Introduction to the Course

In fall 2024 I registered for EDU 151a, Creative Activities Lab. 

My instructor is Christine Sargeant. 

My instructor's email address is christine.sargeant@cpcc.edu 

This page of my Google Site documents my learning in EDU 151a. 

Course Description  

This course provides a laboratory component to complement EDU 151. Emphasis is placed on practical experiences that enhance concepts introduced in the classroom. Upon completion, students should be able to demonstrate a practical understanding of the development and implementation of appropriate creative activities. 

Course Student Learning Outcomes 

Upon completion of the course students should be able to: 

1. Explain the concept of creative activities and their importance to children.  

2. List components of effective art, music, dramatic and movement activities, including art center activities. 

3. List musical instruments suitable for children. 

4. Describe developmentally appropriate art, music, movement and dramatic activities for children. 

5. Construct teaching aids to be used in music, dramatics and movement. 

Crayons

I explored crayons.  Here are two different, specific things I learned or observed about the properties (characteristics) of crayons, written in well-composed sentences.

1. When using crayons, you have to hold down on paper a little hard to get a good color. The lighter you draw with a crayon, the lighter the picture.

2. You can hold a crayon multiple ways to use. If you take the crayon paper off of it, then you can use it to shade on paper.

Markers

I explored markers.  Here are two different, specific things I learned or observed about the properties (characteristics) of markers written in well-composed sentences.

1.  When using markers, it is the best art utensil that shows up the darkest on paper.

2. Markers have tips that when in use, the lighter you use it, the thinner the line. If you push harder on a marker, the thicker the line drawn.

Chalk

I explored chalk.  Here are two different, specific things I learned or observed about the properties (characteristics) of chalk written in well-composed sentences.

1. When using chalk, It collects a lot of dust/ "flakes" as you use it. It vanishes as you continue to draw with it.

2. When using chalk, If you use it outside and it rains, the rain will erase the chalk.

Oil Pastels

I explored oil pastels.  Here are two different, specific things I learned or observed about the properties (characteristics) of oil pastels written in well-composed sentences.

1. Oil pastels work best with water. Dipping the oil pastels into a cup of water will look better on paper more than a spraying water on them

2.Oil pastels are similar to crayons. Even when wet, they drew on paper bright but didn't leave a wet residue. 

Fingerpainting

I explored fingerpaint.  Here are two different, specific things I learned or observed about the properties (characteristics) of fingerpaint, written in well-composed sentences.

1.When I was finger painting, there was a paint that was slimy and thick. I didn't like the feel of it because it didn't feel like regular paint.

2. I considered as fine motor and sensory motivated.

Painting with Unusual Tools

I explored painting with a variety of brushes and a variety of unusual tools.  The photograph at left shows me with the painting I created using tempera paint and a variety of unusual tools.  

Young children can paint with a variety of unusual tools.  Here are some options.

1. Pizza cutter

2.  Brush/comb

2. Spatula

3. Potato smasher

4.  Crumbled up tin foil

5. Sponges

Supporting Children with Physical Challenges During Painting Experiences

Here are three tips for implementing painting experiences with children with physical challenges from the assigned page(s) of our EDU 151 textbook.

1.  Some children with orthopedic handicaps work best if they can lie on the floor when painting. Tape paper to the floor or other work surface so that it does not move while they are working.

2. Wrap foam around the handles of the brushes or drawing tools to make them easier to grip.

3.  Use wide, low-sided containers for the paint, such as cut-down margarine or frosting containers. If necessary, use tape to hold paint containers in place. 

Supporting Children with Visual Challenges During Painting Experiences

Here are three tips for implementing painting experiences with children with visual challenges from the assigned page(s) of our EDU 151 textbook.

1. Children with limited vision should work on a tilted surface or easel so that their eyes are closer to the work surface.

2.  Choose the colors of crayons, markers, and paint that they can see best, and add sawdust or sand to the paint so they can feel their finished painting. 

3.  Different scents can be added to the paint to help with color identification.

Printmaking with Found Objects

I explored printmaking using found objects and paper.

Found object printmaking is the process of applying wet color (for example, tempera paint) to an object and then pressing the object onto a flat surface (paper or cloth). While painting involves making strokes and leads to one-of-a-kind works of art that are not easily reproduced, printmaking allows artists to create designs that are easily reproduced; designs are not made by stroking paint onto paper but, rather, by pressing paint/ink-covered objects onto paper or cloth (and then reapplying the wet color and pressing again, and so on).

Here are some printmaking terms.

Print: The actual mark/design produced through the printmaking process.

Block: An object that is covered with wet color (paint, ink) and pressed onto a flat surface (paper, cloth) to create a print.

Plate: A surface covered in wet color (paint, ink) onto which paper is pressed to create a print. Often, a plate has a design etched into it before being covered with wet color.

Brayer: A small, hand-held rubber roller used to spread printing ink (paint, in early childhood environments) evenly on a surface.

Many objects children encounter every day – books, clothing, bed sheets, curtains, tablecloths, to name just a few – are examples of prints. Young children can learn about the printmaking process as well as art elements (especially shape) through open-ended/process-oriented printmaking experiences.

Printmaking is an excellent way for children to explore shape, as the shape of paint-covered objects (“blocks”) is transferred to the surface (paper, cloth) during the printmaking process.

Using found objects, I explored geometric shapes through printmaking.

As my printing block(s), I used:

My response: 

I focused on the following geometric shape(s):

My response: 

This printmaking activity is appropriate for preschoolers.  Here is one NCFELD goal from the Mathematical Thinking and Expression subdomain related to this activity, along with one of the goal's activity-related developmental indicators for older preschoolers, stated exactly as they appear in NCFELD.  This information appears on page 140 of NCFELD.

Goal: 

Developmental Indicator for Older Preschoolers: 

Here is one NCFELD teaching strategy for preschoolers related to this activity.  This teaching strategy appears on page 143 of NCFELD.

Teaching Strategy: 

Lab: Assemblage

What is Assemblage?

For our purposes, assemblage refers to any three-dimensional (not flat) work of art produced by combining two or more three dimensional objects to create a unified composition. Some artists build assemblages on bases (e.g., pieces of cardboard or wood), while others do not use bases.  Assemblages often incorporate found materials, including recyclables, and/or natural materials. 

Here is the link to my instructor’s curated Pinterest board, Assemblage, which features images of a variety of developmentally appropriate assemblage  experiences for young children.

My Tips for Facilitating Young Children's Assemblage Explorations 

Here are the five most important, specific things I learned about how to best facilitate young children’s assemblage explorations, written in well-composed sentences.

1. To facilitate young children's assemblage explorations, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's assemblage explorations, early childhood professionals should incorporate found materials such as recyclables and/ or natural materials.

3. To facilitate young children's assemblage explorations, early childhood professionals should incorporate children's books featuring assemblage creations.

4. To facilitate young children's assemblage explorations, early childhood professionals should add an unlimited amount of sticking liquid; rather it is tape, glue or liquid starch.

5. To facilitate young children's assemblage explorations, early childhood professionals should truly understand that what assemblage is. Make sure you do research on what makes it an assemblage

I have documented my encounter with assemblage below.

My instructor’s notes for this lab appear below. 

The vocabulary list for this lab appears at left.

Assemblage Using Wooden Materials

I created an assemblage using wooden materials.  The photo at left shows me and my completed assemblage.

Here is one NCFELD goal from the Creative Expression subdomain related to this activity, along with one of the goal's activity-related developmental indicators for older preschoolers, stated exactly as they appear in NCFELD.  This information appears on page 128 of NCFELD.

Goal: 

Developmental Indicator for Older Preschoolers: 

Here is one NCFELD teaching strategy for preschoolers related to this activity.  This teaching strategy appears on page 130 of NCFELD.

Assemblage Inspired by a Children’s Book 

I created an assemblage inspired by a children’s book.  The photo at left shows me and my completed assemblage.

This is the title of the children’s book (appropriate for 5-6 year-olds) that I read.

My response: Where The Wild Things Are.

This is the author of the book.

My response: Maurice Sendak 

Here is my summary of the story (what happens at the beginning of the story, in the middle of the story and at the end of the story).

My response: The little boy was sent to his room and fell asleep. He dreamt about boating to a land that had wild creatures on it. They made him their king. They acted like children. They loved him so much that they didn't want him to leave. He got hungry and wanted to leave. The creatures threaten him to not leave. He left and came "back" to food waiting for him in his room.

Here is my explanation of how the book relates to my assemblage. 

My response: During the time the little boy was on the land with the wild things, they would hang from trees like monkeys swinging from one tree to the next. My assemblage is the tree that they swung on.

Here is one NCSCOS Visual Arts essential standard for kindergarten related to this activity, along with one of the essential standard's activity-related clarifying objectives, stated exactly as they appear in NCSCOS.

Essential Standard: K.V.1.4 Understand characteristics of the Elements of Art, including lines, shapes, colors, and texture.

Clarifying Objective: K.V.3.3 Use the processes of drawing, painting, weaving, printing, collage, mixed media, sculpture, and ceramics to create art.

Representing a Family Member Using Wire

Children can also create three-dimensional works of art using wire, including pipe cleaners and twist ties.

Here is my instructor’s Pinterest board, Wire.

I created a wire sculpture of a member of my family.

The name of the family member is Annette Copper.

This person is my Mother.

Here is one thing I like about this family member.

My response: She loved me unconditionally and she should it.

Here is one thing I like about my wire sculpture.

My response: It is funny now as I Iook back, but it is a representation of her disciplining me the only way she knew how. It made me who I am today. A great person.

The photo at left shows me and my completed wire sculpture.

Here is one NCSCOS Visual Arts essential standard for grade 1 children related to this activity, along with one of the essential standard's activity-related clarifying objectives, stated exactly as they appear in NCSCOS.

Essential Standard:  1.V.3.1 Use a variety of tools safely and appropriately to create art.

Clarifying Objective:  1.CX.1.4 Understand how art represents different cultures.

Lab: Collage and Loose Parts

What is Collage?

The term, collage, comes from the French word “coller,” which means “to paste."  For our purposes, collage refers to any work of art that is made by selecting, organizing and arranging materials (of various colors, textures, etc.) and attaching them (using glue, paste, tape or some other adhesive) to a flat surface. Because the artist is not creating something in three dimensions, collage is considered a two-dimensional art form. 

Here is the link to my instructor’s curated Pinterest Board, Collage, which features images of a variety of developmentally appropriate collage experiences for young children.

My Tips for Facilitating Young Children's Collage Explorations

Here are the five most important, specific things I learned about how to best facilitate young children’s collage explorations, written in well-composed sentences.

1. To facilitate young children's collage explorations, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's explorations with collage, early childhood professionals should make sure there is an unlimited, variety number of materials available for the children. All types from furry to scratchy.

3. To facilitate young children's explorations with collage, early childhood professionals should read books that have collage pieces in it so the children can see the different types. 

4. To facilitate young children's explorations with collage, early childhood professionals should show art pieces and the artist that creates them.

5. To facilitate young children's explorations with collage, early childhood professionals should explain the 2 types of texture. Visual and physical texture are 2 types of texture that relates to the surface quality of artwork. 

I have documented my encounter with collage below.

My instructor’s notes for this lab appear below. 

The vocabulary list for Collage appears at left.

Single Color Collage 

I explored the color __Orange__ through collage.  

Here is the name of every material I used. 

My response: Pipe cleaners, feathers, bottle caps, construction paper, letters, beads, a divider tab, glue and some other materials that I cannot remember the name of.

Here is one NCFELD goal from the Risk Taking, Problem-Solving, and Flexibility subdomain related to this activity, along with one of the goal's activity-related developmental indicators for older preschoolers, stated exactly as they appear in NCFELD.  This information appears on page 38 of NCFELD.

Goal: Ask to participate in new experiences that they have observed or heard about. APL-5q 

Developmental Indicator for Older Preschoolers: 

Here is one NCFELD teaching strategy for preschoolers related to this activity.  This teaching strategy appears on page 41 of NCFELD.

Teaching Strategy: Seek and accept children’s ideas. Let them know that their thinking and their efforts are valued more than “getting the right answer.” 

Loose Parts

What are Loose Parts? 

In early childhood education settings, the term, loose parts, refers to alluring, beautiful, found objects and materials that children can move, manipulate, control, and change while they play. Children can carry, combine, redesign, line up, take apart, and put loose parts back together in almost endless ways. The materials come with no specific set of directions, and they can be used alone or combined with other materials. Children can turn them into whatever they desire: a stone can become a character in a story; an acorn can become an ingredient in an imaginary soup. These objects invite conversations and interactions, and they encourage collaboration and cooperation. Put another way, loose parts promote social competence because they support creativity and innovation. All of these are highly valued skills in adult life today. Loose parts possess infinite play possibilities. They offer multiple rather than single outcomes: no specific set of directions accompanies them; no single result is inevitable. Unlike a jigsaw puzzle, whose pieces are meant to be fitted together in a specific way to make a single picture, loose parts can be joined in many ways. A scarf, for example, can become a blanket to swaddle a baby, a platform for a picnic, a fishing pond, a cover for a fort, or a veil covering the face of a bride.

Here is the link to my instructor’s curated Pinterest Board, Loose Parts, which features images of a variety of developmentally appropriate loose parts experiences for young children.

My Tips for Facilitating Young Children's Loose Parts Explorations

Here are the five most important, specific things I learned about how to best facilitate young children’s loose parts explorations, written in well-composed sentences.

1. To facilitate young children's loose parts explorations, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's explorations with loose parts, early childhood professionals should be open-minded when the children are creating their piece. Loose parts are open-minded materials that encourage children to explore, experiment, and solve problems on their own.

3. To facilitate young children's explorations with loose parts, early childhood professionals should remember that there is no right or wrong way to play with loose parts.

4. To facilitate young children's explorations with loose parts, early childhood professionals should provide material that are considered natural sources. Popsicle sticks, rocks and shells are some examples of natural materials. 

5. To facilitate young children's explorations with loose parts, early childhood professionals should show examples of loose parts art so the children can get a general idea on what it can look like.

I have documented my encounter with loose parts below.

My instructor’s notes for this lab appear below. 

The vocabulary list for Loose Parts appears at left.

Self-Portrait in Loose Parts 

Loris Malaguzzi, who is widely considered to be the founder of the Reggio Emilia approach to early childhood education, wrote extensively about the importance of self-portrait work in the lives of young children.  He wrote: "A self-portrait is an intimate declaration of identity. In her self-portrait, a child offers herself as both subject and artist. When we look at her self-portrait, we see a child as she sees herself. The story of self-portrait work is a tender story to tell . . . It's beautiful to see children observing themselves using mirrors and photographs, followed by creating self-portraits. Throughout this process children can explore facial expressions and artistically depict concepts as 'a brain that is happy,' 'sad hands are closed,' and 'eyes are shaped like a puddle . . . When children explore facial expressions in self-portraits, they are introduced to the vocabulary of emotions, such as happy, sad and angry, and they begin to develop emotional literacy."

Early childhood professionals should provide many opportunities for children to examine photographs and videos of themselves, study their faces and bodies in mirrors, create self-portraits using a variety of materials, and discuss what they see and how they feel/what they think about what they see.

While positioned in front of a mirror, I used wooden loose parts to create a self-portrait. Here are my responses, written in well-composed sentences, to related questions.

When you look at your self-portrait, what do you see?

My response: A happy, energized, loving person.

When you look at your self-portrait, how do you feel?

My response: Happy, accomplished, proud. 

What is the best part of you?

My response: My big heart.

Lab: Homemade Play Dough

The safest, most pliable modeling material for young children, especially infants and toddlers, is play dough. Early childhood professionals can certainly use child-safe commercial brands, but since it’s so easy to make homemade play dough and since there are so many readily available recipes for homemade playdough online (google “play dough recipes”) and since it’s so inexpensive to make homemade play dough, there is no reason not to! For a child’s first dough explorations, non-scented dough of only one color should be used so the child can focus on the tactile qualities of the material instead of its scent or smell. Each child should have a baseball-size ball of dough to explore. If the dough will be reused, it should be stored in air-tight containers (one per child, labeled with the child’s name). Children should wash their hands before and after dough explorations. Preschool and primary grade children can work with several colors of play dough at a time and tend to enjoy mixing colors. Scents (e.g., pumpkin spice, cloves, vanilla extract) and textures (e.g., salt added, coffee grounds added) can be added, as well.

When appropriate, children should be invited to help prepare the dough. It’s important to remember, however, that making play dough is a science experience, not an art/creative experience. What the child does with the already-made dough is the art part.

Here is the link to my instructor’s curated Pinterest board, Dough, which features images of a variety of developmentally appropriate play dough experiences for young children.

My Tips for Facilitating Young Children's Explorations with Play Dough

Here are the five most important, specific things I learned about how to best facilitate young children’s explorations with play dough, written in well-composed sentences.

1. To facilitate young children's explorations with play dough, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's explorations with play dough, early childhood professionals should... add tools like rolling pins and cookie cutters.

3. To facilitate young children's explorations with play dough, early childhood professionals should . . . add objects like twigs and buttons

4. To facilitate young children's explorations with play dough, early childhood professionals should . . . make it in the classroom setting. Let the children add food coloring and scented liquid. 

5. To facilitate young children's explorations with play dough, early childhood professionals should . . . Talk about the texture, weight, size, color.

The vocabulary list for play dough appears at left.

I have documented my encounter with homemade play dough below.

I explored homemade play dough with my hands: I pulled the dough apart, I pinched it, I flattened it, I rolled it into coils and balls and I made imprints in it.

Here is one NCFELD goal from the Motor Development subdomain related to this activity, along with one of the goal's activity-related developmental indicators for younger preschoolers, stated exactly as they appear in NCFELD.  This information appears on page 76 of NCFELD.

Goal: 

Developmental Indicator for Younger Preschoolers:

Here is one NCFELD teaching strategy for preschoolers related to this activity.  This teaching strategy appears on page 79 of NCFELD.

Teaching Strategy:

Lab: Pottery Clay

What is Pottery Clay?

Pottery clay is real clay that comes from the earth and from which pottery is made. It has been used for thousands of years by people around the world. The china dishes and stoneware mugs we use every day are made from it.

Children should use only talc-free clay. Due to dust hazards, all powdered or dry clay mixes should be avoided in early childhood settings. Each child should be provided with one pound of moist clay. Unused clay should be stored in double plastic bags that are tightly closed and placed inside a covered plastic container. When used clay is returned to the bag, early childhood professionals should add a bit of water to each piece to replace evaporated moisture; clay will keep for a very long time this way. Dry clay can be soaked in water to make it soft again, or it can be baked in a special oven called a kiln to preserve it (make it hard) forever. It is not necessary to have a kiln, though; children’s clay creations will harden when left to air dry, and can be painted afterwards. Preschool and primary grade children need adult-guided experiences joining pieces of clay using slip (clay dissolved in water). Slip can also be used to create designs/drawings on paper, similar to paint. Clay is a wonderful medium for young children to explore, as long as the process and not the product is the focus.

Here is the link to my instructor’s curated Pinterest board, Clay, which features images of a variety of developmentally appropriate clay experiences for young children.

My Tips for Facilitating Young Children's Explorations with Pottery Clay

Here are the five most important, specific things I learned about how to best facilitate young children’s explorations with pottery clay, written in well-composed sentences.

1. To facilitate young children's explorations with pottery clay, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's explorations with pottery clay, early childhood professionals should Show the children how to handle the clay. Even though we are allowing the children to use their imagination, they first must know how to handle the clay.

3. To facilitate young children's explorations with pottery clay, early childhood professionals should discuss the clay. Talk about how it feels, smells, where it comes from and how to use it.

4. To facilitate young children's explorations with pottery clay, early childhood professionals should allow the children to explore the clay's properties. Let them see what happens when the clay is wet and dry. What if looks like when objects are added into the clay.

5. To facilitate young children's explorations with pottery clay, early childhood professionals should use basic tools. Other than letting the children poke, pinch and/or pound it, allow the children to use tools like a rolling pin to manipulate the clay. 

The vocabulary list for Pottery Clay appears at left.

I have documented my encounter with pottery clay below.

I explored pottery clay with my hands: I pulled the clay apart, I pinched it, I flattened it, I rolled it into coils and balls, I made imprints in it, I etched a self-portrait in a slab of it, I made it stand as tall as I could, and I dissolved it in water and used the slip to create a painting.

Here is one NCFELD goal from the Motor Development subdomain related to this activity, along with one of the goal's activity-related developmental indicators for older preschoolers, stated exactly as they appear in NCFELD.  This information appears on page 76 of NCFELD.

Goal: HPD5

Developmental Indicator for Older Preschoolers: Use tools that require strength and dexterity of small muscles with a moderate degree of control (spray bottle, hole puncher). HPD-5o

Here is one NCFELD teaching strategy for preschoolers related to this activity.  This teaching strategy appears on page 79 of NCFELD.

Teaching Strategy: Create activities to encourage children with different abilities to play and learn together. For example, play a game of catch with a foam ball with children sitting down on the floor or ground. Include children who cannot walk with other children in the group 

Lab: Weaving

What is Weaving?

Weaving is the systematic interlacing of two or more sets of elements (usually, but not necessarily, at right angles) to form a cohesive structure. More simply stated, weaving consists of arranging a group of vertical threads in rows, close together; horizontal threads are then laced over and under the vertical threads.

Here are some more weaving-related terms and definitions.
Loom: A loom is a supporting structure that is used to weave on. It holds the warp threads during weaving. If the weave is finished, it can be removed from the loom and support itself without falling apart. In early childhood weaving experiences, weaves are often left on their looms.
Warp: The warp is the set of yarns (or other elements) stretched in place vertically on a loom before the weft is introduced horizontally during the weaving process.
Weft: The weft is the set of horizontal threads that are interlaced through the warp during the weaving process.
Shuttle: A shuttle is a tool/device used to hold the weft thread while weaving. Children can use a popsicle stick as a shuttle.
Beater: After every row they weave, weavers beat the weft. This means they push the weft threads down, in an orderly fashion, into place. In so doing, they make sure to get a symmetric design and even tension throughout their weave. Children can use their fingers, a comb or a fork as a beater.

Here is the link to my instructor’s curated Pinterest board, Weaving, which features images of a variety of developmentally appropriate weaving and pre-weaving experiences for young children.

My Tips for Facilitating Young Children's Weaving and Pre-Weaving Explorations

Here are the five most important, specific things I learned about how to best facilitate young children’s weaving and pre-weaving explorations, written in well-composed sentences.

1. To facilitate young children's weaving and pre-weaving explorations, early childhood professionals should ensure that their practices are developmentally appropriate; that is, age appropriate, individual appropriate and culture appropriate.

2. To facilitate young children's weaving and pre-weaving explorations, early childhood professionals should Introduce the weaving family and it's vocabulary. Talk about what weaving is, the terms that comes with weaving.

3. To facilitate young children's weaving and pre-weaving explorations, early childhood professionals should Teach the basics. Demonstrate how to thread the loom and weave the weft thread over and under the werp threads.

4. To facilitate young children's weaving and pre-weaving explorations, early childhood professionals should provide guidance. Give the children space to explore independently but also offer support and guidance as the child learns new techniques.

5. To facilitate young children's weaving and pre-weaving explorations, early childhood professionals should weave with natural materials. Collect natural materials and weave them together with colorful yarn.

The vocabulary list for weaving appears at left.

I have documented my encounter with weaving below.

Here is one NCSCOS Visual Arts Essential Standard for grade 1 children related to weaving activities, along with one of the Essential Standard's activity-related Clarifying Objectives, stated exactly as they appear in NCSCOS.

Essential Standard: 1.PR.2 Develop visual arts

presentations.

Clarifying Objective: 1.PR.2.1 Describe ways personal artwork can be presented.

Lab: Stitching and Hand-Sewing

What are Stitching and Hand-Sewing?

I explored stitching and hand-sewing.  

A stitch is one in-and-out movement of a needle in sewing, embroidery or suturing.  

Sewing is the process of joining, fastening or repairing by making stitches with a needle and thread.  Sewing is one of the oldest of the textile arts, arising in the Paleolithic era. Before the invention of spinning yarn or weaving fabric, archaeologists believe Stone Age people across Europe and Asia sewed fur and skin clothing using bone, antler or ivory needles and "thread" made of various animal body parts including sinew, catgut, and veins.  For thousands of years, all sewing was done by hand. 

Children encounter sewn objects in their daily lives; for example, the clothes they wear and many of the toys they play with have been created by sewing.  From about age 5, children can learn basic hand sewing skills, including how to thread a needle, how to make simple stitches, how to sew buttons and how to join pieces of cloth.  Early childhood professionals should introduce processes and stitches as children are ready. They should also avoid "sewing crafts" that require children sew to create a particular item. Instead, early childhood professionals should encourage children to apply their developing hand sewing skills in their own way, to satisfy their own needs and interests.  As with all forms of early childhood creative expression, it’s the process that matters, not the product.

Here is the link to my instructor’s curated Pinterest board, Stitching/Hand-Sewing, which features images of a variety of developmentally appropriate weaving and pre-weaving experiences for young children.

Stitching 

I made stitches on burlap.  First I threaded the needle and knotted the thread.

The photo at left shows me and my stitches.

Inventing a Song 

I imagined that I was a teacher in a classroom for older preschoolers. To help the children develop concepts related to ____Autumns__, I invented a song about this topic using a familiar melody.

I used the following familiar song as my melody: ___"The wheels on the bus"_.

The lyrics/words of my invented song appear below.  They are intended to help children develop concepts related to ___Autumn Holiday__.

The leaves on the trees turn orange-red-brown, orange-red-brown, they fall down.

Autumn holidays are spooky and sweet. On Thanksgiving we eat.

The air in the fall is crisp and cold. 

Boots and coats

Boots and coats

It's dark in the morning when we wake up. Grab your hat and scarf.

The video recording of me singing (as indicated below) appears at left.

• The first time I sang the song I used a high-pitched voice (pitch).

• The second time I sang the song I used a low-pitched voice (pitch).

• The third time I sang the song I sang very quietly (dynamics).

• The fourth time I sang the song I sang loudly (dynamics).

• The fifth time I sang the song I sang fast (tempo).

• The sixth time I sang the song I sang slowly (tempo).

My instructor provided the following example.

Song Title: My Family's Going on a Camping Trip

Sung to the Tune of: "I Like to Eat Apples and Bananas"

Written to help children develop concepts related to camping.

Here are the lyrics:

My family's going, going, going on a camping trip

In the woods, woods, woods with trees and fresh air

We will take, take, take a tent and sleeping bags

We will take, take, take lots of food and water

We will build, build, build a warm and glowing fire

We will roast, roast, roast 'smores and marshmallows

We will sleep, sleep, sleep in our cozy tents

We will hike, hike, hike in the pretty woods

We will sing, sing, sing campfire songs

We will have fun, fun, fun all together

Lab: Creative Movement

Representing Swans Through Creative Dance

I imagined I was a child whose class was investigating swans and, as part of that investigation, I was invited to express with my body, through spontaneous creative movement, what I felt and thought about swans, while listening to a recording of “The Swan” by the composer Saint-Saens, performed by Yo Yo Ma (cello) and Kathryn Stott (piano). I accepted the invitation and, at the urging of my teacher, explored the elements of creative dance - time, space and energy – described below, during the activity.  

• Time (our bodies can move quickly or slowly, and for different durations/lengths of time)

• Space (our bodies can occupy different levels and be open or closed)

• Energy (our bodies can move in a relaxed way or under tension)

The video recording of my creative movement exploration appears at left.

Before beginning, I prepared my environment.  All early childhood creative movement activities require a carefully prepared environment in which children have plenty of space to move boldly and freely, and this requires careful structuring of the environment and the creation of safety guidelines.  I considered the following: when preparing for my creative movement experience:

• What surface or surfaces will I move on – indoors on a floor, on cement or on the grass outside?  I knew I needed a stable, sufficiently large surface area.  I ensured that my shoes matched the surface on which I would be moving (bare or stocking feet for carpeted or carefully prepared grass areas, nonslip soles for smooth-surfaced floors such as in a gym).

• I must have enough space to spread out my arms in any direction and still be an arm's length away from anyone else, a wall, or an object. 

• I must ensure my safety. Furniture and objects along the edges of the movement area must be closely checked for sharp edges. For example, metal shelving can cut me/a child who slides into it. The corner of a bookcase can injure my/a child's eye. 

This is how I explored time while moving creatively: I made sure that I had done everything in the day to prepare to give my all to this project.

This is how I explored space while moving creatively: I cleared all of my kids toys and such and made sure they understood that I was doing something that requires to move freely so watch out for mommy. 

This is how I explored energy while moving creatively: I am a dancer by heart. Not a professional one but I use my body to release pain and tension, and I love music, so I was prepared to have energy that was graceful, free and giving.

Here is one NCSCS Dance essential standard for kindergarten related to this activity, along with one of the essential standard's activity-related clarifying objectives, stated exactly as they appear in NCSCS.

Essential Standard:  K.DM.1 Understand how to use movement skills in dance.

Clarifying Objective: K.DM.1.1 Illustrate the difference between whole body movement and isolation of body parts.