Visual arts are vital to playing- based practice in early childhood education as it enhances the development of children. For instance, gestures, finger painting, and coloring have the ability to instill a complex understanding and knowledge in children. However, these benefits are not properly utilized, as there is a lack of understanding on the significance of art by educators. Arthur, McArdle, and Papic (2010) confirm that children miss the benefits of art when educators lack the skills, knowledge, and confidence to deliver the experiences that relate to visual art. Bae (2004) states that, the failures by the educators to teach the techniques of visual arts undermine the creativity of children. In this case, children are not equipped with the knowledge on how to use materials to express their ideas.
According to Ball (2000), educators acknowledge the need to provide children a range of educative art activities but they lack the educational abilities to scaffold the learning of children and to engage them in art activities. Experts suggest that the main reason why visual art is underutilized in early childhood education is the fact that educators lack confidence, have a low self- efficacy, and lack societal and parental value for visual arts. Previous studies have confirmed the beliefs of educators when it comes to visual arts; a few of the educators have described and explored the practices and beliefs of visual arts in early childhood education. Beltchenko (2016) explains that there is need to appreciate visual art pedagogy and beliefs in order to promote the growth of both the preserves educators and practitioners.
The paper presents research findings from a qualitative case study, which identifies the pedagogy and beliefs of visual art on Australian childhood educators and childhood teachers. The constraints of one article will not allow an adequate discussion in the variation in educator and teacher beliefs and visual art. Therefore, the findings that shed light on the ambiguity in art products will demonstrate the beliefs that affect the educational provisions. In order to engage with the research findings, it is imperative to have an overview of the theoretical framework formulated to question the art beliefs of the participants. In particular, the paper will focus on Dewey’s viewpoint on the growth and experience on the visual art myths. Boyd and Cutcher (2015) provoke the reflection on the types of art experience accessible in the early childhood framework. Overall, the experiences of visual arts suggest a useful structure for educators to assess art in order to determine the ideal visual art to fit for children, this range of art can open the way for the reflection of visual art practice and beliefs pre- service teachers and educators.
According to Christensen and Kirkland (2010), the article provides research findings that scrutinize visual art pedagogy and beliefs of pre- service teachers and educators in order to support a reflection on the educational value of the various visual arts accessible to children. Visual Arts offered in early childhood education context depend on the purpose and method; however, there are little directions to support educators to assess visual arts to be included in the educational curriculum. Simultaneously, the findings indicate that educators do not have the confidence to teach and make art and their knowledge on visual art are limited. A qualitative case analysis examined the pedagogy and visual arts of twelve educators from four early childhood context in Australia. Data was collected through interviews, pedagogical analysis, and environmental analysis on visual arts. John’s philosophies of educations, democracy, and art consolidate with the pedagogical and philosophical values of Emilia Reggio educational approach to support the analysis and interpretation of the findings. In Dewey’s philosophy of growth and consummatory alongside with the discussions by Eisner on the myths of visual art in early childhood settings guide a reflection on visual arts terms. In this case, visual art supports a reflection on the types and nature of experiences that lead and mis- educate arts stagnation compared with the experiences that my promote educative growth.
According to Craw (2015), children do not have the ability to question the quality of their work, their ability to draw, or on whether they are good in artwork, this is of no importance as play is a language used by children to learn and it is fun. As adults and parents, the art of children should be celebrated and it should be educated out of them.
In recent years, the importance of art education has been addressed with the significance of arts addressed as a compulsory learning experience in both the state and national educational curriculum. Visual art plays a vital role in bringing meaning in people’s live providing them with an opportunity to discover the cultural and social values in communication. In addition, the research from North America differentiates the benefits of art education. In this case, those students with effective art engagement in the education context will be advantaged with time, as the benefits of art will continue after they leave school. The research findings state that primary teachers lack the confidence in teaching arts and that they feel they lack the time needed to teach arts in the educational curriculum. In this setting, art making is regarded as the teacher’s product. Eisner (2002) states that in most cases, art is usually shallow in primary school and the methods culminating in this models are limited. The research question explores art education in early childhood reporting the pedagogies, philosophies, and theories that can be used to motivate educators in both primary and early childhood setting in order to be confident in visual art. Both D and T share the same opinion that the approaches used to the children’s art were problematic and discussion among parents and educators was frequent. According to T, through an ongoing practice and exposure, children are able to learn mastery; therefore, it is imperative for educators to expose children to artwork so that they can learn the mastery of visual art.
Arts like media, visual arts, drama, dance, and music are a form of communication because art can be used to articulate ideas in cases where words are inadequate or unavailable. Today, we are surrounded by an array of multimodal and digital texts and images. Children use texts and have the ability to communicate using texts. Children can communicate using texts. For instance, they can create the texts by using their bodies, voices, and materials like clay, pencil, and paint. Other children have the ability to communicate using moving and still music recorders, cameras, and computers. In the 21st century, literacy takes more than just reading and writing, with the widespread in globalization and technologies, literacy levels have advanced and now they include coming up with meanings using multimodal, oral printed, spatial, and visual texts. Generally, it entails viewing multimodal texts and images and decisively analyzing texts.
Transfer (Arts enable the transfer of learning from one field to another)
Causation (In cases where an individual participates in one form of art, it can enable them to succeed in other domains) (Wright, 2012)
According to UNESCO, art is an elementary human right which should be upheld.
The role of educators: the most significance role in the arts education is a reflection of the educator’s approach towards arts. For instance, it is important for an educator to identify what they value most and what they do not value. In addition, educators should evaluate whether they feel confident in the delivery quality art to children.
Educators bring their cultural and personal experiences and knowledge of art in their teaching. In most cases, educators have a poor art education background, however, this does not mean they do not have the experience or knowledge of arts, this is because, it is hard for any person to escape the encounters with visual experiences, images, and art. Therefore, it is the critical, social, cultural, and complex experiences of art, which educators use in the teaching of art. In this essay, the case that is brought forward is that it is important for teachers to reflect on their experiences and understanding of art before relating it to their pedagogies (Wright, 2012).
This research is an extension of the former study, which surveyed a restricted number of children (n=21) in order to establish the awareness of the value of art education in their schools and community. The research findings of the previous study suggested that those students who had to take any form of a college course in art education responded positively concerning the worth of art education as compared to those who never took any art education course. The current research investigated on the perception of educator and teachers on the value of art education in elementary school. Further, the research examined the perception of educators on the importance of music and art in the development of children to become a well- rounded individual. The survey was conducted in junior level education (n=19) because of the change in the classes taken by early childhood seniors.
The review concluded that pre-service instructors who had no art training courses or were not presented to art encounters in the basic classroom because of constrained field encounter right off the bat in their program as they showed to some degree a horrible view about organized workmanship or music classes for rudimentary understudies. The aftereffects of this review strengthen the consequences of the past review and affirm existing convictions that broad introduction to art instruction in the rudimentary/early youth training project is essential for their future understudies’ presentation to craftsmanship encounters. Instruction projects ought to offer pre-service instructors broad encounters in the primary schools and in art training classes keeping in mind the end goal to guarantee that preserves educators figure out how to esteem the significance of organized projects in expressions of the human experience for all schoolchildren
UNESCO (2006) states that interest in expressions instruction is a ‘principal human right’ (pg. 59). While this is the overall belief, it appears that access to effective art training is not steady. When looking at, scrutinizing, considering, and expounding on art, we are utilizing our stylish appreciation.
An educational module built around imaginative methods for being, seeing, and knowing, instructs children to perceive, regard, and praise distinction through the ways that they play, learn, team up, investigate, and make. This work starts with the instructors” (scarlet, 2016)
Art can have any kind of effect in the lives of children, and how their successes are measured and mapped influences their odds for achievement. It is an approach to educate and learn.
The Australian Curriculum for the Arts traces three principle cross-educational programs needs: Aboriginal and Torres Strait Islander histories and societies, Asia advertisement Australia’s engagement with Asia, Sustainability. When we discuss cross-educational modules needs, we are alluding to methods for fusing social differences into all parts of our educational modules.
Therefore, expressions of the human experience give an ideal stage to presenting children to social differences. Through finding out about Aboriginal and Torres Strait Islander history, societies and points of view, kids find out about their nation’s legacy and unique tenants and additionally the continuous effect of colonization and how we have turned into the general public we are today”. (The test for us as teachers of youthful kids is to make AUTHENTIC encounters for youngsters that cross over any barrier amongst Aboriginal and non-Aboriginal kids. Both people group and social perspectives ought to be regarded similarly. A way which we can do this is by an acknowledgment (Woodruff, Bolen & Thomas, 2014).
The National Quality Standard (NQS) makes it fundamental for Early Childhood Education and Care (ECEC) administrations and instructors to comprehend, and help children find out about, the history, culture, and contemporary existences of Aboriginal and Torres Strait Islander individuals. This is because the managing rule that supports the NQS state—yet intensely—that ‘Australia’s Aboriginal and Torres Strait Islander societies are esteemed’ (Ward, 2013).
Actually, in the Australian setting, there is minimal recorded direction for teachers with respect to visual art teaching method, this reference to visual expressions and innovative dialects in the Early Years Education (Scarlet, 2016).
The System for the Australia (Department of Education, Employment, and Workplace Relations [DEEWR], 2009) is not express or prescriptive. Added to this, pre-benefit coursework is not sufficiently outfitting instructors with the attitudes, information, or certainty to adequately fuse visual art learning in their learning surroundings. Such instructive vagueness, overall levels of instructor improvement, appears to have brought about the substitution of myths and mantras. Be that as it may, instead of singularly denounce instructors or the sorts of visual workmanship rehearse they actualize, it might be more useful to bolster teachers to assess their own convictions and practice (Miraglia, 2008).
In this essay, I will discuss how books are used to support the rational quest of children. The hypothetical framework will be analyzed as they relate to the incorporation of these articles in the Municipal Infant-Toddler Centers and the Preschools of Reggio Emilia and Pistoia, Italy. In this case, the educational framework of these institutions will be analyzed in order to show how the constructive and socio-cultural theories are developed and evident in the community, homes, and in schools. This three places children at the core of their learning through curiosity, inquiry, and investigation. The focus will be on the utilization of course materials in Italian schools and on how the genres of the books play a vital role in equipping children with essential skills for their development (Lindsay, 2016).
This essay highlights an approach that can be used in early childhood education for development. The essay will report on the author’s research that examines the efficiency of arts in understanding and exploring the world in both learning and teaching. The author explores the role played by arts in the production of knowledge and experience, and their personal interpretation of the environment they are in. the research findings are of great importance as it explains the significance of the environment in bringing out the creativity in both the educators and children. The research findings also highlight the challenges that needs to the overcome by teachers and educators in order to connect with their environment and the impact of the connections on their ability to reflect the environment in their teaching programs (Garvis, 2012).
Further, educators play a vital role in providing children with an appropriate art education (Roy, Baker & Hamilton, 2015). Therefore, the educational approaches to be used within the learning environment should provide children with an opportunity to engage in artwork with proper material. The educational approaches used in this essay that support visual art include modeling, encouraging, attentive and meaningful conversation, and psychological support. In this case, educators should provide art materials to children so that they can practice art- making skills and to enable mastery of the art materials (Ewing, 2010).
The knowledge of the educators on art can be acquired through a comprehensive professional and pre- service development. In this research, it is evident that educators deliberately set the materials and the environment so that it aligns with the theoretical approaches on how to teach the children. In order to support art- making, educators must be physically and emotionally present in order to develop an adequate relationship with every child, which will improve learning (Ewing, 2013).
References
Arthur, L., McArdle, F., &Papic, M. (2010).Stars are made of glass: Children as capable and creative communicators.Canberra, Australia: Early Childhood Australia Inc.
Australian Government Department of Education, Employment and Workplace Relations
[DEEWR]. (2009). Belonging, being, becoming: The early years learning framework for Australia. Canberra: Commonwealth of Australia. Retrieved from https://www.dss.gov.au/sites/default/files/documents/05_2015/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.pdf
Bae, J., (2004). Learning to teach visual arts in an early childhood classroom: the teachers’ role as a guide. Early Childhood Education Journal.31(4), 247-254.
Ball, D. L. (2000). Bridging practices: Intertwining content and pedagogy in teaching and learning to teach. Journal of Teacher Education, 51(3), 241–247.
Beltchenko, L. (2016). Intellectual Pursuits of Young Children Through Picture Book Literacy, Focusing on Italian Preschools.Gifted Child Today, 39(3), 145-153.doi:10.1177/1076217516644636.
Boyd, W., &Cutcher, L. (2015). Learning from early childhood philosophy, theory and pedagogy: Inspiring effective art education. Australasian Journal Of Early Childhood, 40(1), 91-98.
Christensen, L. M., & Kirkland, L. D. (2010). Early childhood visual arts curriculum: Freeing spaces to express developmental and cultural palettes of mind. Childhood Education, 86(2), 87-91. Retrieved from https://search.proquest.com.ezproxy.csu.edu.au/docview/89071281?accountid=10344
Craw, J. (2015). Making art matter-ings: Engaging (with) art in early childhood education, in Aotearoa New Zealand. Journal Of Pedagogy / PedagogickýCasopis, 6(2), 133-153.doi:10.1515/jped-2015-0018
Eisner, E. (2002). The Arts and the Creation of Mind. New Haven: Yale University Press.
Ewing, R. (2013). Creative arts in the lives of young children.Camberwell, Vic.: ACER Press.
Ewing, R. (2010). The Arts and Australian Education: Realising potential. Australian Educational
Review, 58.Camberwell, Vic: ACER Press.
Garvis, S. (2012). Exploring current arts practice in kindergartens and preparatory classrooms. Australasian Journal of Early Childhood, 37(4), 86–93.
Lindsay, G. (2016). Do visual art experiences in early childhood settings foster educative growth or stagnation?. International Art in Early Childhood Research Journal, 5 (1), 1-14.
McArdle, F. (2016). International Art in Early Childhood Research Journal. Australia: Charles Sturt University.
Miraglia, M. (2008). Attitudes of Preservice General Education Teachers Toward Art. Visual Arts
Research, 34(1), 53-62.
Roy, D., Baker, W. & Hamilton, A. (2015).Teaching the arts : early childhood and primary education (Second edition). Port Melbourne, VIC: Australia Cambridge University Press.
Scarlet, R., (2016). Anti-bias curriculum. Sydney, Multiverse.
Shulman, L. (1986). Those who understand: Knowledge growth in teaching. AERA. Educational
Researcher, 15(2), 4-14.
UNESCO (2006).Road Map for Arts Education’. The world conference on Arts education: Building creative capacities for the 21st century. Lisbon, 6-9 March. Retreived from https://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf
Ward, K. S. (2013). Creative arts-based pedagogies in early childhood education for sustainability (EfS) : challenges and possibilities. Australian Journal of Environmental Education ,29(2), 165-181. doi:doi:10.1017/aee.2014.4.
Woodruff, C., Bolen, Y., & Thomas, B. (2014).A rationale for art education in the formative years: early childhood and elementary preservice teacher perspectives. Review Of Higher Education & Self-Learning, 7(25), 106-110.
Wright, S. (2012). Children, meaning-making and the arts (2ndedn). Frenchs Forest NSW: Pearson Australia.
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