makes people walk on it. –Willa
I made a flower. Flowers help butterflies and bees. Butterflies make pollen. Bees make honey for us. If they weren’t alive we would have no pollen or honey. And then we wouldn’t be happy because if there was just plain yogurt, you would want honey in it. It doesn’t taste so good, if you mix it up with honey it’s good. -Ibby
I made some sticks that I painted yellow. It represents the sun. And the blue that I put on, represents the sky. –Noah
The red roses, they can grow good and live like if you water them a bunch they will be good. They will grow better. –Isaiah
The blue face represents the water and the sky.
-Ainsley
Nature Garden Sculpture/Centerpiece (Orange/Blue Variation) 10/16/13
The flowers represent nature. -Isabel
Flowers make earth look beautiful. They bring pollen for bees and butterflies, to help other flowers grow.
–Aurora
The leaves represent flowers. If there were no leaves then the flowers would never have water. Cause the leaves have little tiny strings that go into the tree that gives water to the flowers.
–Gabriel
After you grow cucumbers you wash them. You can cut it up and then you eat them. You can turn them into pickles and eat them too. –Benjamin
The tree represents growing things.
The head represents the sun. The glasses represent water. The water makes things grow.
–Liam
The carrots symbolize eating. And they also help you grow. –Samuel
The leaves give us air. -Madeline
Nature Garden Centerpiece/Sculpture (Green/Brown Variation) 10/15/13
I painted the head green and brown. The brown symbolizes dirt. The green symbolizes leaves, spinach, and grass. –Riley
I made the sticks like with the tomatoes. The beads represent the tomatoes. -Lusa
Birds like gardens because they like fruit and stuff. –Gael
The apples represent a tree. When you eat apples you get very healthy. The apples stick on a tree for a reason, so they don’t get bruised. –Dominic
The carrot grows. The root grows from the bottom, and the carrot is part of the bottom. You pull it up from the leaves. You wash it, and then you eat it. –Tate
So leaves, they survive on trees. So it is beautiful.
–Rowan
The caterpillar and the butterfly symbolize nature because they live in the dirt and nature is in the dirt. -Audrey
Nature Garden Sculpture/Centerpiece (Purple/Brown Variation) 10/15/13
The brown paint represents the dirt in the garden and also the earth. –Harvey
The carrots go in the dirt. –Eric
The necklace represents the rocks of the ground.
–Sonora
On top, the stick represents trees with berries.
–Hazel
It symbolizes a flower to the branch. I see a carrot tree, there also might be an acorn tree.
–Issa
The purple is for the whole wide world to grow. If people die, the purple takes their spirit and buries them.
–Geraye
The flowers symbolize prettiness.
–Tali
The jewels symbolize a shiny thing, like the sun shining down. It also makes music, like a jingly.
-Ryan
I no longer am teaching the older expanded grades of (this year) 1st and 2nd.
The growing pains of a Reggio Inspired school are , How do you keep the continuity, caring and intimacy of a small community, while at the same time expand to secure a vital future and create a new revolutionary model of public education?
This questions helped me to develop some small “interventions” to cross-fertilize the entire community through creativity.
The first small intervention I just recently tried, is inviting two first grade children to be studio assistants for an hour while I have a 3 year old group.
My first two friends were Kayden and Remi from Ms. Scofield’s class. I wanted them to experience being in a different developmental bracket, so I asked them to visit while a had 5 three year olds in the studio.
I broke their time in to two segments. Before I went to retrieve my three’s, I invited Remi and Kayden in.
“The three year olds have been exploring nature around the school. They have such wonderful ideas about the changing of the seasons and the leaves right now. However, you have the experience to illustrate and respond to their ideas, like an artist who does the pictures for another writer.”
Here are there responses.
They took this work seriously. They didn’t laugh or question the validity or ideas of the three year old children, they simply, responded visually.
I will continue to explore the possibilities of these types of new interactions.
Last week many of the teachers attended a professional development at Washington International School, in conjunction with the DC-Project Zero (Harvard Grad School of Education Research Collaborative/Institute.)
One of the speakers, Ben Mardell said, “We can make children (young children) big or small.”
At SWS, our youngest smallest children are not considered small. We see them in big ways, as individuals and as part of the community.
The first ever SWS Yarn Bomb was the second intervention or act I facilitated to bring the community together in a creative cacophony of joy and color.
As I view the images of children/adults of all ages equally participating, it clearly makes visible the strength of honoring every individual at their current stage of development.
People stop by and ask me, How’s it going? What do you think of this big place? How’s the change? Do you like it?
This is a great experiment in expanding the heart. It is beating, it is warm, it is vigorous non-stop beating, it is at times exhausting, but it is, truly wonderous and just the beginning of a ripple of change. A ripple that will keep on moving outward, one heart at a time.
THIS IS IT, THE PREMIER OF RAINBOW BEINGS FLASHMOB VIDEO! Click this link[fve] [/fve]Rainbow Beings PreK Flashmob from Marla McLean on Vimeo.[/fve]
Yesterday was summer solstice. Yesterday was the last day of school. How perfect that this was the day the children got to watch the Rainbow Beings video and then dance. What a great ritual for the most colorful light filled day of the year.
And to add to this auspicious post, tonight and tomorrow is The Super Moon, when the moon is brightest and closest to earth for 2013.
All are a metaphor for the random acts of joy and light that these rainbow beings brought to Union Station.
It is also a metaphor for our school community and the web of light it creates within, throughout, and out into the Universe.
Show some emotion.
If you work with young children, you know there are many opportunities to experience emotions.
Last month I was working on a project with some 1st graders. The provocation was to plan a story without writing the details or the the ending.
Why? Well, I noticed the 1st graders had figured out how to draw and make graphic representations well enough, to respond quickly to pretty much any prompt or observation. However, their ideas and drawing were somewhat static. The figures (even though well done) seemed to be a stuck at the same level and their story development was not stretching them.
I wanted to know what would happen if each page, a part of the plan was tackled slowly and thoughtfully through a new process.
First, I asked them to look at their story plan and only draw the setting part. “If you said it was winter what needs to be remembered? If you have a location of Washington DC, how do I know it from the picture? If it is night time, show it.”
I was surprised that I had to teach them to “read” or evaluate what they had drawn, to see if it made sense. Having the plan to refer to , made this facilitation quickly become an independent process. Instead of saying, “I’m done!” and me asking “how do you know?” and them responding “Because I did it,” the responses became more intentional, such as “They all have mittens and coats, and there’s snow and a sidewalk, and rowhouses.”
The next time in the art studio the focus was on facial expressions.
Emma Clare, “It’s when you show how you feel on your face.”
Using mirrors and books as resources and really practicing and noticing, the children checked their plan to see if they needed to represent an expression that was happy, sad, surprising…
Bridget
Emma
Carrington
Carrington for several tries drew a U shaped bottom lip and a parralel line for the top lip. Hmmmm, I would say, I’m not seeing an expression of happiness or laughter. I am seeing the same smile you always draw. I want you to push yourself and solve this. I kept prompting, look closely at your top lip in the mirror. What shape is it making? She became extremely agitated, “I don’t know what to do!”. After several attempts and nearing frustration, she realized the top lip is (unbelievably) shaped like a traditional frown line! Once she figured this out, she was elated. She also began helping her peers to see the same thing.
Xavier, surprise
Xavier developed a technique of puposeful smudging, after he accidently dripped some ink on his page. This became a great resource for all the kids once shared.
Alden, surprise
Charlie, surprise
“Huuuh!?” Patrick
Maya concentrated looking in the mirror longer than many of her peers. All of a sudden she looked up at me, with tears streaming down her face-but smiling!
“Look Ms. McLean, I practiced being sad so hard, tears came out!”
Another time in the art studio, I asked them to pull out their story idea or plan and tell me, where they go to in their story.
I then asked them to try to walk, run, skip to their imagined place based on the 1st drawing figures in the setting page. It was hilarious acting out walking with both arms straight out and legs locked straight as well. Thus became the exploration of joints, viewpoint, and action. How does the body work? What do arms do when one walks? How often are both feet on the ground when one is moving? How does one look when being viewed sideways?
Dylan
Mahki
Eli
Adinath
This process was extremely difficult.While the intention was to help children think about movement, expression and observation, it became about perseverence.
I heard Christine Carter, Phd. speak at the Creativity and Neuroscience conference I attended.
She believes there are some simple steps to boost creativity:
Teach kids how to be happy.
While this might be simple, it is far more complex. Happiness is a set of skills that must be learned. She asks, “How’s that problem solving going when you are angry?”
The first place to start is LETTING KIDS FAIL. Children must be taught the skills, thinking and coping for when things don;t go as planned.
When children do not learn these skills, they hide mistakes, feel shame, expect others (parents/teachers) to “fix” things for them, and in teen years self-medicate through alcohal and drugs.
“No one is entitled to a life free from pain. ” says Christine Carter.
It is necessary to develop grit and persistance. Mistakes are opportunity.
Before one of the studio sessions, I had a conference with Alysia Scofield (one of the 1st grade teachers.) She expressed that many of her kids were quick to crumple up or dispose of any work when they experience any mistake, instead of working through the hard parts and transforming mistakes or trying to solve the problem. For this reason, I started the class by saying that if you make a mistake, you would not be able to grab another piece of paper today. Instead, you would need to figure out how to make a mistake into something wonderful.
I gave some examples of accidently dropping a big puddle of ink on my drawing. What could I turn this into? Silence.
What about a flower? A hole? A tree? A rug? In fact, the image became more interesting with the transformed mistake.Soon kids were making innovative suggestions.
“Ask each other for ideas! Artists always do that!”
Shortly after, Maya made some type of “mistake” and asked for another paper. I reminded her that this was the challenge, to turn the mistake into something else. She was not happy. She proceeded to ask, then beg for another piece of paper. I encouraged her to ask friends for suggestions. I told her she could ask me for suggestions if she wanted some. Friends began to chime in with innovative solutions. No.
In that moment, she became so angry, she began to cry, and ask and then return to begging for another piece of paper.
These are moments when you have to make a split second decision. I took a risk, “Maya, I know you can solve this problem. Everyone here is willing to make suggestions. I am so sorry you are feeling frustrated, however, I will not be giving you another piece of paper today. You are welcome to go get a drink of water or take a break if that helps too.”
Katie went over to give her a hug as she returned to drawing silently. She skipped free time and continued drawing, for a long time. Then she looked up at me. “I’m done.”
“Can I see?”
I looked.
“What do you think?” I asked
“It’s the best drawing I have ever done.” replied Maya, with a huge grin.
“I am really proud of you, you didn’t give up, you worked through the hard part, and now you feel really good.”
Big smile.
“It’s my best drawing ever.”
Hard. But not hard for hard-sake.
Another step in teaching kids these skills of developing the abilty to persevere is: Reducing Stress through Compassion.
Instead of focusing on the child/self (What did you do? Did you do your best? Were you line leader? Did you know the answer? Let me see yours) broaden kids capacity and vocabulary for compassion or the “other” with simple daily rituals.
Here’s two questions to ask your children everynight at the dinner table (and the rest of your family members and self too!)
“What’s one thing you did for someone today?”
“What’s one kind thing someone did for you today?”
The brain has a funny way of returning to neural passages ways again and again and again in times of stress or failure. This determines response. When kids (and adults) default to the ways in which they are supported and helped on a constant basis, they are able to frame or perceive problems differently.
Instead of defaulting to “Well he did it first!, or I couldn’t do it because the teacher wouldn’t give me more paper”, the child defaults to “Oh, I made a mistake, how can I fix it or make it better, who can help me solve this?”
Last week, I made a mistake. Somehow I completely skipped a studio group in Mr. Jere’s room the previous week. When I saw the skipped group, I said, “Ms. McLean made a horrible mistake. I had to change some groups around last week, and I completely skipped you! I feel terrible, because now you have double the work to do. In the future, please say something to me if you think you were skipped. I feel really bad. Grown-ups make mistakes too. I am so sorry.”
“That’s ok Ms. McLean.” replied Harvey, “Now you know what to do!”
The PreK’s have been working on the very long process of creating Soundsuits, inspired by artists Nick Cave.
Watch this video to experience the inspiration for this project: http://video.pbs.org/video/2226846036/ (your children can too, even if they are not in PreK they are aware of this project)
Once again, this is a project that takes tremendous perseverance.
Because I noticed the lure of the tools in the studio, the project started with an ankle piece.
I use real tools with students, and they needed to flatten the bottle caps and then use an awl to put a hole in it.
Dominc: “This is hard work. I’m gonna sweat!”
While some children were energized by the heavy work, others were fatigued. The amount of sensory inout and output varies from child to child. It is my job to notice who is awakened by this work, and remember to use this as an adaptation. At the same time, for those who fatigue early with heavy work, I notate who needs support to develop their core strength.
When Samuel found his name on a bottlecap he was thrilled. Suddenly, everyone was looking closely at what was printed on the bottlecaps. Soon anchors, elephants and “this is almost my name ” were seen. This act encouraged not only literacy and observation skills, but an understanding and acknowledgment of the extraordinary found in the ordinary.
The work on this project vacillated between focused heavy big work and small focused actions.
Attaching the bottle caps and beads so they create percussion, was once again difficult.
While this proved frustrating to many, Lucinda seemed to respond to the sequencing and constant twisting and connecting. Her Sound Suit ankle was overflowing with sound. She also was able to help others. Everyone in each group has a strength. Everyone has many challenges. By remembering that Lucinda can help peers in this part of the project, she is also able to receive help at other times. This is the culture that must be nurtured and taught in order for kids to be able to handle mistakes.
In every part of this project, every time someone completed a part, and tested it out- the perseverance quotient heightened.
Next it was time to revisit the artist Nick Cave’s work.
I started by asking “What is a suit?”
First I got blank stares and silence. Then slowly ideas emerged. This is the power of a group. It promotes formulating remembering, and responding in a social and conversational construct. It gives each participant a wider breath of looking at topics.,
“A bathing suit! ” Tate
“Superman wears a suit!” Liam
“A costume is like a suit.” Dylan
“My Dad wears a suit!” Audrey and Maddie expressed this in separate groups
“A coat you wear. Something you put on your whole body so people will notice you.” Gabriel (In Jere’s class)
Next, I showed them some videos of Nick Cave’s creations in action and still.
When I stated, “It will take a long time to make your own sound suit.”
Levi shouted out, “Its like the fish!”
He was able to connect the persistance needed to complete the wire project to the ideas of this new project. Hard. But not hard for hard-sake.
This is Eric using his Sound Suit idea plan to figure out what color he needs to select. He is shown using the tape on the table to measure the strips.
The concept that designing an object means more then one view is one leap these learners must learn or “read.” When I first proposed the template for designing the Sound Suits with a two-figure graphic, Mira was the first to figure it out. “Is that the front and the back of the shirt?”
This new way of thinking about a two-sided design using a one-sided paper was also hard.
Aksel was thrilled by the opportunity to alter the design. “Mine will have wings, look!” And he drew the colors so they looped like wings. So many adults do not realize that young children have strong ideas. It is when they have the time, facilitation and the culture to create original ideas that they come to fruition and visibility.
Next, the fabricating of the Sound Suits.
I broke down this part of the project into small bits. First, just weaving the flagging tape through the front and back collar. (Myself and a cadre of parent volunteers snipped two parallel snips for each strip to go through.)
Once again, this was difficult. many kids put the strips in backwards, or had trouble using two hands to manipulate threading the strips through the front and back of the shirt.
Using intentional language and uploading,
When I heard, “This is hard, I can’t do it!”
I said,
“Can’t is a bad word in the art studio-it stops you. What can you say instead?”
and
“This will be difficult. That’s ok. You can take a skipping break down the hall and return, you can stand, you can sit, you can shake your hands, you can jump. Everytime you come it will get a little less hard. The practice will make it easier for you to do. And when you do something hard, and complete it, you feel soooo good because your brain has grown, and you know you can do the hard parts.”
“I’m not very good at this.”
I replied, “That’s because you’ve never done it before. Stick with it, you’ll see, it will start making sense.”
“What are some things you can do when you are stuck?” (Ask for suggestions from other kids and adults, express that it is tricky and I need help, express it is frustrating because you are not alone, it is for hard for someone else in the group too.)
After two to three studio times of adding the collar and sleeves, I told the kids they could try the Sound Suits on.
When the first group tried to attach the flagging tape to the mid section of the shirt, it was too hard. The oversized shirts become just a mess of fabric when trying to find the inside. In this case, hard was just too hard. At this point I came up with a solution that I had a hunch might work.
Embroidery hoops! You can see this allowed for many opportunities to try techniques, and allowed the children to maneuver the strips through successfully.
I am intentionally changing the culture, wheras asking for suggestions is applauded as opposed to a sign of weakness. Wheras it is exciting when someone figures out a way that works for them, and it is shared as a resource for all.
Gabriel (in Ms. Hannah’s class) was having a hard time persevering. He complained and procrastinated. Maybe this felt too big or overwhelming so I helped him break it down further.
“Gabriel, why don’t you put four strips through the sound suit and then take skip all the way down the hall and back. You can do this each time.”
This helped. Then he started slowing down again.
“Hey Gabriel, how about you count out the strips you are using before you start, just four!”
“I’m gonna do a pattern!”
He returned to the work with energy.
All of a sudden I noticed he was talking as he worked, “In the lava, out the lava, in the water, out the water …”
His flagging tape became a metaphor and a mantra, and he worked to completion.
In the lava out the lava, in the water out the water. Hard, but not hard for hard-sake.
Working in collaboration with Movement Teacher, Shannon Dunne the kids are developing a new conversation with movement and patterns, their selves not as their selves but these “rainbow beings.”
(A flash mob in Eastern Market is being planned in a few weeks, an opportunity to bring these rainbow beings into the unsuspecting daily lives of the public.)
Here’s a peek at Shannon with Mr. Jere’s class taking turns watching two classmates have a conversation using their body and ankle Sound Suit piece “Remember and think about how one person talks while one person listens, and then you respond and say something. In this conversation you are doing the same thing, but you are using your body and no words to talk.”
See how attentive the rest of the class is.
This idea of choreography surfaced in the studio.
“Look Ms. McLean! ” said Aurora, “Look how to move.
Full Moon
and Half Moon!”
Now that so much progress is being made, they can’t wait to try out the Sound Suits in progress for anyone who will look, teachers, kids in the halls, and especially their classroom teachers and their peers.
Hard isn’t good for hard-sake. But hard is good within the context of a project that encourages not only personal growth but the development of a culture of shared community struggle and JOY!
The Sound Suits are not so interesting on their own, it is within the group that the emotions and purpose soar. It is the development of a community creating an identity as a group of rainbow beings that make this powerful.
It is hard. But not hard for hard-sakes.
It is fraught with mistakes. But what do you see?
I see happiness being taught.
“When I was a boy and I would see scary things in the news, my mother would say to me, “Look for the helpers. You will always find people who are helping.” Mr. Rogers
I saw this quote after the Newtown tragedy and now once again I see it today after the Boston Marathon tragedy.
It is the quote that brings sanity, humanity and a lens by which to feel both grief-stricken and heart-warmed.
Helper.
The Common Core should have this listed as a standard:
Helper; (PreK-12) demonstrates, recognizes and understands helper qualities, ie empathic, risk-taking, creative, innovative, persistent, thoughtful, and kind.
There is no section in the common core for this. No room at all.
Why? It is not measurable in a data driven way.
Yet, what would you define as core or even common within the scope of being a successful, balanced and happy human being?
What are the qualities by which you measure a community and it’s health?
Being a “helper” should be core to everything in education: language arts, the sciences, mathematics, athletics and the visual and performing arts.
It is core at SWS.
It is core to me.
In the studio, the Kindergarteners finished their Stone Cairn projects, which is just a part of the greater concept of “Construction” that has permeated the year.
The project had some beautiful and meaningful surprises. Even more meaningful today. While I posted earlier about the project (It is impossible work and therefor we must do it.), here’s a brief recap and the powerful directions it took:
(Gus)
When the children had completed the construction of the clay cairn, when it had been fired and painted, the project was not done.
There was no visible meaning or intent being transmitted.
What I didn’t want to do, was send home a colorful rock sculpture that children might not explain. That parents would see as colorful glob and not a communication of values.
So, I decided to ask the children to replicate their Cairn in 2d:
This turned out to be way more challenging then imagined, so to give perspective, I gave the kids some time and opportunity to understand and embody height width and depth:
This made the process of sketching a 3d object on a 2d surface more interesting and purposeful. You can see all the color samples Electra tries to truly recreate her ceramic cairn on paper.
The next step became more complex.
Once their 2 dimensional stone cairn was cut out, they were asked
“Where do you imagine your stone Cairn is? What does it represent?
Is it to mark a favorite place? Where is that place? What is it?
Is it to mark a path? Where?
Is it to remember someone who has died? Who is that person? What can you tell me about that person?
Is it to bring good luck or health to someone? Who?
I asked them to look at the documentation, to look at all the different connections. I just sat back and watched as they discussed parts of the project they had already done as well as looking at how some of their peers had preceded to the next part of the project. Often they asked me to help read aloud parts. Mostly, they interacted with the documentation as a working breathing element without me. It was theirs.
They were introduced to using pen and ink, and asked (after experimentation), to create the setting or images that would represent the meaning of their stone Cairn. My intention was to keep this process very slow. The act of stopping to reload the pen with ink gives one space to reflect and envision as they work.
To create an illusion of depth, bottle caps were used. Another design challenge, as the caps had to support the drawing and at the same time remain hidden. (Will, above and below)
The writing portion was an illuminating journey. And the children’s intent, their words with their images and sculpture stone cairns became an entrance into their individual thoughts. Thoughts that were poetic, charming and even even sad. Thoughts that often stay hidden. Thoughts to be shared now, in the context of this project.
Sometimes the sweetness of marking the pizza place or marking a path to the playground reminded me of the “special” places of childhood. Wesley’s path was the highway to his family in Ohio.
Can you see how just the object was just not enough to process, experience, learn and understand? It informed not only each child, but their friends, family and their teachers. It gives context. It gives connection.
This representation by Mikal reminded me of the sanctitude of the home, even for a young child. With all the running around and dreams of Disneyland, it turns out, there really is no place like home.
Many many children revealed memories of pets and relatives who had died. It is a remarkable testimony to the depth of young children. They created moving memorials.
My grandma loves me. She gave me things. She gave me songs. -Mira C.
(Ava Serefino)
Conner spent almost 20 minutes writing the intent and meaning of his stone cairn. When I helped transcribe his written manuscript I was struck by the complexities of random occurances and sadness that children must cross throughout their lives. I was honored that he felt in a safe place to express and share and mark this memory.
My great great grandma, you make me happy. My great great grandma, she had to ride in a wheel chair. -Colleen
While family and pet death are traumatic, the remembrances that some children chose to express possess gratitude and life affirming sentiments. Through creating, connecting and relationship in the studio and classrooms at SWS, something pivotal is being taught and understood.
I could go through this project and list common core standards and DC standards in language arts, writing, math, science, art, art history, history and science. Today I would like to recognize the missing common core standard, the one inherent every day, the “Helper.”
They are everywhere in SWS, from the office to the classroom, to the studio, to the custodians, the parents, grandparents, neighbors…all around, in the most unexpected ways are “Helpers.” Most important of all, are the “Helpers in training,” the 4-7 year old children who spontaneously take a risk and demonstrate, recognize and understand helper qualities.
It is the same community that reognizes the opposite in times of conflict, and comes together to teach, nurture, model and support the “Helper” core qualities when they are most needed.
My Grandpa lived a long long time ago.
He died before I was born
but my mom told me it will be alright. -Remiel
It will be alright.
My sister-in-law ran in the Boston Marathon yesterday. Her two children (K and 2nd grade) and husband were spectators. Time was suspended as we awaited word about the four of them. I am reprinting what she sent out today.
Dear friends,
We were in Boston yesterday. Elissa G and I were running the marathon and were a half mile from the explosion when they closed the race. We just wandered off about 1,000 yards before finishing….It was truly a surreal scene and a nightmare of panic — so many people furiously texting and calling and unable to get through to the ones they love. And in the midst of this, there were so many moments of kindness. My favorite: Elissa was freezing cold and queezy and I stopped a couple and asked if we could use their phone, frantically trying to find our family. He gave Elissa his brand new bright red Red Sox jacket to get warm. About 20 minutes later when she tried to return it, he said no “you need it more than I do. Do me a favor, wear it to a Phillies game, once.” Elissa burst into tears and we say Go Red Sox! So many Beautiful Bostonians reached out to help and comfort.
We are so blessed and grateful to be safe and our hearts are aching for those not so lucky.
Thanks for all the love!
“You will always find people who are helping.”
We have a lot of work to do.
But it will be alright.
