Bringing the Outside In

Two weekends ago, starting on a farm in western MA and ending up in Cambridge at Lesley University, I did video documentation for a wonderful Reggio Emilia Institute led by Dave Kelly of Grand Rapids Child Discovery Center, Cathy Topal of Smith College, Brigid McGinn of Pratt Institute, and Lella Gandini, U.S. Liaison for the Dissemination of the Reggio Emilia Approach. I am grateful to Kristina Lamour of the Art Institute of Boston and Brigid for inviting me to document this weekend full of beauty.

This three day experience was an amazing combination of a beautiful misty morning by the stream, summer camp, a personal hike through the woods, a journey into the minds of young children, and a collective, organic process of artmaking in reference to natural materials. The collective unconscious was truly at work, as pre-school teachers from all over the United States were invited outside to make sculptures that had a relationship with the land, and inside to manipulate clay such that its shape would echo seedpods, shells and branches. I felt that through the video camera lens, I was seeing my own artistic dreams played out by many hands. It was beautiful to see so many teachers be artists; and to think that this was all done in the service of becoming more attuned to the lives, thoughts, dreams and learning styles of 2-5 year olds. . . and on up through 5th grade and beyond, was truly life-affirming.

This event also called to mind the book I have been reading, Last Child in the Woods, by Richard Louv. The Children & Nature Network has many resources regarding the issue of children's outdoor play, and the more I think and read about it, the more I realize that outdoor play is the primary type of play I am advocating for, through the Digital Story Workshop videos. Children need to have freeing, beautiful experiences living and learning outside of school walls, far out in the meadows, forests, gardens, creekbeds, beaches, and mountains. We educators who are aware of the potential of outdoor adventures and projects to improve upon the life of the mind and spirit must be sure to provide such opportunities for the children around us.

Children's Video Art at NAEA

Mystery Castle with a Lot of Treasures was featured in the NY Children's Video Festival at the National Art Education Association Convention in NYC, on March 16. George Szekely, artist, writer and professor of art education at the University of Kentucky, and Renee Shaw of Barrett Elementary School in Arlington, VA, hosted this event. I was so impressed with the amazing diversity of the work produced by Renee's 2nd-5th grade students. Claymation, stop-motion, digital storytelling, the works. Beautiful, hilarious, experimental, and everything in between. Renee will curate next year's NAEA children's film fest and made a call for submissions from art/media educators. Brigid McGinn, an atelierista from Brooklyn, attended this session and remarked that the videos were refreshing because at the convention this year we had not seen nearly enough images of children themselves, but instead had been inundated with ideas (in the form of research studies about art education) and stuff (to buy from the art supply vendors who had set up booths at the convention). I agreed, and wondered what we might do to change that.

I saw a beautiful and exciting presentation given by Ricardo Rubiales of the Museo Universitario de Arte Contemporáneo at UNAM in Mexico City, who started the Reggio Emilia-inspired atelier/art studio at the Museo Nacional de Arte in Mexico City. I was so encouraged to see the imaginative learning that took place in the museum when the children were given the time to think and question before looking at the art in the museum. The projects he showed us--of explorations of pirates and monsters--had come out of the kids being given the time to explore. Their drawings and constructions were intricate, meaningful and full of story--universal marks of truly engaged child art. Ricardo mentioned that when questioned by parents who wondered why their young children needed to stay in the atelier/art workshop for three hours, he would reply that they were working within "Reggio Time."

Also at the conference, I was happy to see Olga Hubard, my Ed.M. advisor, who does such wonderful work in her own art and in teaching in museums and at Teachers College.

Childhood Regained

This Monday and Tuesday I went to a conference that the Art and Design Education Department at Pratt hosted: Childhood Regained. Vea Vecchi, first Reggio Emilia atelierista; Kieran Egan, Imaginative Education Research Group founder/director; and many others contributed. The work of Vivian Paley was woven throughout the conference, as presented by Patsy Cooper (NYU) and Jane Katch (who worked with Paley). I was struck by the film, "My Own Backyard to Play In," a document of children playing in the streets of Hell's Kitchen, c. 1950, by Tony Schwartz. Because it combined voices from so many of my influences, with the addition of this film document that I had not known about, the conference was quite a powerful experience.

I was riveted by Vea's invocation to us as early childhood educators to "explore the digital environment." She presented the most beautiful images of a project from a school in Reggio in which the children (4-6 years old) explored the shadow/reflection of a window on a wall in the new Malaguzzi Center, created in honor of Loris Malaguzzi, founder of the Reggio Emilia schools. The children photographed, discussed, traced, and created an animation of their drawings based on this window's moving image on the wall. Children's exploratory thoughts about the shadow: "The wall is crooked." "The sun is attached to the wall." "When the sun is straight, the shadow is straight." "The shadow went back into the window." "It's a sneaky shadow." "This shadow tells lots of stories." "It's pushing hard to open." "Listen--its heart is beating." "When it goes away, it takes the memory with it."

Listening to these young children's profoundly beautiful observations about a moving shadow on the wall, I was again convinced that it is truly great work to encourage children to come into that space within which they can arrive at such conclusions. They are poets, as Richard Lewis of Touchstone Center reminds us. They teach us how to live, how to be poets, how to see.

To go one step further, seeing the inherently visual nature of Vea's presentation about an activity that for the children had been so visual, and yet scientific and literary, reminded me that the teachers at the Reggio schools have consistently showed us the power of adult facilitation of children's visual, and by extension cognitive, understandings. We have the responsibility to help young children take their explorations of the world to the next level, cognitively, by sharing with them more tools to explore, and by showing them how they can use these tools for deeper exploration. Vea showed us in her presentation how important digital media, particularly stop motion with still images like the children's drawings, have become to the Reggio atelier. She challenged the audience to mine the digital mediums available to us, to fully employ the "digital environment," as she put it, and I heard her loud and clear.