“…they scatter memories behind them like breadcrumbs…”

Sometimes life can feel incredibly complex to break down into small digestable bits.

Many rich projects have been occurring in the studio during this time of my playing hookie from blogging. This causes me to feel overwhelmed on what to include. (I mean I’ve been told my blogs are too long already.)

Sometimes I can see this same feeling within my students.

A provocation can seem overwhelming, draw a self portrait, build a chair out of clay, draw your nightmare and tell me about it. A big part of my work is teaching others how to break down what they see, feel, think, or hear into pieces, deconstructing what seems insurmountable.

 

Some background of what you are seeing: The “Chair Project” emerged in Ms Burke’s PreK class. Winnie drew a picture of the tables and chairs to illustrate the job of “snack helper.”  The table had about fifty legs and the chairs were represented as circles on top of the table. Dimensional thinking is complex, let alone representing it with pen and paper as a four year old. Ms. Burke found it fascinating, and we discussed it. I suggested giving the children the challenge of creating a 3d chair out of clay, and returning to the drawing later. The photos above from the studio include Hannah Birney scaffolding or asking questions to provoke understanding that would facilitate overcoming the challenge,  examples of  chairs in different postions to help children understand how they are  constructed, and Zuri giving peer support to Matteo.

50 percent of the children began by making a flat “drawing” out of clay initially.

90 percent of the children struggled with creating sturdy legs and balance. What you see plus the wonderful quality of clay-you can smoosh it when it doesn’t work out, led to enormous leaps of growths.

About 20 percent of the children came up with their own strategies  for making the chair upright. Platforms, bucket chairs and a chaise lounge were some of the ways.

When the children  finally manipulated the clay and created an upright chair, I had a few figures from the play castle for testing stability. After children “tested” their chair with the fugure, they went off to have some studio freetime.

In one small group, all but one child was done. Fionn was working with great intensity to tackle his chair. When he finally had success, I commented on how he stuck with this project, even when it was hard. I placed Fionn’s chair next to the other chairs still on the table that had a small figure seated.

“WAIT WAIT! He didn’t get to put a person on his!” Michael exclaimed from the floor where he was playing with the wooden castle. I had no idea he was paying any attention at all. I was about to just pluck a figure off the neighboring chair, when Michael rushed up with the small figure he was playing with. “There!” He pronounced, placing the toy he was playing with onto Fionn’s chair.

That small moment of caring, of equity and of kindness struck me as not just kind, but incredibly giving. Memories like these remind me of the tiny gestures which make humanity grand.

 How do I hold on to these small moments?  How can I catch them, and put them in my pocket, to be retrieved and written down before I forget them? And then, when do I remember to share them, with the person who made the moment, or the small gesture?

“…I wonder how memories can be here one moment and then gone the next. I wonder about how the sky can be a huge, blue nothingness and at the same time it can also feel like shelter. ” p.175 from Memory Wall By Anthony Doerr

After the chairs were fired in the kiln, I placed them on black paper and put up a stand so that black paper would be a backdrop for the chair. I wanted the children to see the negative space  black instead of the entire visual field around their chairs.

I wondered if the memory of mentally deconstructing a real chair and physically constructing a clay chair would support their dimensional thinking , allowing them to “see” and draw this complex object.

Mira’s chair with standing figure above.

I told the children that this was difficult for even grown-ups to do, and that they should expect to do a whole bunch of tries. That even grown ups have to do things a lot of times, and even then, it might still be difficult. As you can see from the above photos, the cognitive and tactile experiences paired with the expectation that it would take a bunch of drawings to figure it out, made for astounding development. I witnessed tremendous breakthroughs in this process.

 Dima

When it was discovered that a seat of a chair sideways makes a letter “L” shape, I showed everyone this finding.

This immediately made sense to Tessa (above)

Bella, below, was really trying hard to figure out how to draw her chair sideways. Her seat was a big circular shape, and the way she saw it, it was more from an aerial perspective. I know she was listening as I urged each child to notice that “L” shape on their own chair. When she didn’t find it, she added it to the bottom of her drawing as a bunch of “L” legs. Sometimes what you see doesn’t look like what others see. If you look closely, there is indeed a side view, just from a different perspective.

With each group, I left time at the end to reflect about what was hard or difficult as well as what they and or their friends figured out.

This intentional practice of teaching and modeling observation, critique and reflection is a way to make it a value or eventually an internalized practice for each child. At first it’s a little like pulling teeth, and then “pop” with ease and surprise great awakenings are verbalized.

Eva, throughout the process kept saying “I can’t do this.” I reminded her that “can’t is a bad word, but instead she could say, “This is hard! Can you help me?” She was however quite successful in in the end representing her chair, which she created on a base.

When we regrouped to reflect, Eva exclaimed poetically:

“If your brain looks into your creation,

Use the power.

And tell Mommy and Daddy, ‘You did it! Whoo Hoo!'”

I returned to transcribing the nightmare paintings. My goal was to complete this important process of writing down each child’s words with their paintings. I find these works by four year olds both brave and playful. While some children turned their nightmare into a dear friend like Simone,

or an element of power like Archer

 Ava S. expressed herself in an honest and touching way. I find her nightmare painting and memory as incredible evidence of the importance of  parents  protecting their child from even the  imaginary.

“Then he holds me by the shoulderss and looks me in the eyes and says,

We see things. Sometimes they there. Sometimes they not there. We see them the same either way. You understand?”

p169 from Memory Wall By Anthony Doerr

The intensity in the studio is coupled with the free time children are able to take, time permitting. While sometimes project time will use up the entire slot, I try hard to be cognizant of the merits of free time as equally important to the teacher facilitated period, and make space for it. Some children live for free time, especially those who seek the social emotional release and joys of dramatic play. While they might “live” for this free time, it does not mean it is easy. Negotiating friends, time, space, place and materials takes a multitude of thought and self regulation. Even those who prefer to make something on their own or play alone often have to defend their choices- all important habits of mind.

Here are some memories caught and documented during free time.

 Lane over the past weeks has sought out the drum during free time. He keeps a repetitive and steady beat, and loses himself in the concentration and rhythm. A few weeks ago, he began rearranging chairs and stools to make a seat and platform for his playing. He was experimenting with many configurations independently. “Can I sit on this?” he asked, rolling over the clay trash container on wheels. No child had ever asked this, so I told him to go ahead. After some bustling around, I realized the steady drum rhythm had returned. When I looked, I could see that Lane had created a throne for his music making.

Sophie this week chose to use clay to make something for her free time. She spent a long time crafting a teeny tiny sculpture. While she was welcome to take a big wad of clay, she chose to make something small and precious. When she was done she handed it to me. “It’a a platypus.” I turned it around in my hands trying to figure out how to even put one initial on it. When I determined an initial would overwhelm her piece I told her, “Sophie, this is so small, I am unable to put your name or letter on it. Please remind me that you made it after it’s been fired.”

Sophie looked at me in alarm and said, “But Ms. McLean, what if someone ELSE makes a platypus?!”

 Robert and Gabriel chose to work together making copious amounts of meatballs and spaghetti. For a half hour they made tiny pinch pots and squeezed out clay through the extruder with great excitement and seriousness. It was an epic amount of clay pasta, and their engagement and spirits were so high. Was this a fleeting moment?  or a memory that one day, when they are grown and cook for themselves,  will slip into their consciousness like a small little jolt?

What memories do we control? How can memories be utilized as a learning tool in intentional connected ways? How accurate are memories in reflecting or re-experiencing events?

Mant times when I lead classes to a museum, there is no photography allowed of the objects. In these cases, I speak very seriously to the children. “It’s important that you sketch what is interesting or gives you ideas. Since photography is not allowed, these pictures in your sketchbook will be your memory for you to return to.” I was floored by the intensity I observed when I led Ms. Ricks’ PreK class to the Museum of African Art. The line quality and pen strokes conveyed materials, features and intricacies of art and artifacts.

In the art studio, Raigan tends to complete drawings with speed and little effort.In the Museum of African Art she was transfixed, staring closely as she slowly sketched. I never tire of the phenomenon of young children enthralled and engaged in an art museum. So many parents tell me their children won’t draw or aren’t interested in looking when in a museum setting. These very same children, with high expectations that they are competent and able , seem to float into a zone where the rest of the world disappears. They create images, ideas and connections which they know are important and can see are strong work.

Shaw

Will

Zander

Loic

Sometimes memory is important  just for the reason to share a moment that was delightful. The first week back after Winter Break, folk dancers came to share dances around the world. Despite having an audience of over 80 four to six year old children, the performance was interactive and entertaining and the hour long performance was a hit.  Thanks to Arts for Every Student and Class Acts, this program was free.

The hundreth day of school was marked  by the Kindergarten students with a lot of numeracy and ritual. This year, I joined each classroom with thousands of craft sticks, wire, glue dots, paper towel rolls, egg cartons and some foam bits and pieces. In both K classes the children were given the challenge of using each one hundred sticks in some kind of sculpture that they make in an hour. A beautiful chaos of “making” ensued.

While most kids consciously or  unconsciously gave up on the idea of incorporating one hundred craft sticks, Emma Clare was determined to use all 100 sticks. With shades on, she created a skateboard storage area on her sculpture (that woud be the sticks as skateboards placed tightly in a paper cannister.) Brilliant!

 

This exercise of exploring and constructing without a plan was filled with engineering and ingenuity. It was however lacking time, so I found myself in a mad rush of cleaning up the gazillions of materials which sprawled, before the kids missed lunch or the bus. When I was leaving Mr. Jere’s class, clutching various materials I heard my name being called and felt a small person quickly following me as I zipped around. “Ms. McLean, Ms. McLean” I hurriedly said “What?” and spun around to face Anja. “Thank you for setting that up in our class. I really like doing that kind of thing.”  I felt a wave of gratitude and a little shame for being so curt initially.

I happened to bump into Anja’s parents one afternoon and told the story. It’s not often that someone even thinks to thank you for the everyday work you do, and especially not a 5 or 6 year old. This memory truly stops me in my tracks, and illuminates the great power of a small heartfelt thank you.

Memory is closely related to observation and discovery. I took one group in the art studio and decided to see if they were interested in some water experiments. The Kindergarten classes are in the beginning phases of The Anacostia River Project. Because the first visit to the river was cancelled due to weather, there were no first encounters to rely upon.  My idea was to observe water in altered states and sketch afterwards. I was not certain at all.

Dropping a golf ball in the water. Adding oil to water. Adding water color paints to water. Adding salt to water.

Stephen

Maya

Jasper

Perhaps the memory of the experiment will connect to what they see when they visit the river at the end of the week. To my delight, this one group of children (Jasper, Stephen, Ra’Kiya, Luke and Maya) were eager and enthusiastic scientists. They each documented the shared process and sequence and ideas- their memory of the multi step experiment.

Memory is called upon as a coping mechanism.With children, both the joy and the pain must be revisited with support and care to gain a sense of stability and understanding. “Remember when you were left out of your friends game? How did you feel? How do your friends feel when you leave them out? What do you need to do?” Children spontaneously bring up memories of grief, from a relative to a pet. These are great windows into life. I recently attended a funeral of my uncle. The power of memory and story is not only essential to the grief process but to each and every individual as a human being.

Piper

How and what we remember informs our very being.

Last Friday, a former student, Eva Epstein who is now in third grade came to visit me. After a big hug she looked into my eyes and said, “Ms. McLean, I came into here (the art studio) and all the memories came flooding back!”

“We return to the places we’re from; we trample faded corridors and pencil in new lines. “You’ve grown up so fast,” Robert’s mother tell him at breakfast, at dinner. “Look at you.” But she’s wrong, thinks Robert. You bury your childhood here and there. It waits for you, all your life, to come back and dig it up.” p.242 Memory Wall By Anthony Doerr

Slowly, I get to know each child, quite intimately. Helena often creates representations of her baby sister. The drawing above came about when I asked her, “What are you into? What interests you? What is something you think about?” My sister, she replied. When I asked her what her sister can do, she told me “crawl”. I bent a small figure in a crawling postion so she could figure it out.

 Previously, during free time she created her sister in her car seat out of clay.

There is an amazing way we, all people walk the earth. We bring our memories from home with us, wherever we go. They are invisible to others most of the time. For young children, they wear their memories  on their sleeves. The family memories bubble up and emerge. One moment they are playing happily and the next moment they think of their mommy, and briefly, the tears or yearning is vocalized. The next moment they are a part of a new group, building new memories, creating new pathways in their brains. Like Eva Epstein, who visited me, someday these memories will just bubble up. And define them.

“…every hour…, all over the globe, an infinite  number of memories disappear, whole glowing atlases dragged into graves. But during that same hour children are moving about, surveying territory that seems to them entirely new. They push back the darkness; they scatter memories behind them like bread crumbs. The world is remade.” p.242 Memory Wall By Anthony Doerr

 

 

Grit

Intent.

Studio work has so much of this, in so many forms.

There is poetic languages and memories made and found that offer new possibilities through creating,  however, behind it all is intent.

For my Kindergarten students working on planning, designing and sewing/constructing a costume, the intent is to develop skills and ability to sew/construct with independence. They are each making a Collection Pouch.

This is a really hard thing to do. One has to: sew on the “wrong side”, create a seam, stay along an edge, travel in one direction, avoid pins that hold it all together, not sew the pocket together. Many jokes and dramatic exclamations were a part of lightly getting pricked by the needle or pins. Deep concentration plus a sense of humor was needed for this part of the project. “Ouch, I got hurt again!” “OOOOOOOHHHH NOOOOOOOOOO! I am pricked!” “When you sew you get hurt, there is blood and it spurts!! and then it hurts and the you blurt and murt!” Lots of laughter, repeat, laughter, repeat…

Intentionally, children are seated knee to knee on the floor. Pins and needles fall easily and children need to share their mistakes and strategies in sewing the pouches in a communal way.  I am also seated knee to knee to provoke  the habit of mind of “engaging and persisting” as opposed to allowing frustration to happen to the extent of shut down. I can see who gets it and can ask them to support a friend when necessary.

When you teach someone else how do do something, the act becomes much more intentional. I observe and listen as helping children begin helping another.

“Like THIS!” when that doesn’t work, they become more specific.  “So, you have to poke the needle down and then flip it over, SEE?” (Carrington)

As expected, this project was new and hard for everyone. It was time consuming. Stitches sometimes had to be pulled out. There wasn’t any freetime with this part of the project and everyone worked at different speeds and abilities. This project  is not only intentionally planned to prepare them for their costume, but  also to develop “grit.”

What is “grit?”

Although this field of study is only a few years old, it’s already made important progress toward identifying the mental traits that allow some people to accomplish their goals, while others struggle and quit. Grit, it turns out, is an essential (and often overlooked) component of success. “I’d bet that there isn’t a single highly successful person who hasn’t depended on grit,” says Angela Duckworth, a psychologist at the University of Pennsylvania who helped pioneer the study of grit. “Nobody is talented enough to not have to work hard, and that’s what grit allows you to do.”

From the article, The Truth about Grit by Jonah Lehrer

From sewing seams came turning the pouch right side out. While this may seem intuitive for an adult, it was a stretch for the kids. The studio has a bad word that is not allowed…”can’t.” So when I started hearing a lot of I can’ts, I gave the kids replacement statements again.

This is tricky. 

This is frustrating.

I’m confused.

I need help.

This is part of the intentional work in the studio. Working through the hard parts, engaging, persisting, developing grit.

I was surprised to learn that measuring the strap to fit the body and sewing on the strap would be so challenging. (This is my first time doing work like this with the children.)

Many of the children struggled with: holding the pouch open side up, holding the strap where they wanted to have it pinned, sewing the strap on the wrong side, sewing the strap to the pouch with out closing the pocket.

It was often hard to scaffold the children through this part instead of doing it for them. Many times when children asked for help I asked them questions like, “If I pin the pouch the way you are holding it, how will you put your collection inside?” If they were unable to figure out to rotate the pouch so the opening was on top, I would ask them to look at a friend’s. If that didn’t help, I asked the friend to help.

Intentionally setting up problem solving and collaborative support means the adult not “fixing” the problem.

There was a slight break in challenging work, when they got to draw whatever image they wanted on the from of their collection pouch. But first, it had to be flipped right side out again.

Ahhhh, the sweet sensation of seeing the fruits of their labors.

“My mom is taking stiching class, and I can do it!”

“Don’t tell our parents, we want to surprise them!”

“Is it mine? Can I take it home?”

The Collection Pouches are not done yet. I want the children to learn how to attach  materials to their sewn pouch. Certainly they will need to know how to do this for the costume construction.

The third part of the collection pouch is sewing on beautiful and interesting stuff that has holes (or making holes in stuff to sew on) as well as gluing on.

Once again there is a lot of mechanical, spatial, and technical hurdles to overcome. The pouch is now right side out. The needle starts from the inside of the pouch and can only go through the front. This is a lot of  managing of materials. Sewing incorporates a lot of mathematical thinking too.

However, this part  allows for personal expression, so engagement was even higher. Only one group has started this phase of the project as of this post. The strategies and gusto with which they approached this challenge was far more independent and self-assured then their first interaction with the project.

Stephen’s Collection Pouch

Luke’s Collection Pouch

As children progressively move through this third stage of the project, they see what their peers have done. I usually see that the children in the later groups look at the first pouches and then build upon their models-changing and morphing possibilities.

In these three sessions I have seen a huge development in mathematical and spatial thinking. Huge gains have been made in persisting through the hard parts. Grit is being developed. My questions are:

Will grit transfer to the costume making-which will be hard in a different way?

Will grit transfer to classroom challenges in diverse domains such as writing?

Can you lose the development of grit if you are not in an environment where it is an intentional value?

My hope, is that the moment of perseverance transformed into invention, creation or discovery is too powerful to disappear, in any  situation. It is why I continue to read, research and develop strategies with the children. I’m a believer in grit.

Where, when, how and why did you develop your grit? Who do you attribute to supporting you develop this trait?

(Boston Museum of Fine Arts)

Here is the entire article:  The Truth About Grit, By Jonah Lehrner 

I would love to hear your thoughts and comments!