Specialist Leaders in Cultural Education (SLICE®) Early Years Fellowships 2019 (original) (raw)
‘Hop Skip and Jump’ project collaborations: the arts in early childhood education
2015
This article explores the Expressive Arts and Design (EAD) area of learning and development of the revised Early Years Foundation Stage framework (EYFS 2012) in England. It presents and shares the story of a series of art events and activities with children in a collaborative project. The importance of young children experiencing opportunities to develop their creativity through the arts and a range of multimodal experiences is promoted. This is demonstrated through the project ‘Hop Skip and Jump’ with the artist in residence who describes the process of collaborating within a school with staff, children and parents. This project included providing the community art gallery to represent the arts in education as another level of collaboration for the community and the next phase with staff from the University of East London.
Visual rhythms: facilitating young children’s creative engagement at Tate Liverpool
European Early Childhood Education Research Journal
After many years of teaching across Early Years and Key Stage 1 in Liverpool and Cheshire, and as a Deputy Head teacher, Naomi led Early Childhood and the Undergraduate and Postgraduate Early Years Teacher Education programme at Liverpool Hope University. Most recently Naomi is at Liverpool John Moores University teaching across Early Childhood and Education Studies and leading the MA in International Approaches to Early Childhood Education. Her doctorate focused on developing pedagogical participation for young children and Continued Professional Development for teachers and early years professionals across the sector. This continues to be a research interest evident in her published work and in the working partnerships she has developed with educators and creative professionals in the field of Early Years, creativity and participation. Naomi is currently working with Family curators at Tate Liverpool nurturing a sense of self through artwork as a provocation for philosophical enquiry. She also engaged in the initial stages of a collaborative comparative study involving 4 universities looking at the 'multiple identities of Early Childhood students for a quality workforce'. Denise Wright As a teacher, consultant and artist in residence in the Liverpool community for more than 15 years, Denise uses a range of creative approaches to engage children across a variety of settings, including residential settings for children with emotional and behavioural difficulties, mental health services and more recently working with very young children and their parents in different early years settings. As part of her PhD, Denise has been working closely with Tate Liverpool, liaising with organisations and supporting nursery practitioners, children and families. In this role Denise has supported the gallery to better understand the needs of young children and families visiting the gallery, particularly children and families from marginalised communities. Recently Denise has been commissioned by Tate to develop and lead the Tate Family Collective, a new initiative for engaging families. Denise also lectures in Early Years and Inclusive Education at
1.7 I am grateful for the very encouraging response to the publication of my first Review both from individuals and organisations involved in delivering Music Education and from the government, which has recently published the first National Plan for Music Education in England, as a direct result of one of the recommendations in my original Review. I look forward to seeing the continued development of many of the ideas outlined in the Review over the coming months. The Importance of Music: A National Plan for Music Education can be downloaded here: https://www.education.gov.uk/publications/eOrderingDownload/DFE-00086-2011.pdf 1.8 The recent Schools White Paper The Importance of Teaching, published by the Department for Education, stated that 'Children should expect to be given a rich menu of cultural experiences'. In the next few pages, I hope to make the case for ensuring that all children and young people in England, no matter what their background, circumstances or location, receive the highest quality Cultural Education both in school and out of school, in formal and in informal settings. I will set out why I believe the receipt of an excellent education in cultural subjects is in itself intrinsically valuable for children and young people. The vision for Cultural Education in England, which I outline as a result of this Review, embraces the gaining of knowledge, the development of understanding and the acquisition of skills. To be clear from the outset, I do not believe that there is a need for anyone to be apologetic about children and young people learning about culture and taking part in cultural activities as a highly valuable part of their rounded education. While they are learning, many children and young people will also discover the sheer enjoyment of taking part in cultural activities, whether that is as an active participant or as a more passive consumer. As well as developing the argument for the rich provision of Cultural 3.4 In his letter asking me to undertake this Review, the Minister for Culture, Communications and Creative Industries, Ed Vaizey MP, wrote:
The Early Years: Reflections on current policy and the potential for dance
Dance Matters, 2012
Keeping abreast of political and policy changes can be difficult at present, due to the seemingly endless educational reforms that are being spearheaded by our new coalition government. This article offers an insight into the Tickell Review (2011) and the new Early Years Foundation Stage (EYFS, DfE, 2012) framework, in an endeavour to show how these can positively impact on our dance work with children in the early years context.
Dancing around the edges: dance in the primary school classroom
2016
In Australia, Dance education in primary schools has long been relegated to the edges of schooling, outside the recognized remit of education. It has been considered marginal to formal schooling and not worthy of assessment; its products mainly useful for entertainment (Bresler, 1993). If it existed at all, it was usually found within Physical Education (Stephens, 2010); sometimes outsourced to private providers; and almost always consisting of teacher directed and skills based lessons in social dance. Dance education taught according to the intent of the Curriculum, involving making and responding to dance was rarer indeed. Despite this, some teachers taught dance. In Queensland Australia, following the implementation of a National Arts Curriculum, some music specialists had been directed to also teach dance and drama as part of their programs. This directive inspired a research project to explore the impacts of this directive on teachers and the experience of students in their cla...
Flourishing Together Like a Troupe of Dancers in the Early Childhood Art Space
Journal of Childhood Studies
This article describes drawing events with a group of toddlers and an educator that I observed during my master’s research study. The article demonstrates how their artmaking space became a pedagogical third site in which the children, educators, and materials flourished together. First, I discuss how posthuman and new materialist perspectives in early childhood education invite consideration of how humans and more-than-humans coconstruct their experiences of mutual teaching and learning. Then, discussing some of the findings from this study, I illustrate how the art space might become a meeting place where children, educators, and materials live together. Finally, I suggest some areas for future research.
Changing Play – writing, researching and learning in an early years arts project
Ethnography and Education, 2019
Changing Play' is an ongoing project initiated by education curators from the Serpentine, a prestigious London art gallery, working with the Portman children's centre nursery. Viewed by curators as a collaboration between artist, children's centre staff and parents, and the gallery, Changing Play combines art and action research, and expands the boundaries of the gallery. In the words of one of the education curators, 'the project is about social change'. It is not for the gallery curators to develop proposals but to 'co-develop work'. Ethnographic evidence employing narrative, visual arts informed analysis is being used by the gallery to report to funders, inform iterative planning and inform future directions. The paper focuses on methodological questions on ways in which ethnographers might meet artistic projects both during and after being in the 'field'. It takes the form of a 'loose parts' montage which reflects the ways in which the art project was conducted.