Hosted by Ana Ortiz

Welcome & Tips for Using the Series ...... 2

Program 1: Children’s First Language ...... 3

Program 2: Visual Arts ...... 9

Program 3: Music ...... 17

Program 4: Movement & Dance ...... 21

Program 5: Drama & the Literary Arts ...... 27

Program 6: The Artful Environment ...... 31

Program 7: Arts for Learning ...... 37

Program 8: Arts Everyday ...... 43

Acknowledgments...... 48

TABLE OF CONTENTS ART TO HEART 1 Welcome to Art to Heart!

This engaging and hands-on series explores arts in early childhood. Researchers, Weducators, and parents explain how developmentally appropriate activities in visual arts, dance, drama, and music contribute to learning and growth from infancy through age eight. The eight programs take viewers into schools, child care centers, museums, community arts centers, and homes to show young artists at work and to showcase model arts education programs and activities.

This guide, along with the Art to Heart web site www.ket.org/arttoheart, is designed to provide expanded information on the topics and activities in each 30-minute program. Read it before or after watching the programs or use it to follow along as you watch. Information on segments is listed in the order the segments appear in the program. The DVD has been chaptered to correlate to the segments identified in this guide.

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2 ART TO HEART WELCOME

program 1

“Education is lighting a fire, not filling a bucket. And the arts light the fire. They light the fire of enthusiasm and involvement. They engage the child on every level—sensory, verbal, and cognitive.” Valerie Bayne Carroll, Master Teaching Artist, Wolf Trap Foundation for the Performing Arts

The arts have been referred to as “children’s first language” because even before they can speak, children express their thoughts and ideas through art, movement, music, and dramatic play. This program provides an overview of the Art to Heart series, introducing the impor- Ttance of the arts as a form of self-expression and a foundation for learning and development. The program shows arts activities in a variety of settings, including at home, in a child care center, in classrooms, and at a museum.

GUIDED you ut the WATCH • Think abo arts in role of the s a ictures, your life. A -up, draw p play dress ctivities ild, did you k of these a ch id you thin do g songs? D s an adult, or sin t as fun? A rts”—or jus you go to as the “a ancing? Do usic and d obbies that you enjoy m have any h s? Do you corat- ys or movie quilting, de pla ills, such as ics? artistic sk s, or ceram involve ging flower ome, arran ? ing your h as creative of yourself nd art o you think , theater, a D usic, dance roles do m s? • What communitie n- ltures and ties as lear play in cu t arts activi think abou bout the hat do you you know a • W ? What do hing xperiences nd/or reac ing e n learning a f the arts o impact o &outcomes? l educationa prescribed

PROGRAM 1 ART TO HEART 3 Segment: Baby Artsplay This program is made up of The program opens at the Wolf Trap Foundation’s segments introducing Center for Education in Vienna, Virginia. The arts activities in a vari- video shows part of a Baby Artsplay class. ety of settings. Note Aimed at children six to 36 months old and concepts and ideas their parents and caregivers, Baby Artsplay GUIDED you would like to shows parents how to incorporate music and learn more about books into the daily lives of their young children. and/or implement. Parentsyou learn how to enable their children to experience the steadyW beatATCH of familiar songs by shaking rhythm instruments or being bounced on a parent’s knees. The class also explores the steady beat in books and nursery rhymes for a literacy connection. Segment: The Arts at Home Cyndi Young and her four-year-old daughter, Georgia, Think About/Discuss have fun with the arts in their home on a regular basis. • What specific activities are going on in the segment? In this segment, we see them tracing each other, painting Does what you see support the teacher’s comment that in the backyard, and creating with modeling clay. the arts engage children “on every level—sensory, visual, and cognitive’’? Think About/Discuss • How do the parents and children interact? Do they • What activities do you see this mother and daughter seem to be having fun? What materials and instru- do together? Are these structured or open-ended? ments are being used? How do these activities differ from using a coloring “ • What does the statement Education is lighting a fire, book or making a craft that has specific directions? ” not filling a bucket mean? What types of learning What are the differences between process-oriented “ ” “ activities would light a fire as opposed to fill a activities and product-oriented activities? Which type ” bucket ? do you think is more creative or beneficial? & • What are some of the benefits of art activities that Young mentions? What do you think her perspective Segment: The Value of Arts Activities as a teacher adds to her perspective as a parent? A variety of teachers and other experts offer ideas about • It’s important that children feel free to explore and to the value of the arts in the lives of young children. express themselves in a supportive setting with trust- ed adults. These relationships are a foundation of Think About/Discuss learning. Do you see evidence of this in the segment? How could a teacher or caregiver build this kind of • Which comment stands out the most to you? Why? relationship? • How do these comments support the idea of the arts as a “first language”?

Kindergarten students in Daviess County, Kentucky, receive keyboarding lessons.

4 ART TO HEART PROGRAM 1 Segment: Playing in Paint Segment: The Evolving Art Museum At the Child Study Center at East Tennessee University, Like museums across the United States, the Speed Art even infants get hands-on experience with art materials. Museum in Louisville, Kentucky, is looking for ways to In the segment, you’ll see babies playing with washable, serve families and children. This segment visits the nontoxic finger paints and textured materials such as museum’s Laramie L. Leatherman Art Learning Center bubble wrap and aluminum foil. They are exploring— and Art Sparks Interactive Gallery, an art environment and affecting change on—the world around them. with hands-on and engaging activities that range from low-tech, such as blocks, to high-tech computer activi- Think About/Discuss ties. • Were you surprised to see babies “painting”? • Babies and toddlers explore their environment Think About/Discuss through movement and sensory experiences—seeing, • What activities did you see in the segment that you hearing, touching, and tasting. This is how they learn can recreate at home or in the classroom? What is the about themselves and their world and is called the benefit of open-ended activities? sensorimotor stage of development. How is the paint- • Are museums places for children? What are the bene- play activity suited to babies and toddlers? fits to museums of evolving to be more receptive to • According to the teachers, what are these babies get- the needs and interests of young visitors? ting out of the activity? • Did you visit museums as a child? Was the experience • As the babies play, their teachers talk to them, describ- like Art Sparks? “ ing what they are experiencing: Oooh, that feels cold • What would make you comfortable in a museum’s ”“ ’ and sticky. Look, it s on your hands; it was on the family and hands on space? What would make you ’ ” paper and now it s on your hands. Why might this be want to stay and return? beneficial?

Segment: The Arts at School In Daviess County, Kentucky, the school district HOWARD GARDNER’S implemented a project called Graduation 2010, researching ways to help students achieve. As a result, MULTIPLE INTELLIGENCES the district implemented new approaches to learning, including keyboarding for each kindergarten student and increased artist residencies. The results have been Linguistic intelligence: relates to spoken and writ- higher test scores and children who are happy to come ten language. to school. In this segment, educators, students, and Logical-mathematical intelligence: the ability to parents discuss the benefits of a focus on the arts. detect patterns, reason deductively and think logi- You’ll see young children in keyboarding class—where cally. the goal is not to produce master musicians, but to Musical intelligence: skill in the performance, get children using both hands as well as other composition, and appreciation of musical patterns. senses—as well as participating in other Bodily-kinesthetic intelligence: using the music and movement activities. body or parts of the body to solve problems; the ability to use mental abilities to coordinate Think About/Discuss bodily movements. • What benefits of including the Spatial intelligence: the ability to use the arts and music/keyboarding sense of sight to recognize, use, and create were discussed in the seg- visual representations of objects. ment by teachers, parents, Interpersonal intelligence: the capacity to work and students? effectively with others. • What is important to you Intrapersonal intelligence: the capacity as a parent regarding your to understand oneself, to appreciate child’s school-based educa- one's feelings, fears and motivations. tional experience? • What is important to you as Since his original work, Gardner has an educator about your added naturalist intelligence to this list. students’ school experience? This is the ability to recognize, catego- rize, and draw upon features of the natural world.

PROGRAM 1 ART TO HEART 5 GUIDED youWATCH

sensorimotor stage of the range of ages and progression of activities shown development: Swiss psychol- in the program. The infants at East Tennessee State ogist Jean Piaget theorized that who play in paint are at a stage of development in human intelligence evolves which sensory exploration is at the fore, so allowing through a series of stages. them to explore different textures, colors, and the feel Sensorimotor, the first stage, of the paint is appropriate. At 4, Cyndi Young’s daugh- lasts from birth to about age 2. ter Georgia is at a stage where she is refining her & In this stage, intellectual devel- motor skills—the arts activities help her learn how to opment depends on sensory experiences and motor hold and use markers and paintbrushes and how to activities—children learn through grasping, touching, glue—skills that will help her in school. The school- and manipulating objects and through sight, hearing, age youngsters in Daviess County are ready for more smell, and taste. Piaget’s other stages of development structured arts activities that teach specific skills and in early childhood are the preoperational stage (from information—such as vocabulary and techniques— about 2 to 7 years old), in which children acquire the while still allowing room for personal expression. ability to represent objects and events through skills such as language, symbolic play, and drawing, and Cy the concrete stage (from about 7 to 11 years old), in ndi Young and daugh which children can use logical reasoning and become ter Georgia. aware of other people’s viewpoints.

developmentally appropriate practice: This term refers to education that is based on typical development for children as well as the unique way and timetable in which each child develops. Think about

Segment: Origin of a Theory In this segment, Howard Gardner, PhD, from Project Zero at Harvard University, gives an introduction to his theory of multiple intelligences. In 1983, Gardner proposed that there are at least seven different types of intelligences, whereas most school activities focus on only two, linguis- Do You Feel tic and logical-mathematical. He has since added an additional intelligence. His theory identifies a variety Creative? Some parents and teachers of ways people learn and areas in which to excel. avoid creative activities His theory provides support for a much larger because they do not role for the arts in school, since three of his types think they are creative of intelligences are related to the arts. themselves. They may fear Think About/Discuss being judged on their talent— or lack of it. But talent and cre- • What do you think about the idea of multiple intelli- ativity are not the same thing. You do gences? Have you seen evidence in this program or in not have to be an actor to lead children in your own interaction with children of what Dr. Gardner role-playing or storytelling; an accomplished is discussing? artist to express your ideas through clay or • Do arts education and arts experiences help schools crayons; or a great singer or dancer to enjoy address multiple learning styles? What might be the singing and moving with your children or stu- outcome of doing so? dents. Everyone has the ability to create, and we are all involved in a never-ending process of discovering our creative potential. It just takes a willingness to try new ways of doing familiar things and an openness to discovering something new about yourself and the world around you.

6 ART TO HEART PROGRAM 1 THE FIRST LANGUAGE The arts have been referred to as a child’s first Repeats words or short phrases over and over. language. How does language develop and what • Use songs to encourage this; have the child sing kinds of arts-related activities are beneficial? Here along. are some milestones in language development and activities that demonstrate how the arts are a form of Uses prepositions—in, on, under, etc. nonverbal communication as well as supportive of • Reinforce this by looking at and describing pictures emergent language and literacy. Keep in mind that or describing how you are moving your own body or each child develops at his or her own pace. other objects. For example, “I am walking on the sidewalk,” “Look, here’s your book under the blan- Milestones ket.” Responds to sounds. • Use music in play with infants (as an infant, a Begins using more words in a sentence. person’s hearing ability is the best it will ever be • Repeat the phrases used by the child so he or she throughout the lifetime). Play music soft, then loud- can hear his or her own statements. er. Play an instrument in one corner to have baby • Sing songs that include words in the child’s vocabu- look for where the sound is coming from, then lary as well as songs that build on that base. move the object. • Have the child describe pictures and environments • Bounce baby on your lap to a rhythm. to you. Write these down as the child dictates them to you, so the child will see aspects of print such as Responds to name. writing from left to right. • Sing baby’s name; baby will respond to different tones used. Speaks in language that is intelligible to most • Relate words to objects. For example, when you people. Uses pronouns—I, you, me—correctly. say “car,” the infant/child will look at the car. • Have the child use figures to act out stories and • Name objects in the environment and pictures. demonstrate this knowledge. Point clearly to what you are naming and use descriptive phrases (such as “red chair”) so the Begins to understand and use concepts/descrip- child will learn descriptive words, like colors, faster tion in language. and easier because they have been related to the • Continue asking the child to describe pictures environment. and/or environment and record what the child dictates. Understands simple, one-step directions. • Using cards or objects, no more than two or Can speak in and understand complex and three, ask the child to “show me red,” or compound sentences. “show me the circle.” • Have the child act out his or her • Ask the child to mimic your simple move- sentences to demonstrate this ments. knowledge. Take turns doing this and make yours slightly more diffi- Speaks in one or two word phrases; cult, but build on prior knowledge so can name objects. the child does understand the con- • Encourage the child to use descriptive tent. words so he or she is building longer sentences. • Have the child give commands, for movements, as an example.

Begins to build vocabulary. • Continue describing environment and pictures. • When singing a song with new words, make sure to name the words separately from the song and define them for the child.

PROGRAM 1 ART TO HEART 7 Parents and children enjoy books and music together in the Baby Artsplay class.

FIND OUT MORE

GUIDED • Visit the Art to Heart web site youWATCH www.ket.org/arttoheart for more information about the people, places, and topics in this program.

• Rebecca Isbell, Director of the Center of Excellence in Early Childhood Learning and Development at East Tennessee State University, is one of the experts interviewed in this program. & Her book Creativity and the Arts with Young Children In the classroom focuses on the use of art, music, drama, and Plan a develop- movement in programs for young children. mentally appropriate (Delmar/Thompson Publisher, 2003. 2nd Edition at arts activity for your press.) Find more information about this book and students. Try an idea others by Isbell, along with suggested activities, at shown in the program such as playing in her web site www.drisbell.com. paint for infants or fingerpainting for older children. Or read a story and sing songs • Find out more about the multiple intelligences or play movement games that go along theory at Howard Gardner’s web site with it. www.howardgardner.com.

At home • Find out more about brain development at Plan an outing to a local museum. Call in www.zerotothree.org. advance to see what kinds of special activities are available for families and • Find out more about the arts and early childhood young children. in the Arts Education section of the Americans for the Arts web site www.americansforthearts.org.

8 ART TO HEART PROGRAM 1

program 2

“Children really think with their hands, so when you provide something like clay, you’ve provided a way for what’s inside them to come out.”

Chuck Schwall, Atelierista, St. Michael’s School, Missouri

Segments in this program illustrate how visual arts activities can be a doorway to literacy, self-esteem, problem-solving, and parent-child bonding. The program explores a variety of approaches to visual art in preschool, school, and museum Ssettings. Many ideas can be easily adapted for use in the home.

GUIDED youWATCH • Thi nk about visual art and the many form s it takes in our lives. It’s not just pain tings and sculpture in museums. Th ink about the visual art all around u s—illustrations in magazines, the way f lowers are planted in a garden to achi eve a pretty result, the design of bu ildings and houses, decorating a cake , choosing pleasing colors for the walls in your home. All these and many other aspects of daily life reflect visual arts skills. • Wh at is the role of visual art in your &life? What experiences do you remem ber from childhood? What visual arts activities do you enjoy as an adu lt—going to museums, drawing, decorating, etc.?

PROGRAM 2 ART TO HEART 9 Segment: Steppingstones The program opens at Breckinridge-Grayson Head Start in Leitchfield, Kentucky. As part of the Family Literacy program, children as young as 36 months and their fathers (or other male family members) work together to create steppingstones using concrete, pizza boxes, beads, shells, and other decorations. The segment includes a host introduction to the program and concludes as Mark Hazelwood and his daughter, Danielle Pence, place their steppingstone in front of their home.

Think About/Discuss • Do the families seem to be having fun? What does the father do? What does the daughter do? • According to the teachers, how do children benefit from an activity such as this? What surprises parents who participate? • What safety gear are parents and children using? Why? • How can parents and teachers work together on art projects? This program is made up of segments introducing arts activities in a vari- Segment: The Value of Visual Arts ety of settings. Note Activities concepts and ideas you would like to In this segment, teachers and other experts offer GUIDED learn more about ideas about why the visual arts and arts activities are and/or implement. important.youWATCH Think About/Discuss • Which comment stands out the most to you? Why? Educators become teacher-researchers to support their • What does the statement “Art is a process-oriented students’ individual and collaborative work and think- activity” mean? ing. Teachers also pay close attention to what the stu- • How do the arts, as one speaker notes, help children dents are doing, creating, and discussing as they work “learn how to see, how to imagine, how to feel”? on the project and document individual and classroom community growth and exploration. In this program, we see the atelier, or art studio, at the center of the College Segment: Art at School—Reggio Schools School and watch as students create a backdrop for a This segment visits two schools in the St. Louis area: The planet they have created. At St. Michael’s School, chil- College School of Webster Grove and St. Michael’s dren work on clay projects as the atelierista, or art School. Both schools incorporate ideas from Reggio teacher, documents their process. Emilia, an approach to early childhood education that began in the city of Reggio Emilia, Italy, after World War Think About/Discuss II. The Reggio Emilia approach focuses on children’s • What do you think about a “project approach” to symbolic languages. Components of the philosophy learning? What subject areas are reflected in the planet include exploring& and entering into relationships with project shown? What art projects would work in your peers, family, teachers, the environment, and the com- classroom? munity. Some refer to Reggio Emilia as the project • Why do you think a wide variety of materials are approach. The project approach involves students in an made easily accessible to students? What materials did in-depth study and exploration of a topic, using many you observe being used? What would you like to different tactics to learn: reading, creative arts activities, make available to your child or students? handling related objects, and more. Reggio teachers take • How would being a co-learner differ from the tradi- on a co-learner role in the classroom, serving as a tional role of a classroom teacher? resource and a guide to the students.

10 ART TO HEART PROGRAM 2 helps prepare young children for school. Children build skills and knowledge in literacy, math, and social awareness through active developmentally appropriate learning in music, creative movement, and visual arts. Teacher Won Jung Choi explains her focus on developing students’ visual language—the ability to see the world in terms of elements of art.

Think About/Discuss • What are the elements of “visual language” that teacher Won Jung Choi focuses on? How do these elements contribute to creating art? • Why do you think giving children a variety of aesthetic experiences would be important?

Segment: The Evolving Art Museum This program shows activities for young children at two museums, the Philadelphia Museum of Art and the Smithsonian Institution. At both museums, youngsters view artworks, read related books, and do group and individual creative activities.

Children at the Smithsonian Early Think About/Discuss Enrichment Center make spider • How might identifying shapes and patterns contribute amulets in the National Gallery of to reading readiness? Art Sculpture Garden. • What do you think about the statement that “we construct knowledge based on personal experience”? What did the children learn by doing as opposed to Segment: Art at School—Inspired by an what they learned from listening and looking? Artist • What do the students do as a group? What do they work on individually? At Byck Elementary School in Louisville, Kentucky, students in Melanie Walker’s class create works inspired by the bird paintings of John James Audubon (1785-1851), one of America’s premier nature artists. Educators and Segment: From Scribbles to Storytelling parents discuss their knowledge of and observations of The program concludes with Martin Rollins, Associate how the arts are connected to brain development and Curator of Education Programs at the Speed Art learning. Museum, discussing how children’s drawing abilities progress from scribbles to a representation of their Think About/Discuss world. • Why did the teacher choose the artist Audubon? In her opinion, what do the students get out of the activity? Think About/Discuss • Does this activity help students appreciate art, create • How could this information be useful to an adult art, or both? What is the difference? Why would the interacting with young children in terms of expecta- activity of learning about a local or regional artist and tions, appropriate activities, and discussing a child’s using their work as a model be worthwhile? art with the child?

Segment: Art at School—Learning to See Classroom visits conclude at the Settlement Music School, a community school whose mission is to provide children and adults in the Philadelphia region with high quality instruction and activity in music and the related arts. The school’s Pre-School Arts Enrichment Program

PROGRAM 2 ART TO HEART 11 GUIDED youWATCH

You don’t need to start showing them how to draw circles—or anything; they’re simply not ready for it. Be supportive and show appreciation of what they are up to—offer lots of oohs and ahhs—and ask them to tell you about their drawings. At this age you can help children take note of visual qualities in the There are certain stages in cognitive and emotional world around them—for example, drawing their development that are true throughout cultures attention to highly textured or brightly colored around the globe. Although these stages are objects. And reading to children at this stage from sequential, they are general patterns of development books with vivid illustrations can be a visually enrich- that are not age specific. In terms of a child’s visual ing experience. Open-ended art activities that creativity, these developmental cycles are indicated involve parents and children are great for this age. in the symbols, the format, and the structure of the Child care programs for this age should highlight a child’s drawings. In a sense, drawings are indicators variety of art experiences as part of the overall cur- of how the child perceives and interacts with the riculum. world around him. For parents and teachers, these stages of drawing help identify what types of art activities are developmentally appropriate for chil- The Flower dren. Child As with other aspects of development, children of Just like those different ages have specific issues and needs when children of the it comes to visual art. Here is brief description of the Sixties who cele- developmental sequence and some ways parents brated the won- and teachers can appropriately nurture their young der of it all, chil- artists. dren grow from the scribbling stage into a rich The consciousness of Scribbler the world all around them. Simple shapes become fanciful characters and environments. Children’s Around the age drawings at this stage are highly colored, free-spirit- of 18 months, ed images that defy gravity and reality. Children in children begin to this stage do not necessarily organize images with a scribble, scribble, “top” or “bottom” of the page; their visions are all scribble. At first, over the page in whatever colors they choose. This these scribbles artwork reflects the self-absorbed state of the con- are simply for sciousness of the child. physical pleasure, but over time the Helping Flower Children: Provide children at this child’s scribbles become more organized and reflect age plenty of opportunities to draw, paint with poster a deliberate intention. The child begins to make con- paints, sculpt with modeling clay, and experiment nections between the scribbles and the world around with scrap material collages. Keep the dialogue him and starts to “name” the scribbles. For example, going about what and why they are creating. Keep that colorful explosion of loopy lines might be the observations positive and specific. For example, “I child’s version of “Mommy.” really like how you colored that shape purple. What is that you’re coloring in now?” Children at this age Helping Scribblers: Provide toddlers with benefit from a variety of experiences and outings; nontoxic crayons or markers and large sheets of they’ll find rich inspiration for artwork in a trip to the paper and then adopt a “hands-off” policy as far as zoo, a baseball game, or other experience; drawing art making is concerned. Children at this age don’t and sculpting are ways to express their responses need coaching, prodding, or suggestions—develop- and thoughts. Children at this stage will enjoy class- mentally, they’re working things out on their own. es and workshops that are open-ended and chal-

12 ART TO HEART PROGRAM 2 lenge them creatively. Steer clear of “crafty” activities The Inventors where all children make the same pre-determined This stage, which begins around third grade and product; look for sessions and teachers that encour- generally precedes adolescence, is the one in which age discovery and self-expression. most children become frustrated and give up on their artwork. Whereas children in the “enlightenment” The Age of Enlightenment stage rely on a range of symbolic representations to convey an idea, the inventors will use an impressive As children progress through early elementary amount of details to visually communicate “realism” school, it’s not surprising to see their artwork in their drawings. These are not necessarily realistic change. Fanciful, free-form drawings give way to drawings but interpretations of an object or a scene. more ordered and structured works. At this stage Inventors will begin to overlap the people and ele- children employ a variety of symbols and symbolic ments that populate their drawings, conveying a treatment to express basic illusion of depth in artwork. This stage is the their growing under- time when we see the emergence of the “class standing of the world as artists,” students who are particularly adept at creat- having set rules and ing realistic or innovative artworks. Others may feel organization. like art is not their forte and stop drawing altogether, thinking that can also lead to a disassociation from For example, the sun is art and artwork. often tucked into the corner of the page, with radiating lines to emphasize its role in the drawing. A green strip across the bottom of the page acts as “ground” and a blue strip across the top acts as sky. After these basic elements are established, the drawing is then developed almost as if it were a scene from a play, with frontal characters and houses placed among cookie- Helping the Inventors: Even if children have cutter flowers and lollipop trees. Those visual sym- stopped drawing or developed other interests, you bols are like a mantra for children in this stage and can help reawaken their interest through trips to they are repeated over and over again in their draw- museums and galleries. Their own aesthetic tastes ings. and preferences may become more pronounced. Offer opportunities to explore a variety of avenues of Helping Enlightened Children: This is a stage at self-expression, from formal classes to open-ended which children can benefit greatly from enriching art experiences in mixed-media to other types of aes- experiences and activities with adults. Take them to thetic experiences such as touring historic buildings, museums and talk to them about the variety of art outdoor activities, and dance and drama perform- forms they see. Cultural activities such as these help ances. children understand that there is not just one way of seeing or of expressing themselves. School age chil- Martin Rollins, dren can also enjoy reading about different artists, Associate Curator of Education Programs, art styles, and types of artworks. Be sure not to The Speed Art Museum weigh in too heavily on children’s artwork at this stage. Many parents are disappointed in the difference between drawings at this stage and that of the flower children. As with children in earlier stages, talk with children at this stage about their artwork and the choices they make as they create.

PROGRAM 2 ART TO HEART 13 ART for Everyone

In the classroom and at home, make adaptations as necessary to enable children with disabilities to experience the process of creating visual art. For example, some children with physical disabilities may paint with their toes or feet. Allow children with limited fine motor skills to use markers, which require less force than crayons or paint. For children with visual disabilities, mark the edges of drawing paper with masking tape so they can feel the boundaries. Add a little sand, rice or salt to glue or paint so children can feel where they are placing the glue or can use textures to determine colors. Provide art materials with texture. In the classroom, be sure children with hearing disabilities are seated where they can clearly see your demonstrations of process.

Teaching Tip

Put your ditto masters, patterns, coloring books, and “make and take” craft instructions aside! Focus on providing your child or students with basic materials—paper in different colors and textures, crayons and markers, paint, clay, beads, and recycled materials—that inspire freedom in creative expression.

14 ART TO HEART PROGRAM 2 GUIDED youWATCH

& MAKE STEPPINGSTONES (appropriate for ages 3 and up)

This activity can be done at home or, as shown in the program, as a classroom activity involving parents and children.

ne; for aterials: per steppingsto M ard pizza box (1 boxes) medium cardbo urant to donate • local pizza resta room use, ask a the box class of plastic to line age bag or piece • small garb eppingstone) t (22 cups per st • Portland cemen • water • bucket owels or towel Directions: • paper t H uring cup ave children put • 1 cup meas on gloves and sa gles or glasse fety gog- plastic gloves s. The adult sho • ses of Portla uld add 22 cups y goggles or glas nd cement to the • safet te cu bucket, then ad vel to stir concre ps of water and d 7 • stick or sho stir well. The con cks, trinkets, should be mix crete beads, shells, ro ed to the consis • for butter (n tency of peanut s, old keys etc., ot too wet). Fill t block n co he pizza box wit (anything that ca ncrete. Let the c h decoration hild press the co r will work) ncrete with ithstand weathe their gloved ha w nd to smooth it. Let the child choose items to decorate t he steppingstone and pre ss items into the concrete . This can be an oppo rtunity to practice countin g skills and color knowled ge. Let the steppingsto ne dry overnight and re move it from the box.

Kimberly Pence, Mark Hazelwood, and their daughter, Danielle Pence, place their steppinstone in front of their home.

Practice Seeing em in terms of the art common objects and drawing th Try looking at i: dot, circle, t School teacher Won Jung Cho elements discussed by Settlemen w can doing art processes urved line, and angled line. Ho straight line, c art ildren’s feelings about creating ? yourself help you understand ch

PROGRAM 1 ART TO HEART 15 BOOKS AND ART

This program features visual arts activities using books.

At the Philadelphia Museum of Art, a class makes a collage after viewing a work by Stuart Davis. Children read Who is the Beast? by Keith Baker while looking at a Miro statue. Then, as a group, the class creates a beast on a felt board before moving into more individual work in the studio. In the program segment at the Smithsonian Institution, children visit the National Gallery Sculpture Garden to look at Louise Bourgois’ Spider sculpture. They read The Very Busy Spider by Eric Carle. Then they make their own spider amulets.

Books can be tied to art activities in many ways to help children appreciate art and enjoy creating it.

• Read books about artists. If planning a visit to a local museum, pre-visit and choose an FIND OUT MORE artist, work, or theme to read about in advance. • Visit the web site www.ket.org/arttoheart for • Look at and talk about the illustrations in more visual art activity ideas and more information the books you read. When children are about the people, places, and topics in this pro- younger, describe the illustration, using gram. vivid language. (E.g., “Look at the big red chair in the picture.”) As the child’s lan- • Find out more about Reggio Emilia. The guage ability develops, encourage him or Clearinghouse on Early Education and Parenting her to describe the illustrations to you. web site includes basic information and links, at • Encourage children to create their own http://ceep.crc.uiuc.edu/poptopics/reg- works in the artist’s style—or to retell the gio.html. story with their own drawings. • Find child’s level information and activities relating to National Gallery artworks (including Louise Bourgois’s Spider, which is featured in the program at www.nga.gov/kids/.

• In this program art teacher Won Jung Choi uses the book Drawing with Children by Mona Brookes (Tarcher, 1996). This book offers lesson ideas for educators and parents.

16 ART TO HEART PROGRAM 2

program 3

“Songs and music help people learn about themselves and learn about the world, and it’s never too early to start doing that.”

Victor Cockburn, Artist-in-Residence, Powder House Community School

Making music can range from singing for your own pleasure to learning to play an instrument. Besides being fun and giving some children a subject to be passionate about, music helps build language skills, promotes cooperative behaviors, and is a way to learn about and share cultural heritage. In this program we see Mchildren making music at home and at school.

• Think ab out the GUIDED of mu role sic in yo Do ur life. you like to listen you music an to d attend WATCH cal pe musi- rformanc your es? Do y family, o ou sing— ca r even in at chur l experie the sho ch, with nces do wer? Wh hood? you rem at musi ember f - • Think rom child about th - role e role of do son music in r gs and m culture eligion, a usic pla . What nd the m y in natio • Think a arking o nal pride bout how f specia , there music l occasio certain affects f ns? yo songs o eelings. u feel h r musica Are appy or l pieces feelings sad, or t that ma from yo hat you ke to us ur past? associat on a pe Why is e with • T rsonal l music im hink abo evel? portant ut the co moveme nnection nt. Do y between ou like to music a dance? &nd

PROGRAM 3 ART TO HEART 17 Segment: Finding Your Singing Voice This program is made up of The program opens at the Settlement Music School in segments showing music Philadelphia, where Martha Glaze-Zook welcomes activities in a variety her students into class with a simple song. Glaze- of settings. As you Zook discusses music and its relationship to two watch the pro- types of auditory development: gram, note the • vestibular – related to body coordination/balance GUIDED concepts and (gross motor development) ideas you would • cochlearyou – related to language development like to learn more WATCH about and/or imple- Glaze-Zook demonstrates the difference between the ment in your home or speaking and singing voice and discusses the connection classroom. between music and language development. We see her class playing multiple instruments, singing and moving with different songs while building social and cooperative skills, and actively learning content from many areas. Think About/Discuss Think About/Discuss • What conclusions did John and Kendra share about • Are you comfortable with your own singing voice and their different early childhood exposure and experi- does that affect your willingness to share music with ences with music? “ ” your children/students? • Were you surprised to hear the baby sing ? What is • What did you observe in the segment that showed your interpretation of what she is doing? music as a builder of social skills? • How were these parents introducing their child to • What instruments and other items do the children use? music? Why was it important to them? What could be included in a music area at school or home? & Segment: Music in Elementary School Artist-in-residence Victor Cockburn facilitates musical Segment: The Value of Music in experiences with a diverse kindergarten class at the Learning and Development Powder House Community School in Somerville, Massachusetts. The class writes a song about using their In this segment, teachers and other experts offer ideas senses as they walk through their school. This provides a about why music and arts activities are important. very rich musical experience as well as supporting other learning. Literacy and language skill development is Think About/Discuss very evident in the segment. At the beginning of the seg- • Which comment stands out the most to you? Why? ment you can see the lyrics to the Powder House School • What type of music do you like? Do you listen to song and the instructor’s finger moving along with the music? Create music? Have you ever written a song or words. This is one way to use music to help prepare made up new lyrics to a familiar melody? What is the children for reading. difference between being a consumer of music and a maker of music? Think About/Discuss • How did Victor Cockburn relate to and engage the students? How did the students respond? Was learning Segment: Music at Home happening? • How does teaching music in this way help English- John Ferguson and Kendra Atkisson and their infant daughter, Violet, demonstrate how it’s never too early to language learners? start exposing children to music. Violet sings along • Could you implement some or all of the tactics/strate- while her dad plays the piano. It is important to these gies shown in this segment? If not, how could you get parents that their daughter enjoy her music and arts assistance or bring in an artist? experiences and have the freedom to choose if and how • What ages would this activity be appropriate for or she will pursue what she has been introduced to. not appropriate for? Why? Sharing music as a family brings them together in a joyful and meaningful way.

18 ART TO HEART PROGRAM 3 Segment: Music for All Abilities Segment: Music After School Most classroom or group settings bring together Keith Cook, a professional musician, teaches violin les- children with diverse abilities and strengths. sons to youngsters as young as three as part of the Some children may be developing Kentucky Center for the Performing Arts’ ArtsReach more rapidly than others. Some program at the West Louisville Talent Education Center. children may have physical or The idea is to provide musical experiences to children emotional disabilities. But all can who may not otherwise have the opportunity to learn an participate in arts activities—in instrument. In the segment, we see children in class and fact, the arts are some hear ideas from parents and children on the benefits and children’s greatest opportuni- challenges of taking violin lessons. Cook discusses the ties to succeed in a class- approach he uses, which is the Suzuki method. This is room. In this segment, we an approach to teaching developed by a Japanese violin- see music as an inclusive ist and educator named Shinichi Suzuki. Suzuki believed activity for a group of chil- that musical ability is not an inborn talent but an ability dren with diverse abilities at that can be developed in any child. He proposed using the Family Care Center in the way children learn to speak their native language as Lexington, Kentucky. Greta a model. In the Suzuki approach, students begin as Gillmeister, music therapist, young as three; parents take an active role by attending describes music therapy as lessons with the child; and children become comfortable using music to achieve non- with the instrument before learning to read music. music goals. Instructors from Listening to music, repetition, an encouraging environ- the Music Institute visit classrooms to lead ment, and frequent performance are also important; and music and movement activities. The instructors students learn and perform together. discuss how inclusive music activities can aid reten- tion of information and increase attention to learning; Think About/Discuss assist with pre-academic skills such as listening and eye • What do the children involved in the violin program contact; and be beneficial for children of all abilities. think they have they gained from playing the violin? • What benefits for the students does Cook describe? Think About/Discuss • What were the parents’ responses about the program • How were the children included in the activities? Why and their children’s experiences? Why do they think were the activities suitable for children with varying Cook is effective as a teacher? abilities? • Did you take music lessons as a child? How did you • Did you see focus and learning happening? What ben- feel about the activity? What age do you think would efits did you see from the instruction? be appropriate to begin music studies? As a parent, • How important was the participation and modeling of would you like your children to learn to play an the adults for the children in the segment? instrument?

Victor Cockburn teaches songwriting to students at the Powder House Community School.

PROGRAM 3 ART TO HEART 19 GUIDED youWATCH

At home • From in fancy up, sing to You do not have to be a trained musi- fo and play music r your children. E cian to share meaningful music-based xpose them to a ety of styles vari- of music—folk, ja activities with your children. Many sim- cal, and zz, classi- & world music in ple activities can be done at home or b addition to lulla- ies and “children in group and classroom settings. ’s music.” Sing s throughout t ongs he day, repeating children those your particularly like. • Toddlers and up enjoy songs w ments. Jo ith move- assroom Ideas include in them in march In the cl art of each day. Pra ing to the beat. sic activities a p t types of ctice moving at d • Make mu ; playing differen ifferent tempos. day with a song cre- the segment o (See beginning each ctivities such as n the Baby Artsp company other a in Progra lay class ic (music can ac r where chil- m 1 of Art to He mus g a music cente me art and the seg- al art); and havin nt on Families in ating visu unds. Motion in Progr e a variety of so ter of Art to Hea am 4 dren can explor o your music cen rt.) d tape recorder t • As a ch a microphone an oices. ild’s language ab • Add hear their own v en ility develops, n can record and with him courage him or h so childre our school, work er to make up a ic specialist in y ies. tional verses ddi- If there is a mus lassroom activit or words. • usic with other c • Provide r to coordinate m . These can your child oppo or he artist residencies w rtunities to play pportunities for m you ith age-appropria • Research o to other curriculu te musical instru d be connected ments, purch - vary in length an classroom will ased or homem an artist into the examp ade. For udying. Bringing le opportuni- le, a saucepan a are st ful and memorab c nd wooden spoo udents meaning nd pro- an become a dru n give your st give you ideas a m. sic—as well as • If you are in ies to explore mu l or state arts terested in musi t Check your loca your c c lessons for al development. . hild, explore the fession ding possibilities appropriate age rograms and fun begin for the spe to council for p cific instrument. • Find out w hether there are orchestras o r music groups in your area that provide performances geared to young children. Music for Everyone This makes a wonderful fami outing. ly Music experiences are important to all children. In group and classroom settings, make adaptations as necessary to enable all children to participate. For example, choose or adapt movement songs to include body parts that children with physical disabili- FIND OUT MORE ties can move. For hearing • Visit the Art to Heart web site impaired children, allow them to www.ket.org/arttoheart feel the vibrations that come from for more music activity ideas various instruments—from xylo- and information about the peo- phones to maracas—as well as CD ple and topics in this program. player speakers. For children with • Find out more about the visual impairments, describe instruments Suzuki method at and allow the children to explore them by www.suzukiassocia- touch. If it is difficult for a child to play music tion.org. that requires coordination of both hands— • Read an article about integrat- ing music into language arts such as rhythm sticks or triangles—assist and details of the process him or her in being Victor Cockburn uses in the successful by classroom at the Lesley holding the University web site instrument still http://www.lesley.edu/ac while they ademic_centers/hood/cur play it. rents/v3n1/pascale.html

20 ART TO HEART PROGRAM 3

program 4

“The mind-body connection is an essential one for learning in the early childhood years...and the arts will ensure that a child is making a mind and body connection because you are physically engaged as well as cognitively engaged.”

Liz Armistead, Director Early Childhood Programs, Settlement Music School

This program shows a variety of movement and dance activities and explores their many benefits for young children. The motor (movement) skills learned during the early years of life not only contribute to physical health and self-confidence but are essential building blocks for other areas of learning because of the connec- Ttions movement creates in the brain. Dance is also an important way to share cultural traditions and to learn about diverse cultures.

GUIDED youWATCH

f dance in your life. Think about the role o • you recall from your ance experiences do What d ay? you like to dance tod childhood? Do lk ent kinds of dance—fo Think about the differ • as modern dance and , artistic dances (such dances es. What are llroom and social danc ballet), and ba s hat people and culture some of the reasons t dance? al activity pportunities for physic • Think about other o (tag uch as sports, games oung children have, s that y ing, hiking, etc. for example), swimm or hopscotch, hese to and different from t How is dance similar activities? &

PROGRAM 4 ART TO HEART 21 Think About/Discuss This program • Why is this dance appropriate for youngsters? Why includes might they be interested in it? segments • According to the teachers, how do children benefit showing from an activity such as this? What are the tactics used movement by the dance instructor that could be used to improve and dance GUIDED the learning environment in a classroom? activities in a variety of set- you tings. What are WATCH the benefits for early Segment: The Value of Movement and childhood learning and Dance development that can be found in In this segment, teachers and other experts offer ideas this art form? Note concepts and about why dance and expressive movement activities activities you would like to learn more are important. about or implement. Think About/Discuss • Think about all the motor (movement) skills that develop between birth and about age 8. Why is this period of life important? Segment: African Dance Class • Which comment stands out the most to you? Why? The program opens at the Adams School in the Forest Park area of St. Louis, Missouri, where the COCA (Center of Creative Arts) Urban Arts Program sponsors Segment: Motor Skills 101 classes. A first grade class is learning the Jansa, a traditional dance from Mali. The Jansa is a dance for the full At the Child and Family Development Center in moon. It also reflects the importance of honoring family Concord, New Hampshire, Rae Pica, a movement members. Instructors and administrators discuss how education consultant, introduces children to “movement & exploration.” The activities she does with young children feelings of accomplishment and success in dance and the arts in general carry over into other areas of learning help them develop knowledge of their bodies and of and have a positive impact. movement by working on gross motor skills and non-locomotor skills. They also encourage “divergent problem-solving”—when Pica asks children to show her a “round shape” or “crooked shape,” she points out the many different responses the children come up with. Pica believes that physical activity, knowledge of body, balance, coordination and spatial direction are connected to successful cognitive learning.

Think About/Discuss • What does Rae Pica say is the difference between the activities she does with young children and dance? • Why should children engage in physical activities? What do you think about the idea that giving children “breaks” for physical activity will facilitate cognitive learning?

22 ART TO HEART PROGRAM 4 • What is the difference “ Children explore basic between divergent prob- movements at the lem-solving” (multiple Child and Family and different possible Development Center answers) versus “conver- gent problem solving” (leading to a single answer)? Brainstorm activities that are examples of both types of problem solving. Segment: Born to Move—Music and Motion Art to Heart visits two classes offered by COCA (the Center of Creative Arts) in St. Louis, Missouri. The first, Music and Motion class, is for parents and chil- Think About/Discuss dren age 18 months to three years old. Parents bring • What activities do the parents and children do? Do their children to the class to have experiences that create they seem to be having fun? Could these activities be the knowledge of a steady beat and offer language, done at home or in the classroom? music, and movement experiences. You will hearGUID•ED In the opinion of the teacher, why are dance, move- Deborah Harris, the instructor, talk about how music ment, and music good activities for children today? youand movement are natural for children. She believes it is • Did you see evidence of how movement allows for importantWATCH to play with young children’s natural love for social and emotional development and expression? movement and not inhibit it. Why is this important?

Segment: Born to Move—Ballet Babies The program also visits ballet classes at COCA. Parents often request ballet classes for their very young children, but, according to Norma Gabriel, COCA’s Ballet Program Coordinator, children three and four years of motor skills: skills associated age are not ready to do classical ballet. The result has with movement, with the ability to been a Ballet Babies class that teaches the foundations of use muscles effectively ballet through the fanciful exploration of traditional bal- gross (or large) motor skills: let stories and dance games. The young children prima- the use of muscles in the arms, rily use their imaginations to guide their movement in legs, and trunk (examples are this class. More technical and structured instruction is & sitting, crawling, walking) offered as the children are physically ready for it. fine motor skills: the use of small muscles such as those in the hands and fingers (examples Think About/Discuss are reaching, grasping, picking up things) • In what way does COCA use knowledge about child someone who learns by kinesthetic learner: development to structure the content of the ballet doing and moving classes? What are the reasons COCA takes the movements in which locomotor movement: approach it does? the body moves from one location in space to • What lessons does this segment offer about physical another (examples are walking, running, hopping) activities and lessons? Do you think other physical movements non-locomotor movements: activities (such as sports, gymnastics, etc.) are similar made when the body stays in one place (examples to ballet in that there are drawbacks and physical risks are bending, stretching, swaying) if children begin too early?

PROGRAM 4 ART TO HEART 23 GUIDED youWATCH

In the classroom • Use music a nd movement at sing a transition points song to start and of the day. For e t /or end the day. xample, he classroom, ch When children m allenge them to ove in and out o butterfly, like move in different f & a tiger, as if the ways (like a bird y were or a storm, etc.). moving through water or a snow- • Let children mo ve to music usin hoops. En g scarves, crepe courage them to paper streamers men vary the shapes , or ts, the level of th and directions o eir movements ( f their move- the tempo (spe whether they mo ed) of their mov ve high or low), • Research ements. and e holidays and sp At hom dler to e ecial occasions t your baby or tod njoy dances and hat would provid • Hold music from othe e opportunities s and move to the program). L r cultures (such in your arm ook for opportun as Cinco de May unce classroom ities to bring tea o in music. Gently bo to teach cultur ching artists into e to s al dances. (Chec the her in time to th ee if they offer g k your local or s him or rants.) tate arts council rhythm. to your baby, • As you talk er e your and his/h . point to and nam and your baby’s your movements parts. Describe sing songs with body lers, dance and rs and preschoo Little Teacup.” • With toddle pider” and “I’m a as “Itsy-Bitsy S y and ovements, such r to develop bod • Why would a feeling of success and a m r and preschoole an age your toddle ow many ways c • Encour uestions like, “H sense of satisfaction with your body wareness. Ask q ovements in movement a etc.). Practice m be beneficial? ms?” (legs, hips, motor ou move your ar to another (loco y from one space ch your child moves ovements in whi which king, etc.) and m like running, wal like bending, movements otor movements space (non-locom Segment: Culture Afoot— they stay in one , etc.). ren in hopping in place hoolers and child Mexican Hat Dance y Cat” with presc ach games like “Cop urns mimicking e • Play r child can take t You will see two sites that include es. You and you le and have early grad children in a circ dance instruction in this portion of the nts. Place older le. Do this others’ moveme child in the midd program. At the Settlement Music ent done by one iddle. mimic a movem ity to be in the m them hild the opportun l School’s Kaleidoscope Preschool, nd allow each c ces that allow al to music a mmunity for dan Kaye Fernandez leads young children unities in your co • Look for opport in learning a Mexican hat dance and em to s to participate. and age, take th age ’s attention span - in other movement activities. g with your child dances to classi • In keepin s—from cultural Children at the school spend time nce performance a variety of da every day working on activities to modern dance. cal ballet and build body awareness and fine and large motor skills.

Segment: Passing It On Think About/Discuss • According to Fernandez, what are some of the skills In this segment, we see people of all ages participating children learn in doing the Mexican hat dance? Which in a traditional Appalachian dance in Berea, Kentucky. are physical skills? Which are cognitive and social Jennifer Rose, a dance and music educator, talks about skills? How do these relate to learning? the role of traditional music and dance in her life as well • Is it important to learn about other cultures? Is teach- as physical, emotional, and social benefits to young chil- ing the traditions of music and dance an appropriate dren. The segment concludes with Rose singing and way to learn about other cultures? dancing with her young daughters. • What do you think about Fernandez’ belief that activities must be fun and her comment that her students Think About/Discuss “have to be children”? How can fun and learning be • According to Rose, how does participating in tradi- combined? tional dance positively impact physical abilities, social development, and self-esteem?

24 ART TO HEART PROGRAM 4 Young children explore the stories of ballet in COCA’s Ballet Babies class.

Segment: Culture Afoot—Being Counted Aundra Lafayette, who visits classrooms in Louisville, Kentucky, through the Kentucky Center for the Performing Arts’ ArtsReach program, teaches movement skills along with many styles of dance—from African to modern and some ballet. Lafayette advocates for finding joy in learning and sees this response in the children she works with. During the lesson we observe, the teacher is focused on basic movements and patterns. Children learn to use their bodies to communicate self-confidence and pride—to exhibit they are members of society who are to “be counted.” The segment ends with footage from a performance of “Satin Doll” by young dancers from Lafayette’s program.

Think About/Discuss • Why would a combination of movement skills—like walking and hopping—be a natural partner with learning to dance? What are dances made of? • What do you think about Lafayette’s comment that the way a person walks is an expression of how they feel about themselves? • Why would it benefit children to learn a lot of different styles of dances? • Lafayette says modern dance is her favorite type of dance because the movements are abstract and can be used to tell so many different stories and textures. How do movements convey stories, ideas, and moods?

PROGRAM 4 ART TO HEART 25 Lifestyle Finally, there’s lifestyle. If your child is to derive the benefits of physical fitness, then physical activity must be habitual and lifelong. Moving should be as routine as brushing teeth and bathing. Not surprisingly, if we’re to instill habits, early childhood is the best time to start. Most importantly, if physi- While most children are born healthy cal activity levels. In fact, your actual cal activity is a habit of yours—and of and fit, not all of them remain that way. participation in your child’s activities your family’s—it will become a habit for Doing so depends in great part on four (especially if she’s in the under-seven your child. And it will be an easy one factors: environment, attitude, knowl- set) will have much more effect on her to keep if it’s associated with pleasure edge, and lifestyle. activity levels than if you simply insist rather than pain. she be active. Environment A pleasant association is most likely to What does your child’s environment Children learn by watching you. If you happen if you: consist of? When forced to stay indoors spend the majority of your free time in • Choose individual and family activities due to inclement weather, is his only sedentary activities, like watching tele- that fit easily into your lifestyle. choice to sit still somewhere? Or is vision, that’s what they’ll want to do, • Select activities that are within your there room for the two of you to put on too. But if you spend your free time physical capabilities and those of your a CD and dance? To play Twister? Or playing, not only will they have some- family members. perhaps even to twirl hula hoops one to play with, they’ll have a terrific • Pace activities with fun, rather than around your waists and other body role model. Because you have a play- heart rates, in mind. parts? Is there somewhere in the house ful, positive attitude toward physical • Don’t worry about scheduling; consis- where space for activity is valued more activity, they’ll assume the same. tency is important, but it’s okay to be than the display of easily broken knick- flexible. knacks? Knowledge • Encourage one another, pointing out Knowledge comes into play when you what’s right about what you’re seeing. What about the outdoor environment? help your child understand why you • Don’t insist a child do something she’s Does it include open areas for running, and he take part in physical activity— not comfortable with; you can always jumping, rolling, and the like? Is there a why it’s necessary (which will help try again in several months. tree or purchased equipment for safe ensure that a positive attitude toward • Expose your child to a wide variety of climbing, hanging, and swinging? How fitness endures beyond childhood). physical experiences. Just as you about a sandbox so your toddler can Certainly, lecturing children on the topic wouldn’t feed your child only chicken dig and haul? Does your child have isn’t likely to have much of an impact; and spinach, you shouldn’t limit activi- access to activity-oriented toys, like a you’ll make the greatest impression ty choices. tricycle or bicycle, balls, or ribbon mostly by example. But you can also • Keep competition out of the equation. sticks, like the ones the rhythmic gym- offer a well-placed word or two. For No good can come from comparing nasts use? example, as you stretch out: “It’s impor- children. tant to stretch after exercising so your Attitude muscles don’t get all bunched up.” Or, The goal is to make physical activity a Setting up the environment for physical to stimulate your child’s natural curiosi- customary part of your child’s—and activity also falls under the heading of ty: “Wow—chasing bubbles really got your—life. However you choose to demonstrating a proper attitude, as my heart pumping. It’s healthy to do encourage the physical activity habit, does exhibiting enjoyment toward phys- that sometimes. Is yours going faster, you can be assured that if it’s intro- ical activity. Do you moan and groan too?” duced early in life, your child won’t be when it’s “time” to put in the aerobics among those who struggle to remain fit. tape? Do you get off your bike or finish Your child should also know why you your walk huffing and puffing and mak- choose family activities like skating, Read other articles on early childhood ing it seem like an ordeal? Or do you swimming, and rollerblading. (“It’s movement and find ideas for activities express enthusiasm as you lace up important to be active so we can be and games at Rae Pica’s web site your sneakers or following a brisk healthy.”) And she should have a vote www.movingandlearning.com. stroll? It’s OK if children understand as you decide on the family’s adven- that sometimes physical activity is an tures. Would she rather go for a walk or effort as long as they also understand a bike ride? Would she prefer going to that anything worth doing is worth the playground to mess around on the some effort. equipment, or play Frisbee in the park? Remember: Choice is a necessary FIND OUT MORE Most important, do you play with your ingredient in fostering intrinsic motiva- child? There’s research showing that tion. Find out more about the people the influence of parents and siblings and topics in this program at the does indeed increase children’s physi- Art to Heart web site www.ket.org/arttoheart.

26 ART TO HEART PROGRAM 4

program 5

“Children are trying on roles. They are exploring the world through the arts. It’s very basic drama.”

Miriam Flaherty, Senior Director of Education, Wolf Trap Foundation for the Performing Arts

This program explores how the use of drama, literature, and storytelling can benefit children studying any subject area. Drama can combine all of the arts in the exploration of stories. By “walking a mile” in someone else’s shoes children learn empathy and so much more. Acting out what children “read” in pictures or the stories they hear and read helps them to recall the sequence of Tevents and understand the characters in a deeper way and has a positive effect on their own writing and storytelling.

GUIDED

bout • What do you know a you n drama? Have you bee WATCH on to plays or seen them en a perform- ion? Have you ever se televis n in a school or ryteller? Have you bee ance by a sto a child or you play dress-up as community play? Did ipate in role playing? partic ay in your commu- drama and theater pl • What role do lize drama velopment centers uti nity? Do the child de it centers or schools vis ir classrooms? Do the in the er? rom a children’s theat or get visits f r child’s or ama could add to you What do you think dr rts • t do you think about a ’s development? Wha student hat do you arning experiences? W activities as le g and/or t of the arts on learnin know about the impac ducational outcomes? reaching prescribed e &

PROGRAM 5 ART TO HEART 27 • If you are a teacher, does the subtext strategy seem like This program con- a tool you could use? Do you already use some similar tains segments activities? with several • If you are a parent, how could you implement what classrooms of you saw in the segment at home? varying grades using the dra- GUIDED matic arts to reach intended Segment: The Value of Arts Activities you learning goals. Note A variety of teachers and other experts offer ideas WATCHconcepts and ideas about the value of the dramatic arts, literature, and sto- you would like to learn rytelling in the lives of young children. more about and/or implement. Think About/Discuss • Which comment stands out the most to you? Why? • How do these comments support the idea of drama having more academic learning outcomes? Segment: The Subtext Strategy The program opens in a third grade class at Byck Segment: The Book and Beyond: Elementary School in Louisville, Kentucky. Teacher Caterpillar Laura Rasz is using the painting Lewis and Clark on the Two Wolf Trap teaching artists are the focus of this seg- Lower Columbia, by Charles M. Russell, as a dramatic ment. The teaching artists visit classrooms on a regular prop to inspire the children to go deeper into what the basis over the course of a few months. The techniques of Lewis and Clark expedition must have been like from the teaching artists bring stories to life and create learn- the perspective of the people involved. Children are ing and development opportunities for the students and asked what the explorers and Native Americans in the their teachers. In the first part of the segment, Kofi & painting might have been thinking. Rasz discusses the Dennis uses music and movement to bring Eric Carle’s use of the subtext strategy to get students to assume a The Very Hungry Caterpillar to life in a Head Start perspective different from their own. Using the natural kindergarten classroom. skills children have, such as the ability to read body language and interest in play-acting, allows the children to “step into” a story, painting, or photograph. This results in better writing and storytelling skills for the students. The segment also shows a glimpse of another classroom engaged in a similar activity with a book and includes comments from the children about their experiences.

Think About/Discuss • How do the children interact? Do they seem to be having fun? What did the students get from these activities? What are the educational outcomes? • What do you think about the teacher’s comment that children are natural drama- tists? Have you seen evidence of this in the children in your life? Kofi Dennis and kindergarten students bring a story to life.

28 ART TO HEART PROGRAM 5 GUIDED youWATCH

In the classroo • H m ave students cre ate simple puppe Keep the pup ts by gluing feat pets in the class ures onto paper ries. Br book area for in bags. ainstorm connec dividual play or • P tions to a variety perform sto- & lay drama and im of subjects. provisation game ror” you, the te s. For example, acher, as you m have the class “m Then let ove slowly, usin ir- them do the ac g different parts ot tivity in pairs, sw of the body. her. itching leadershi p from one to the • Create prop boxes for the cla unstru ssroom or cente ctured play time. rs for children to m Props can be an use during At home ight inspire dram ything that elicits ur child. Or tell a atic play—from interest and • Read to yo Provide a f old keys to scar ords. ull-length mirror ves to stuffed an story in your own w rotate so children can s imals. the props freque ee themselves p ifferent voice inflec- • ntly. Make sure laying. And Use d Use a walk throu props are physic read with gh the school ya ally safe. tions as you dramatics. A rd or a field trip a sk children to pa s inspiration for your child. sound y close attention creative s around them. A to the sights an gestures (like waving b t the site or d • Use ack in the classr or bye-bye) oom, ask them your hand f to improvise ords what they saw a accompanied by w heard. nd when communicating with your child. hat Engage in activities t • (like peek-a- a sequence of events involve and predict. our child to anticipate boo) to allow y , like telephones, pretend play materials For toddlers, provide ess-up. • lothing and hats for dr chens and cars, and c e, play kit e-believe. For exampl our child and use mak Pretend with y while you play the the mommy or daddy ask your child to play child. y objects e movements made b ge your child to imitat • Encoura ove like a butterfly or ts or cars), animals (m (move like boa nd to be a person ve like a giant or prete rabbit), or people (mo ). hat fishing characters in stories t ur child to act out the • Encourage yo g out different her, taking turns actin you read. Join him or ir environment. “Why characters. d questions about the evelops, ask your chil As language ability d k will happen next?” of • ” or “What do you thin build on the interests think that happened? . Use dramatic play to do you s in your environment at a local museum. s together about thing ackyard or a painting • Make up storie -looking insect in the b ’s interest in a strange your child—whether it

Think About/Discuss Segment: The Book and Beyond: • What was the classroom teacher’s role while Kofi Dennis was working with the children? What kind of Puppets preliminary work did the visiting teacher do with In the second part of the Book and Beyond segment, classroom teacher? another Wolf Trap teaching artist, Ingrid Crepeau, works • What were some of the tactics used by the teacher to with students at the Community Academy Public maintain classroom control while inviting interaction Charter School in Washington, DC. She utilizes puppets and movement from the class? in her classes to bring stories to life. Crepeau is building • What does the teacher have to say about learning on the book Duckie, by Eve Bunting. through this type of activity? Is play important to learning? Did you see evidence of what the teacher Think About/Discuss called “joyful, active learning”? • What can puppets do for children? • How does Ingrid Crepeau choose her books? How does she alter the books, if needed, to make them age- appropriate?

PROGRAM 5 ART TO HEART 29 Taking Your Child to a Performance Children’s theater companies and storytellers provide an exciting array of opportunities for young children to enjoy drama. Look for free storytelling activities at local libraries or performances by children’s theater companies in your area. Be sure to check the age-appropriateness before choosing an activity or play.

Before you go, talk with your child about appropriate behavior as a member of an audience.

Before or after, talk with your child about the story, the characters, the scenery, the costumes, the music, and the lighting. What did your child notice and like? How did the actor or storyteller convey actions and ideas? How did your child feel about specific characters or the story? As your child gets older, discuss the ideas conveyed in the play. Share how the play made you feel.

Some companies offer question-and-answer sessions before or after productions as well as workshops. Look for opportunities like these in your community.

• How does this activity help in literacy development? Think About/Discuss Can this sort of group dramatic play address individ- • What benefits of including the arts were discussed in ual learning goals? the segment? • Why does the artist think it is important for each child • What role did the storytelling play in the learning? to participate and how does her work address individ- What was different and what was similar about the ual learning styles and development? teaching style you saw in this segment and what you • Why does the artist say her “animated picture walk” already do as a parent or teacher? approach is more beneficial for a group setting than • How can you access kinds of props, tools, and just reading a story? resources seen in this segment? What else could you use? • Are the arts a useful tool in teaching difficult-to-grasp Segment: Myth-Making concepts like time? The arts are used to introduce and teach science and history at the Smithsonian Early Enrichment Center. In this segment, Kindergarten Enrichment Teacher Joshua Beasley uses themed explorations to encourage students FIND OUT MORE to explore story writing and storytelling, science, music, • Visit the Art to Heart web site and art. A painting (The Old Violin by William Michael www.ket.org/arttoheart for more informa- Harnett), a violin, a wolf mask, and the Natural History tion about the people and topics in this program. Museum are launching points for the class’ creation of a • Explore the online Smithsonian Institution story. Students continue to build upon the story resources for teachers and children at throughout the unit, as they explore related ideas in sci- www.si.edu for ideas and possible resources ence and history. to plan a cross-curricular exploratory activity. • The book A Show of Hands: Using Puppets with Young Children by Ingrid Crepeau and M. Ann Richards offers ideas for making puppets and using them to teach emergent literacy skills. Find out more about the book at the web site www.showofhands.org

30 ART TO HEART PROGRAM 5

program 6

“When I say a rich environment, I mean one that provokes children to think, one that invites children’s curiosity. When children are curious they are more likely to look at something and focus their attention…the basis of learning.”

Deborah Tegano, Professor of Child and Family Studies, University of Tennessee

Our surroundings and overall environment in any setting have an effect on us, even as adults. Young children’s learning is expe- riential and based on their interactions with the environment and the objects and/or materials within the environment. Physical Ospace and materials are important aspects of an artful environment—but so are time, interaction, observation, and support. This program will take you on a tour of several different classrooms, an art studio, and even cyberspace, but also goes deeper to explore other components that create an environment that supports learning and the development of the child.

GUIDED youWATCH ere you felt free a place or setting wh • As a child, was there l? What did that make you fee lore and create? How to exp way? ng made you feel that about the setti currently home or classroom is Think about how your rials, • ding “messy” art mate d. Are materials, inclu arrange o individual as well as the space conducive t accessible? Is project to g? Is there room for a group play and learnin ” until complete? remain “out of place s or allow fer a variety of activitie classroom, do you of • In the diverse ways? ngage in an activity in students to e your child? es you both enjoy with &• Do you share activiti

PROGRAM 6 ART TO HEART 31 Segment: The Key Learning Community The program opens at a ukulele class at the Key This program includes segments that Learning Community in Indianapolis, Indiana. This is illustrate how space, materials, one of the school’s “pod” classes based on shared teacher time, and interaction cre- and student interests. Founded by teachers, the school ate an environment embraces Howard Gardner’s concept of multiple intel- that allows young ligences (see Program One for information on multi- children to ple intelligences), and classes attempt to nurture all explore and of the intelligences. Another distinctive aspect of the learn. As you school is the Flow Center, where students engage in GUIDED watch, note open-ended free play/work time. The center is based concepts and on psychologistyou Mihaly Csikszentmihalyi’s theory of ideas you flow—a beneficialW state ATCHin which people are so involved would like to in an activity that nothing else seems to matter but know more about. enjoying the task and having fun while doing so. At the Key Learning Community, students are taught to focus and plan and are expected to practice those skills and reflect on their work. Segment: The Third Teacher Think About/Discuss The Reggio Emilia approach to early childhood educa- • What are some benefits to the students of a school tion regards the learning environment as a third teacher founded by teachers? (along with teachers and parents). In this segment, • What are the benefits to both students and teachers to Reggio educators discuss the importance of materials, have “pod” and “flow” classes? aesthetics, accessibility, and the overall arrangement and • How could traditional schools incorporate some of intent of the space. The segment offers a look at a Reggio what happens at the Key Learning Community? classroom and the kinds of interactions between children and materials that go on. For more information about the Reggio Emilia approach, see Program 2.

Segment: Aspects of the Artful Think About/Discuss Environment& • What did you notice about the classroom layout and Teachers and other experts offer ideas about why the art- the materials? ful environment, as well as time, is important to them • Do you think the environment and materials change and the children in their lives. the way the children learn and interact in and with their classroom? If so, how? Think About/Discuss • How does your current environment help you provide positive learning experiences? How might you make • Which comment stands out the most to you? Why? your environment work better or more effectively to • How do the issues of environment and time affect reach learning and developmental goals? your interactions with the children in your life? • What would it be like to take time—the clock—out of your schedule?

Naturalistic intelligence is one of the intelligences nurtured at the Key Learning Community.

32 ART TO HEART PROGRAM 6 GUIDED youWATCH

Segment: I Picture You, You Picture Me In this segment, Dionisio Ceballos, an artist who lives in Louisville, Kentucky, and his daughter Emilia draw free play: time in which chil- and paint portraits of each other. This time is spent dren get to choose their activi- using materials on hand with very little instruction. ties and type of interaction. The Ceballos talks about the importance of observing his most important factor in free daughter rather than instructing her or critiquing her play is that it is child-directed. work. The experiences and the time together are more When children have the time & and opportunity to be self- important intentions to him. directed and engaged within an environment, Think About/Discuss they can demonstrate their knowledge and understanding of the world and how it works to • Do Ceballos and his daughter look like they are hav- the observant adult. It is through free play that a ing fun? What learning is taking place through their child gets to experiment and develop creative, art work and play? intellectual, physical and social skills. • What do you think the effect of the father not passing judgment on his daughter’s work is? a theory developed by Mihaly • What is the father’s goal in spending time like this flow theory: Csikszentmihalyi, a professor and former chair- with his daughter? man of the Department of Psychology at the • Ceballos says he believes children spend too much University of Chicago, who has devoted his life’s time watching television and using computers. What work to the study of what makes people truly do you think? How much time do you and your fami- happy, satisfied, and fulfilled. He is also a lead- ly spend in front of a screen? What are some activities ing researcher on creativity. Csikszentmihalyi’s you can do besides watching television, playing video idea of flow in creativity is that people enter a games or getting on a computer? flow state when they are fully absorbed in activity to the extent that they lose their sense of time and have feelings of great satisfaction. “Your Segment: Museums of Their Own whole being is involved, and you're using your This segment visits two museums created specifically for skills to the utmost,” he says. Among his books children, the Please Touch Museum in Philadelphia and are Creativity: Flow and the Psychology of Discovery the Children’s Museum of Indianapolis. Children and and Invention (HarperCollins, 1996). their parents enjoy a variety of activities at both museums. Representatives discuss the importance of play and how it is often the adult that needs acclimating in an environment created for play. At the Please Touch Museum, playful, engaging places encourage what is called a “triangle of learning”—the environment, the child, and the adult. At the Children’s Museum of Indianapolis, museum representative Lori Baltrusis discusses how important it is that parents take their time, relax, and play wherever the child seems to be the most engaged instead of rushing to see everything. Children love repetition and can amaze adults with their attention span when they have found something that truly engages them.

Think About/Discuss • What can children learn through play? Why are the interaction of an adult and the environment positive additions to child’s play? • Do you see materials and/or areas in the museums that would attract children with different learning styles? If so, what are the materials and/or areas and what learning styles did they match? • How often do you play with your child?

PROGRAM 6 ART TO HEART 33 GUIDED youWATCH

n and exploratio ome n-ended le I At h ce for ope ’s schedu n the classro ate a spa your child & om • Cre e time in • Use free pl Reserv ay time in your learning. ave class lay. already h room to observe relaxed p rials you and for t art mate store recognize individ orm abou e can you ual chil- • Brainst and wher r child? dren’s stren me. How ble to you • Make a list gth areas. n your ho y accessi vi- of materials you i are easil in their en now th might make avai e so they work with at you have view lable thes dren’s art m ed this program your chil ight you chang . How else • Display e level. can e/rearrange your n their ey our child • Add a few o classroom? onment o ou and y to f the items the R r ities that y , listening includ eggio classroom k of activ ach other ed in its block a • Thin drawing e ting out rea and observe gether— g, and ac changes in the w any enjoy to ic, readin ay children work ng to mus ctivities. • Plan for cre in that area. nd danci y these a e ative time with y a and enjo puter tim they our students in w ies. Relax TV or com can experience d hich stor ng some ifferent art mate er replaci media. rials and Consid . activities with these

TEACHING FOCUS AND REFLECTION

In this program, teachers from the Key Learning Community talk about teaching focus and reflection (similar to the concepts of “plan, do and review”). Here is some additional information on why and how you might do this:

• Learning happens when children become intensely involved in activities or projects of their own design. When children are empow- ered to make a choice they will focus their attention completely on their work/ play. • Children benefit from having the opportunity to decide what they want to do. A young child can begin to learn to plan by making a choice of what area and/or what materials he or she would like to work in or with. A teacher or parent can help each child develop a plan, break it into manageable pieces, and define a sequence of steps according to the stage of development and ability of the child. The child’s plans will become more complex and their focus deeper as he or she progresses in an environment that supports that process. • A safe, well organized space with a wide variety of materials for children to choose from facilitates learning. The teacher becomes an observer and learning coach who helps each child appropriately choose and organize their own work. By asking open-ended questions, a teacher can help to guide the child’s progress and help the child to reflect on what has been learned from the experiences. It is also important for the teacher to help recognize, define, and offer suggestions to solve problems.

34 ART TO HEART PROGRAM 6

Tipsips forfor In the cla • Ev ssroom Creating en if you can onl your clas y fit it in sroom s once a w an Artful • Include chedule eek, allo differen for free p w for so • Have t forms o lay time me flexib children f art in le . ility in Environment dem “draw” o sson pla onstrat r act ou n activit • W e their u t with ch ies for a hen wo nderstan arades ny unit. rking on ding of their spe manip math p the mea lling wor ulatives roblems, ning. ds to • Dra to help t allow s matize s hem sol tudents • P tories/bo ve or cre to use b resent l oks and ate the eads or essons f /or histo visual s ciate w or multip ry lesso olution. riting on le learni ns. lectu and the boa ng styles re and d graphs, rd and m . Visual le iscussio and cha aking a children arners w n. Kinet rts. Aud nd using will app ill appre ic itory chil models re- their ha ciate ge dren will , diagram nds and tting appreci s learn bodies ate ing proc into the • Cre ess. ate a pla f ce in th or art m e classro aterials t om use fo he childr r project en can pla s and du y time. It ring free t might b he art ar e nice to ea, and have area (w even a d ith some rama props dress u ), close ps and to the bo ok area.

ome In the h ce and a gallery spa • Create ily rk from all fam include wo n lery space ca embers. (Gal m s, and what is different form you take e as often as ay can chang s on displ Use a clothe en a cork board. culpture. Ev r want!) Hang splaying art • collage or s work well fo and clips. Di packing chips or thick string othpicks and line s, too. to idge still work g. nd on the fr ccessible. buildin s of where a aterials are a that your rule Make sure m a shared • Make sure eard and • er or shelf in re used are h ignate a draw sily. w materials a • Des n get into ea ho ren. at the child ca tood by child s space th at is easily unders several place torage box th and paper in Use a clear s • Put pencils ourage their • en. house to enc hed by childr ials: oughout the reac er with mater thr ngs to consid CD • Some thi , especially use. s / books on ucts are best or story tape ontoxic prod want • Have music ten as you N ren. You may playing as of ery oral child be in ilable and try with v s and glue to ava . rkers, scissor television on paints, ma ed in super- have the for dress-up place and us designated ore secure erstood. Have an area clear stor- a m rules are und • ated drawer, ctivities until stic es—a design vised a rk well on pla cloth lay dough wo etc. e- Clay and p which pro- age box, place for mov ookie sheets, ere is a safe ce mats or c these Make sure th and make pla for work with • in your home defined area ut and dancing for big vide a agazines to c ment ere it is safe diums. Old m dren know wh types of me es/sizes of sure chil lors and shap p; different co nille rods, movements. u like wire, che r; and objects oking pape mindful of ch d buttons (be beads an rk with for inviting to wo hazards) are

PROGRAM 6 ART TO HEART 35 s eum Mus

This Art to Hear t program visits The oldest ch two ildren’s museum in the United well-known children’s S tates is the Brooklyn Children’s M museums, the Please Touch useum in New York. It opened in 1 Museum in Philadelphia and th 899! The largest is the e Children’s Children’s Mu Museum of Indianapo seum of Indianapolis, which has lis. There are several hun- 43 dred childr 3,000 square feet of exhibits. en’s museums across the United States and there may be one ne ar you. Visit the Ass ociation for Children’s Museums’ web si What is a child te at ren’s museum? According to the Associatio www.childrensmu n of Children’s Museums, it’s a m seums.org/index.htm use- for a list of children’s mu um that specifically serves the n seums in the United eeds and inter- States and a ests of children “by p round the world, along with infor- roviding exhibits and pro- m grams tha ation on how to make the most o t stimulate curiosity and motivate f your visit. learning.” These museums are designed to be The Ple enjoyed by par ase Touch Museum web site ents and children together. Many offer scho www.pleasetouch ol partnerships, outreach program museum.org has lots of s, useful information for pa and parent resource programs o rents, as well as recipe n early child- cards for eve hood education. rything from making your own lip balm to bubble soap. There are useful information sheets f or parents on topics such as setting up an a rt area at home, enjoying art with your child, supplies, and teaching your child about art critique.

The web site of the Children’s Museum of Indianapolis at R w ww.childrensmuse- m um has u u .org nits of study and other e s teacher re u so urces as well as online activities M for childre h n. c u o T

e s a e l P

: o t o h P

FIND OUT MORE

• Find out more about the people and topics in this program at the Art to Heart web site www.ket.org/arttoheart. • The Key Learning Community web site has information about the school and the education theories it practices—including multiple intelligences and flow theory— at http://www.616.ips.k12.in.us/ About+Us/History/default.aspx. • The Clearinghouse on Early Education and Parenting web site includes basic information and links about the Reggio Emilia approach to early childhood education, at http://ceep.crc. uiuc.edu/poptopics/reggio.html.

36 ART TO HEART PROGRAM 6

program 7

“The teacher’s role is to promote the modes of thought that make artistic activity possible.”

Elliot Eisner, Professor of Education and Art, Stanford University

Many leading educators and child development specialists agree that arts experiences engage young children and can have a positive impact on their learning and development. In this program, you’ll see segments on a variety of aspects of arts and learning. MYou’ll see a project using drama to teach science and learn about the role of teachers and parents in understanding and guiding young children as well as the importance of experiences in early life on brain development. You’ll also meet an arts education professor who encourages teachers to “look to the children” for inspiration; and see an innovative use of computer technology to allow young children to explore museum artworks.

GUIDED

• If you are a teach you er, think back on your WATCH training and e ducation. Were brain development, multiple learning style intelligences topic s, and s covered in your edu training? D cation and id you have the oppor not tunity to create art? If , would you be interes ted in learning more a these concepts an bout d how they can help y classroom? ou in the • If yo u are a parent, think a bout your own attitude toward creativity. Di d you have an opportu explore arts nity to activities as a child? D danc o you enjoy singing, ing, playing make-bel ieve, and creating visu &with your children? al art

PROGRAM 7 ART TO HEART 37 process of the child. While Eisner focuses on the This program is made up of segments teacher’s role, Eliot emphasizes the need for adults to exploring a variety of activities relating understand the developmental abilities of young chil- to the arts and learning. Note concepts dren. and ideas you would like to learn more about and Think About/Discuss implement in your • Eisner says arts experiences teach the valuable ability home or class- to “exercise judgment in the absence of rules.” What room. do you think this means, and do you agree with his comment that this ability would result in good science GUIDED as well as good art? • How do you think “living in the moment,” as Eliot describes the perspective of young children, affects you learning and behavior? Do you think of the children in WATCH your life as “small adults”? How would knowing that young children have limited ability to remember and to plan impact the way a parent or teacher interacts Segment: Eco-Drama with them? In this segment, third graders at St. Agnes Elementary in Louisville, Kentucky learn about pollution, recycling, and other science content through a classroom program Segment: The Brain on Art ’ , called Eco-Drama. Created by Louisville s Stage One a Lise Eliot, Associate Professor of Neuroscience at , professional theater company for young audiences as Rosalind Franklin University, and author of the book , part of a city-sponsored environmental initiative Eco- What’s Going on in There? How the Brain and Mind Drama challenges students to use the three tools of the Develop in the First Five Years of Life, explains how the — , , — actor the body the mind and the imagination as they arts-learning connection actually relates to the way the act out a science-fiction scenario and create their own brain develops. She explains that there are critical peri- commercials about environmental issues. ods—phases in development—when the brain is unique- ly open to certain experiences. For example, visual stim- Think About/Discuss ulation in infancy is essential to sight, and the musicality • Were you surprised to see a subject like science use of the human voice aids in learning language. She offers & dramatic play to reach learning goals? Can you think parents ideas on how to support the development of ways drama or other art forms could be used to through arts activities. teach other subjects? • Do you think the students learned about pollution and recycling through the Eco-Drama? Do you think the active approach to learning will help them remember what they have learned? • Debby Horn, the classroom teacher, and Jennifer Harris, from Stage One, explain why drama is effective for learning. What were some of the reasons? Do you agree? • The teachers discuss third grade being a good age for this activity. How might you alter the classroom activity for different ages?

Segment: Comments from the Experts , Elliot Eisner Professor of Education at Stanford Jennifer Harris of Stage University, and Lise Eliot, Associate Professor of One works with students Neuroscience at Rosalind Franklin University, at St. Anges Elementary. talk about the development and learning

38 ART TO HEART PROGRAM 7 yo GUIDED uWATCH

critical periods (windows of opportunity): peri- prosody: the intonation or ods in which the brain is most open to the benefits overall melody of spoken lan- of specific types of experience, such as develop- guage. Even though newborns ment of vision and learning a language. can’t distinguish individual words, they are very sensitive neurons: nerve cells in the brain that store and to this; newborns use differ- send information. There are different types of neu- ences in prosody to help tell rons in a human brain, but they all consist of a cell different voices apart. & body (which produces energy and makes chemicals to sustain the neuron); dendrites (tree-like branches synapses: connections between neurons through that receive signals from other neurons); and an which nerve impulses travel. Before birth and in the axon (a very long, branching cable that communi- early years of life, many more synapses form than cates signals to other neurons). No neurons are a baby will use as an adolescent and adult. In time, added after birth, but in first years of life, many new unused synapses die off. Synapses survive and dendrites (and synapses) develop, causing the cir- grow stronger from being stimulated, one reason cuitry of the brain to become more complex. that experiences and interaction are so important in early years.

Think About/Discuss Segment: Interacting with Art • What activities do you see children and parents doing In this segment, Slavko Milekic, Professor of Cognitive in this segment? How difficult are they? Science and Visual Design at the University of the Arts • What do you think about Eliot’s statement that parent- in Philadelphia, discusses his invention KiddyFace. hood offers adults the opportunity to “be a kid again Milekic describes KiddyFace as “a touch screen-based themselves”? digital environment which allows for more natural and • How can understanding brain development assist efficient interaction between young children (two years parents in choosing child care, planning activities, and and up) and computers.” At the Speed Art Museum’s creating a home environment for young children? ArtSparks Gallery, KiddyFace enables children to do art activities such as matching shapes as well as to manipu- late images of works of art, from flipping the image to Segment: Teaching as Art solving a puzzle of the images, by touching the screen. “Learn from the children, trust the children” is the phi- Milekic explains that he developed the software to losophy of George Szekely, Professor of Art Education at enable children to access works of art in a way that was the University of Kentucky. To teach his students— compatible with the way they learn. Gaze- and gesture- , future teachers—Szekely takes them into schools in the activated environments are on the horizon the inventor area to work directly with children. In this segment, says. Szekely’s class works with youngsters at Mary Queen of Holy Rosary school in Lexington, Kentucky, to create a Think About/Discuss multi-faceted project called “The Most Amazing Circus • What caught your attention and imagination in this Ever.” segment? • The KiddyFace software has been tested in classrooms Think About/Discuss as well as at the museum. What do you think would • What kinds of things do you see the children making? be some of the benefits of using this software for other / What materials are they using? subjects as well as the arts? What ages abilities do you • What do think about Szekely’s idea that art brings joy think this software appears appropriate for? What “ ” to the entire school? How important do you think it is learning styles would click with using KiddyFace? for children to enjoy learning? • How appropriate do you think it is for young children to watch television and play computer games?

PROGRAM 7 ART TO HEART 39 “In many ways, neuroscience has confirmed good common sense about child rearing,” says Lise Eliot, who is interviewed in this Art to Heart pro- Some gram. “The fundamental basis is a healthy emotional state. That a child has loving parents, that they are emotionally secure, that their needs will be met. Brainy That someone loves them and is communicating with them.” Eliot’s book What’s Going on in There? How the Brain and Mind Develop in the First Five Years of Life (Bantam, 2000) includes an in-depth but accessi- Ideas ble explanation of brain development and is geared toward parents. Here are a few of the varied ideas Eliot offered in her interview with Art to Heart.

Babies love to look at bold patterns, 1 bright colors, and faces. Given that a newborn’s view of the world is fuzzy and somewhat two-dimensional, these are the kinds of things they can see best. “They can’t distinguish between pale pas- tel colors,” Eliot notes. Babies also love to look at faces; it’s one way they learn “communication and connecting to people,” Eliot says. In fact, a baby can distinguish its mother’s face within a few days after birth.

Though babies can hear while they are 2 still in the womb, some aspects of hearing develop more slowly—up until about age 10. One is telling apart two sounds that are spaced close together. “So if you say sort out different musical notes. Everyone something quickly, for example, a child will not should have an opportunity to hear music and be able to distinguish it. So we speak more sing and express themselves. slowly to children,” Eliot says. Another is the ability to hear sounds in the background. “This Movement stimulation will help calm your baby. fades in adults; we call it the cocktail party 4 “Someone did a study with newborn infants. effect,” Eliot says. “Well, children are not as The best way to calm a fussy baby is to move good at this. So I encourage parents to keep an them or balance them in some sort of way, such ear out to background sounds—Is the TV on all as to change their posture from lying to the time? Is there something you can reduce so upright... If you combine touching, movement, children can hear what you’re saying to them and your voice—such as bouncing and more clearly?” Consequently, noisy classrooms singing—all the better.” can make it difficult for some children to con- centrate. “Carpet can reduce it, also smaller Artistic ability is about a 50/50 combination of groups of children,” Eliot says. 5 “nature and nurture.” “There is a thing called talent that people are born with. But the other 50 Singing and playing music are a great way to percent gives us a huge range of potential for 3 bond and share. “Music seems very instinctive anybody. Whether it is verbal, spatial skills, to me; every culture on earth has music. So we kinetic skills, art skills, music, there is so much have grown up with it as a species,” Eliot says. opportunity for every child. If we do not tap into “It helps for bonding with children. It introduces those abilities early on, then the chance of chil- them to language if you are singing with words. dren discovering them is slim. If you give chil- Obviously, it is very emotional. And it conveys dren the rudiments of these different abilities, things and increases the bond. Hearing the then there is a foundation so that when they get tones helps a baby’s ear perceive tones and older they can make their own choices.”

40 ART TO HEART PROGRAM 7 Working with an Artist-in-Residence In this Art to Heart program, a teaching artist from Here are some tips for a successful residency: Stage One children’s theater works with a teacher • Communicate in-depth with the artist, before and class at Louisville’s St. Agnes Elementary to and during the residency. Discuss your academ- teach science lessons on recycling and pollution. ic goals and expectations. Find out what the Other Art to Heart programs have featured a vari- artist needs in terms of space, materials, and ety of artists in the classroom. time. • Prepare children for the arrival of the artist and Bringing an artist into the classroom benefits both help them understand that this is a very special students and teachers. Visiting artists bring differ- experience. ent skills and exciting and memorable experi- • Take an active part in the residency yourself. Let ences to students. They also help teachers find a students see your excitement and involvement, comfort level by demonstrating ways to incorpo- and show appreciation for their efforts. Teachers rate the arts. who do other activities or distance themselves from the artist greatly diminish the effectiveness How do you find an artist to come into the class- of the residency. room? Check with state and local arts councils. • Celebrate the residency within your school and The Kentucky Arts Council, for example, has a community. Let parents know about the activi- roster of artists who understand the needs of ties and why you are doing them. If possible, teachers and students and are experienced in showcase students’ work to other students, classroom work. Also look into opportunities pro- teachers, and parents. See if the local newspa- vided by community arts organizations. Ask about per will feature an article or photo about the res- GUIDEDgrant programs to help fund the artist residency. idency. youWATCH

In the classroom • Thinking ab & out the Eco-Dram a approa gram, plan a wa ch to teaching s y to use drama cience shown in an artist-i or the arts in a c the pro- n-residence in yo ross-curricular le • Beg ur community th sson. Look for in collecting and at can help you. saving items for t home away—pieces art projects you A of broken toys, t might otherwise • Provide your from gif oilet paper and throw ts, packing chips paper towel tube y with some • T , old magazines s, tissue paper bab ry a group art pr , twist ties, Pops have oject similar to t icle sticks, etc. toys that for the proj he circus project ite ect to include al shown in the p black and wh l art forms—dram rogram. Allow a, music, visual images and bold arts, and dance. rns on them. e patte ue to work on th ild grows, contin e • As your ch ills. Have your questions—wher visual literacy sk • talk about or development of redict some action to es of a book to p there’s d can identify. ook at the pictur tell ou and your chil child l he pictures to re characters y n on the e about or use t Sunday Afternoo what it will b t out colors in eorges Seurat’s ting for e your child poin G e is a great pain u the story. Hav umbers f La Grande Jatt yo are working on n Island o ironment. If you the env to have the child this activity. tion for what another idea is ld your apprecia and quantity, an also use a are with your chi ct their an image. You c • Sh valuable. Respe d three circles in to exer- is beautiful and fin nable your child you think are drawn to. or sculpture to e at they like and painting vocabulary by ideas about wh that lets ls and learn new rtwork in a way cise verbal skil the piece ay your child’s a e or ou a story about • Displ a beautiful fram ribing or telling y t you value it—in desc r works of art tha them know oking at. Look fo n in your home. you are lo nt open-ended prominent locatio for lots of differe offer opportunity

PROGRAM 7 ART TO HEART 41 THE ART OF TEACHING The Art to Heart series has shown arts activities underway Szekely’s recommendations to teachers include showing in a variety of classrooms—from babies playing in paint at and honoring children’s art—not just the work of “famous” a child care center to third-graders exploring science artists. “Display children’s art and call it valuable, unique, through drama. As a teacher, what does it take to incorpo- an art to be proud of and to preserve. An artist lives in all of rate the arts? You don’t have to be an art expert, a great us—showing children’s art to children demonstrates that an painter or dancer, or an accomplished singer or actor. artist is not a remote individual, appearing only in books, on According to two teachers of teachers, what’s most impor- posters, or adorning the walls of museums. Artists can also tant is attitude. be children creating great art in home studios or in the classroom,” he says. “Often we talk about the arts as about kids. We say we really need to do music with young kids. We really need to The objects a family owns and values are often the first do creative dramatics. That is absolutely true, but I believe contact with art, he says. “I remember the feeling of we really have to do all those things with teachers, responsibility in being allowed to dust our best china. And because if teachers aren’t doing these things, the kids imagining battling with mythic creatures within the patterns aren’t going to do them. It’s my belief that throughout of our oriental carpets.” school, starting with preschool, if teachers believe and see their own creativity, then they share that with the kids, then Art classes can display items from home, complete with the they have it every day,” says Louise Pascale, a professor in stories children associate with the objects, Szekely says. Lesley University’s Masters in Education program. For those students who may not have a rich array of experiences with home treasures, an art teacher’s passion for collecting provides important opportunities for children to experience and be in daily contact with beautiful things, he says. Teachers can share their own collections—from toys they played with to interesting finds from every day life. “Each day my students are introduced to my art finds of the day and hear about the excitement of finding them.” It might be an unusual fruit box found at the market, an old pencil sharpener that looks like a flickering TV, or a piece of wearable art one of his children gave him.

Just as important is appreciation and respect for what children find interesting and beautiful. That, too, is an attitude that can begin at home and be reinforced in the classroom. George Szekely “My parents did not have a great deal of knowledge about works with a young art, but they respected my arguments about what I liked,” artist. Szekely says. “I remember my parents subscribing to Life magazine and my scrapbooking its contents. Dad showed me cartoons from The New Yorker and Mom pointed out Lesley University’s unique Creative Arts in Learning pro- pictures of ‘funny’ abstract paintings.” gram puts those ideas into action. Teachers learn about the power and potential of the arts to reach children and adults The feeling for beautiful things may start at home, but through hands-on experiences. According to Pascale, appreciation needs to be exemplified each day in art class teachers often arrive with little background in the arts and through teachers’ passion for saving, sharing, and caring. little confidence in their own creativity. But they soon learn Teaching art, Szekely says, is “sharing the breadth of the to focus not on performance, but process. “What counts is visual world and excitement of making discoveries from it.” participation,” Pascale says. “It doesn’t matter what you sing, how you sing. It doesn’t matter if you’re in tune or out You can find out more about Pascale’s and Szekely’s ideas of tune. It’s about participating; it’s about building a commu- on teaching art at the Art to Heart web site nity. It’s about using your imagination. It’s about taking www.ket.org/arttoheart. risks—putting yourself out there. It’s about trusting other people. It’s about creating a safe environment in the class- Szekely has written numerous books and articles on art room. Those are all the things that really make learning education. His latest book is How Children Make Art; possible.” Lessons in Creativity from Home to School (Teacher’s College Press, 2005). George Szekely, professor of art education at the University of Kentucky, teaches his education classes at area schools instead of in university classrooms, giving his education students first-hand experience in learning to trust the children. “We start by getting down on the FIND OUT MORE floor, which is where children play. We take our shoes • Visit the Art to Heart web site off. We go under the tables and we begin to play. We try www.ket.org/arttoheart for more informa- to infuse the whole school with play and fun.” tion about the people, places, and topics in this program.

42 ART TO HEART PROGRAM 7

program 8

“Art opportunities are important because they are a part of children’s natural growth…also it gives them an outlet, it gives them a voice, it lets them know that they are someone...the more hands-on things they do, they learn love through that.” Victor Sweatt, Parent from Louisville, Kentucky

The Art to Heart series has explored many aspects of the arts and has shown a variety of arts activities in homes and classrooms. This concluding program focuses on the arts as a natural and joy- ous means of self-expression for all children—as well as an Topportunity for parents and children to enjoy time together. The program features an arts-based early childhood program in Anderson, Indiana; two programs designed to get books into the hands of young children and their parents; a father in Louisville, Kentucky, who emphasizes the importance of relaxed time together between parents and children; a bilingual program at a community library; and an early childhood expert who believes many young children are overscheduled.

GUIDED • What opportunities for you cre ative expression exist WATCH in your child’s life? Do you spend tim e together reading, s music inging or making , dancing, or playing m • ake believe? Reflect on what you h ave seen, heard, and in previous pro learned grams. If you haven’t the ide yet tried any of as you have gotten fr om Art to Heart, this is the perfect opportuni ty to record those idea make a plan. s and &

PROGRAM 8 ART TO HEART 43 Segment: A Two-Way Street Gateway Child Development Center in Anderson, This program is made up of segments Indiana, provides a safe environment in which children introducing arts activities in a variety of of all abilities can learn. Some children at the center have settings. Note concepts and disabilities; others have developmental delays; others ideas you would like to are developing typically. Some children face environ- learn more about mental challenges such as being in foster care. and/or imple- Gateway’s arts-based programs are designed to allow ment. each child to explore the world on his or her own terms and to experience success. GUIDED Think About/Discuss • What typesyou of arts activities do you see going on? Do the children seemW engagedATCH and learning? • What are some benefits of the arts mentioned by Gateway staff and the parent interviewed? Segment: Victor & Victoria Victor Sweatt of Louisville, who is shown making an art Segment: The Value of the Arts project with his three-year-old daughter, Victoria, reminds us that the parent is the child’s first teacher and This segment includes a variety of comments about the that simple arts activities can be a wonderful way for role of the arts in the lives of young children. parents and children to enjoy time together and to build emotional connections. Parents can, as Sweatt says, Think About/Discuss teach love by taking the time to slow down and experi- • How would arts activities fit Dr. Barry Zuckerman’s ence art with their child. Whether you are looking at col- definition of learning in the first six months as “what ors in your environment, admiring the “art” that exists comes out of the interaction between an adult and a in everyday things all around us, or working on a pro- child. It’s feeling, seeing, hearing, interacting.”? ject, taking the time with your child will only have posi- • What do you think about librarian Amy Olson’s com- tive outcomes. ment that both children and adults want to participate, do something creative, and experience joy? How do Think About/Discuss arts activities provide& these kinds of opportunities? • What do you think about Sweatt’s comment that “life is an art”? What everyday things does he mention as examples? • Sweatt also notes that art helps open lines Dolly Parton introduces of communication between parents and the Imagination Library. children. What importance does he believe this can have as children grow older?

Segment: From Dolly & the Doctors This segment profiles two programs designed to encourage reading in early life. Taped at the launching of an Imagination Library program in Tennessee, music star Dolly Parton explains that she started the Imagination Library to enable young children to experience the love she felt when her mother read to her. Working through local affiliate sponsors in communities in all 50 states, the project mails a book a month to children from birth to age five. In an interview with Boston pediatrician Dr. Barry Zuckerman, this founder of Reach Out and

44 ART TO HEART PROGRAM 8 Read discusses how the program changing with the arrival of increasing numbers of works with physicians to pro- Hispanic families. Through music activities, children vide books to children at their and their parents come together to learn English and early childhood checkups. Spanish and to get to know each other.

Think About/Discuss Think About/Discuss • According to people inter- • How does the Bilingual Boogie Bees program break viewed in the segment, down cultural barriers? what are some of the benefits • What kind of learning is going on? of parents reading to their • What were some of the parents’ and children’s com- young children? ments that stand out to you? Do both seem to be • What was your child- enjoying the program? hood experience with reading? Do you think it has affected Wanted: True Play & Joyful Learning your attitude about New Hampshire movement specialist Rae Pica discuss- reading to your es negative effects of overscheduling young children child? and the need to provide relaxed play time in which children initiate their activities and the emphasis is on enjoyment instead of achievement. Segment: Bilingual Think About/Discuss • What do you think about Pica’s concerns? Boogie Bees • What kind of schedule does your child have? How At a branch library in could you achieve a balance of structured activities Lexington, Kentucky, an and play time? arts program brings together diverse cultures. Librarian Amy Olson GUIDED you started the Bilingual WATCH Boogie Bees (BoogieBees Bilingüe) program to address needs and interests of a neighborhood in which demographics were In the classroom • Re view what Betty Bush, a physical therapist at Ga & te way, says about ome d’s using the ar At h collect your chil ts to stimulate th e a large box to es. Pr e sens- • Us home. Date ovide some activ from school and p ities that will artwork ove rovide tactile exp periodically rem eriences for you the work and re painting, wo r students—like ces become mo rking with clay, a finger- ces as other pie the se nd the feet-pain pie evelopment. gment. ting shown in e of the child’s d • R indicativ ild may ecognize the di ow older, the ch fferent abilities, d As children gr special nee evelopment lev ieces. ds and challeng els, and ide on favorite p room es of the childre dec gether. . Focus on inclu n in your class- ntage of time to sion and activitie • Take adva ag to participate, e s that allow eac eate an activity b xplore, and lear h child For example, cr • Celebrat n in an appropria include a e the cultural div te way. e car. This could ties ersity in your cla for th pes or that share song ssroom. Plan ac usic and story ta s, stories, music tivi- variety of m from the cultu , dances, art, an e music CDs res represented. d games CDs to play. Som structions for include special in clapping that movement and as hand and move a little hildren to stretch it could include will allow c ldren’s use, the k ith characters, back seat for chi s in shapes or w hey ride. In the d, window cling objects (these t gnetic sketch pa ulate and create ts, a paper or ma ldren can manip puppe es cut out so chi ction paper shap and constru placed on felt). de out of felt and could also be ma

PROGRAM 8 ART TO HEART 45 ers ts hcerh en oegeat ar i&ng Tt P work From day care through the school years, good communication between parents and teachers leads to happiness and success for all involved—most importantly, the children.

Checklist for Parents __ Visit the child care center or school. Spend enough time to get a sense of the activities and environment. Ask questions about any aspect that is important to you, and discuss any special needs of your child in advance. __ Make sure you know your child’s teachers’ names and how to contact them. __ Know how to access the classroom schedule. __ Initiate contact with the teacher. __ Make every effort to attend conferences and school activities, __ Follow up on any notes that are sent home. __ Send your child to school clean, fed, and well-rested. __ Spend time in your child’s classroom. __ Do activities at home that support and connect with school lessons and themes.

Checklist for Teachers __ Welcome parent interest, questions, and involvement. __ Have a policy of open, clear, and honest communication. __ Provide a safe environment for children and their families. __ Let parents know you also want the best for their child. __ Keep parents informed about what’s going on in the classroom. Invite them to class exhibits and performances. __ Support the parents’ role as the child’s first and foremost teacher.

Q:How do I pick a good class for my child? Observe the class before you register. Is it age- and interest-appropriate for your child?

Observe whether the emphasis is on process or product. Does the class emphasize individual exploration and expression or does every child create the same end product? Many edu- A:cators and child development specialists encourage an emphasis on process with a focus on the development abilities of the students.

Discuss the overall class philosophy with the teacher. How many students will be in the class? Does the class size, format, and content allow enough time for individual attention and participation?

Talk to other parents who have had children in the class about the experience.

46 ART TO HEART PROGRAM 8 ADVOCATING FOR THE ARTS IN YOUR SCHOOL

The Art to Heart series has explored the many • Does the school work with artists in residence? benefits of arts activities for young children and • Are there music, dance, and drama performances? makes the case that the arts should be a part of Is children’s art displayed in the classroom and every child’s home and school experiences. hallways? Are there family or community activi- According to Americans for the Arts, 89% of ties involving the arts? Americans believe that arts education is important enough to be taught in school. Both parents and teachers can advocate for more and better arts by making other parents, teachers, Start by finding out what type of arts education is school administrators, and the general community provided at your child’s school or care center. aware of the benefits of the arts to learning and by • What kinds of arts activities are offered? Do all speaking out in favor of arts education. children get to participate? • How often are arts activities offered? Are they an Some sources of information and advice: integral part of instruction or treated as “extras”? • the Americans for the Arts web site www.art- • Are there arts teaching specialists in your susa.org, which includes information, success school—teachers certified and/or specially stories, and a public awareness campaign. trained and/or certified in the arts disciplines? • the National PTA web site, www.pta.org • Are the arts integrated into other academic • the Arts Education Partnership web areas? site, www.aep-arts.org

Students at Gateway Child Development Center create a group painting.

FIND OUT MORE Find out more about the people, places, and topics in this program at the Art to Heart web site www.ket.org/arttoheart.

PROGRAM 8 ART TO HEART 47 ACKNOWLEDGMENTS KET would like to thank the staff members, National Advisors KET Production Team parents, and children who participated in Art to Heart tapings of these programs and Individuals from many organizations offered Executive Producer: Nancy Carpenter locations: suggestions and ideas for the Art to Heart Producer/Director: Guy Mendes series and reviewed programs. Associate Producer: Mary Beth Hester Writer: Teresa Day Adams Elementary, St. Louis, MO Liz Armistead Belvedere Elementary School, Falls Avid Editor/Graphics/Audio post: Otis Director, Early Childhood Programs Ballard Church, VA Settlement Music School Byck Elementary, Louisville, KY Principal Videographer/Lighting: Frank Center of Creative Arts, St. Louis, MO Jerlean Daniel Simkonis Child Development Center, Lexington, KY Deputy Executive Director Audio: Brent Abshear Children’s Museum of Indianapolis, National Association for the Education Lighting Director: Don Dean Indianapolis, IN of Young Children Additional Lighting/Videography: John Community Academy Public Charter Breslin, John Schroering School, Washington, DC Dr. Linda C. Edwards Additional Video: David Dampier Daviess County Schools, Owensboro, KY Professor of Early Childhood Education Additional Audio: Charlie Bissell, Noel East Tennessee State University Center University of Charleston Bramblett Graphics: Mary Ann Brooks for Early Childhood, Johnson City, TN Miriam C. Flaherty Gateway Child Development Center, Set Design: Robert Pickering Senior Director, Education Still Photographs: Steve Shaffer, Guy Anderson, IN Wolf Trap Foundation for the Performing Arts Grayson-Breckinridge Head Start, Mendes Leitchfield, KY Bonnie Lash Freeman Makeup/Wardrobe: Janet Whitaker Imagination Library, Pigeon Forge, TN National Center for Family Literacy Animation: Mike Ginter Kentucky Center for the Performing Original Music: Dave Hamon Arts, Louisville, KY Adam P. Matheny, Jr. Production Assistants: Ben Allen, Key Learning Community, Indianapolis, IN Professor in Pediatrics Melanie Fee, Sara O’Keefe Lesley University’s Creative Arts and University of Louisville Interns: Robin Myers, Sarah Tackett DVD Authoring: Matthew Crum Learning Program, Somerville, MA Janet Brown McCracken Lexington Public Library Village Advisors: Tonya Crum, Tricia Dunn, Judy Art as a Way of Learning Flavell, Carrie Grate, Susan Hines- Branch, Lexington, KY Northampton Community College Mary Queen of Holy Rosary School, Bricker, Kathy Quinn Lexington, KY Nancy Newberry Initial Research: Chela Kaplan New Hampshire Technical Institute Kentucky Office of Early Childhood Child and Family Development Development Center, Concord, NH KET Print and Web Team Please Touch Museum, Philadelphia, PA Mary Claire O’Neal Writers: Teresa Day, Carrie Grate, Mary Philadelphia Museum of Art, Philadelphia, Program Director Henson PA VSA arts of Kentucky Editors: Nancy Carpenter, Barbara Powder House Community School, Louise Pascale Clifton, Teresa Day Somerville, MA Professor, Masters in Education Program Graphic Design: Missy Miller Project Zero, Harvard Graduate School Lesley University Photographs: Guy Mendes, Steve Shaffer of Education, Cambridge, MA Art to Heart Logo: Mike Ginter Reach Out and Read, Boston, MA Judy Potter Web Design: Dave Hamon Speed Art Museum, Louisville, KY Faculty Assistant, Center for Best Practices Print Coordination: Margaret Townsley, St. Agnes Elementary, Louisville, KY in Early Childhood Education Steve Brenner St. Louis Reggio Collaborative, St. Louis, MO Western Illinois University National Sales: Ron Griffin Settlement Music School, Philadelphia, PA Smithsonian Early Enrichment Center, Allan Richards Washington, DC Associate Professor, Art Education Department Stage One, Louisville, KY University of Kentucky Series Host , Philadelphia, PA University of the Arts Mary Lou Routt Ana Ortiz University of Kentucky, Lexington, KY Professor, Family Studies University of Louisville, Louisville, KY University of Kentucky Wolf Trap Center for the Performing Arts, Vienna and Fairfax, VA Sharon Shaffer, Ph.D. West Louisville Talent and Education Executive Director, Smithsonian Early Center, Louisville, KY Enrichment Center The Art to Heart project was funded in part by a generous grant from the National Philip Shepherd Thanks also to the families who invited our Endowment for the Arts. Additional support Arts and Humanities Consultant cameras into their homes. was provided by the W. Paul and Lucille Kentucky Department of Education Caudill Little Arts Endowment for KET. Kim Townley Director, Early Childhood Development Kentucky Department of Education

48 ART TO HEART ACKNOWLEDGMENTS

unique educational resource for teachers, Art to Heart spotlights the A parents, childcare providers—and every- importance of the arts as one who cares about children. a form of early self- expression for children from infancy through age eight. Eight engag- Why are arts ing programs provide experiences parents and preschool important in the and elementary edu- early years of cators with information life? How do and inspiration to music, dance, make play and drama, and creativity a part of visual art each day. contribute to growth and learning? How can parents and educators foster young children’s creativity?

To create this national series, KET taped model arts education programs and activities in schools, child-care and Head Start centers, But the central focus is community art centers, on children themselves. museums, and homes. From babies playing in Leading researchers in paint to young ballerinas the field of learning and and violinists, young the arts share their artists vividly demon- ideas, along with teach- strate the enthusiasm, ers, parents, and artists exuberance, and joy of who put theory into early childhood creativity. practice.

This set includes the eight half-hour Art to Heart programs on DVD, along with discussion questions, viewing information, and ideas for the classroom and home.

For more information To order additional and art ideas, visit copies of this set, www.ket.org/arttoheart. call 800-945-9167 (in Kentucky) or 800-354-9067 (outside of Kentucky). KET 600 Cooper Drive Lexington, KY 40502