Young in Art Art begins with graffiti. All young children leave marks across surfaces with crayons or pencils. This form of markmaking or "graffiti" refers to: Children typically start doodling around the age of one and a half. Most children do it for pure enjoyment. "When children first start scribbling they usually don’t realize they can make the marks do what they want.They often scribble in a random fashion by swinging their arms back and forth across the drawing surface. The lines they make may actually go off the paper.They may even look away from the page as they work. Circular patterns and geometric shapes begin to appear as children’s perceptual and motor abilities increase. Lines are combined with shapes to form various patterns and designs. Letterforms, especially those in the child’s name, may show up among the marks on the page." As children gain control of the marks on the page, they start to name their scribbles and engage in imaginative play when drawing. The picture above was taken when my daughter first scribbled and said fish. Pre-Symbolism: The Figure Emerges Around three to four years of age, children begin to combine the circle with one or more lines in order to represent a human figure. Variations in the Figure Children, four and five years of age, will experiment with various ways of drawing the figure and may depict the figure quite differently each time they draw. Sometimes, they create figures quite unique to the person or the experience being depicted. self portrait drawing A typical stage for four-and-a-half-year-olds is that the head is drawn larger because it matters. The subject of painting with the child is primarily the child himself. The act of drawing or painting, children can explore many things. self-potential before reaching a satisfactory self-image. In this way, art plays an important role in the self-definition process. Child's concept of space As young children gradually become aware of the world around them, the many objects that make up Their environment will start to come into the picture. These objects are relative to each other in position or size. They are also not organized This type of spatial organization may seem imprecise to adults. It's just that it doesn't follow the Western tradition of using linear to represent three-dimensional space. Rather than consider this a rogue, you can appreciate the children's work, their honesty. Era of symbolism By the age of 5 or 6, most children have developed a repertoire of graphic equivalents or symbols. houses, trees, people, etc. These symbols are individuated because they stem from the child's conceptual understanding rather than observation of the world. Introduction to Baselines One of the more notable changes that occur in children's drawings around the age of 5 or 6 is the use of baselines for space. The child's drawings float all over the page. Children as young as four may include culturally derived imagery in their drawings, but Mass media is most visible among older children. The Crisis of Realism By the age of nine or ten, many children exhibit greater visual awareness of the things around them. As a result, they become increasingly conscious of details and proportion in what they are drawing. This new concern for making their pictures look “right” in terms of detail and proportion leads to a crisis for many older children. In trying to draw realistically, children’s efforts often fall short of their expectations and they quickly become disappointed. Some search for adult-like skills by copying illustrations in books and magazines. Representation of three-dimensional space Older children tend to pay more attention to whether their photos are similar to their own. This interest in visual explanations usually emerges in childhood around the age of 8 or 9. They begin to adopt their cultural conventions to represent three-dimensional scenes on two-dimensional surfaces (Winner, 1982). Visual Metaphor and Expressive Imagery Many older children continue to draw and paint symbolically inspite of the increased concern for realism in their artwork. Indeed, children's emerging capacity for abstract thought enables them to begin conceiving of images as visual metaphors. Summary
Children can observe at least four distinct stages or changes when charted graphically according to developmental stages. They start doodling at 1-2 years old. Representative shapes and figures appear around the age of 3-4 years. Children develop and use graphic symbols to represent objects they encounter in their surroundings. And by the age of nine or ten, children seek optical realism in their drawings. These changes do not happen suddenly. Rather, a small sublevel or child may exhibit the characteristics of both levels in one picture. Teachers should avoid the temptation to place children in a particular stage simply because of their age or grade level. A bigger concern for teachers and parents is the loss of expressiveness and originality with age in children's drawings. If realism is used as a criterion for judging children's work, their skills will improve with age and experience. However, teachers and parents should be concerned about the loss of interest in drawing activities in upper elementary school students. In fact, older children are so critical of their work that they stop drawing. How can these outages be prevented? The following suggestions offer several possibilities. Social and Emotional Learning (SEL) Social and Emotional Learning (SEL) enables all youth and adults to acquire and apply knowledge, skills, and attitudes to develop a healthy identity, manage emotions, achieve individual and group goals, feel and demonstrate empathy for others, and , a system that helps you build and maintain supportive relationships, and make responsible and caring decisions. CASEL 5 covers five broad and interrelated competency domains: self-awareness, self-management, social awareness, relational skills, and responsible decision-making, and highlights examples for each domain. I have witnessed many times that when a traumatized individual or community leaves their wounds unrecovered, not only the individual but also the entire society becomes ill. Therefore, the healing of each of us is a very essential step for our future and a healthy society. In this sense, I rediscover that among the methodologies in Sklar's playmaking, awakening oneself based on self-awareness, the exploration of one's five senses, daily life, and one's own emotions, is very effective. The more you hide and bury the wounds, the more they don't disappear, but the more they fester and burst. There is true healing when you reveal your pain and wounds painfully but honestly. I know very well how the children with their respective scars of playmaking have changed. In particular, their changes were remarkable enough to watch a video of their film-making process, capture the scene, and watch it again. Finally, thirdly, I got the answer to the sentence below in What Is the CASEL Framework? “Students, families, schools and communities are all part of a broader system that shapes learning, development and experiences. Inequalities based on race, ethnicity, class, language, gender identity, sexual orientation and other factors are deeply ingrained in many of these systems and affect the social, emotional and academic learning of students and adults. SEL alone cannot address long-standing and deep-rooted inequalities in the education system, but it can create the conditions necessary for individuals and schools to review and disrupt unequal policies and practices, create more inclusive learning environments, and reveal and nurture their interests and assets. there is." In other words, there is no perfect system or methodology in this world. However, among the effects of SEL, I expect the effect of social awareness above. In other words, there will always be numerous inequality raised in the educational field. It's only different in shape, but it doesn't completely disappear. But will the system ever improve if no one recognizes and raises these issues? Among the effects of this SEL, I think that the effect of social awareness is very suitable for a society that is diversifying. In other words, we and our communities have a responsibility to create the conditions necessary to reveal and nurture individual interests in a more inclusive environment. In other words, I use art among SEL resources to recognize my trauma through the effects of self-awareness, self-management, and social awareness, manage it in the right way, and create a safe and secure environment where these individual needs and interests can be reviewed without being hindered. We believe that creating an inclusive learning environment is a way to truly heal individuals/communities that have lost hope due to trauma. Even now, there are places that have been devastated by natural disasters, such as the earthquake in Turkey. This can happen anytime, anywhere. The other day I watched a video of an earthquake in Turkey in which a little girl asks for her help as she protects her younger sister in the rubble of ruins. Going through such a disaster is a trauma that is very difficult and difficult to overcome even for adults who know the meaning of life and are hardened. It is easy for children in particular to accept that their lives do not even have hope for the day to come. For these children, Professor Peter O'Connor, through a project called A Teaspoon of Light, teaches children how to directly express emotions caused by disasters, recognize reality, and even dream despite it. This is done through a variety of activities, such as jointly painting a picture of one's dreams on a large piece of cloth, watching a play, expressing one's feelings through a play, or expressing one's dreams and hopes together through dance. . Watching this video, I was particularly moved by the children's writing down their dreams as if they were writing recipes. That is, they were trampled on, but in their hearts they also wanted a ray of light. For these children, story drama is very helpful in expressing their feelings, facing problems, dealing with them, and gaining confidence. A video on the Creative Recovery Network Overview covers the same experience. Whether it is a farmer who has lost a child or a wife who has lost a family member due to flooding, everyone has to fight through disaster with extreme loneliness and trauma. They are desperate people who have no desire to live anymore due to deep wounds, but have to live anyway. For them, artists together listen to stories, sing songs, and draw pictures. It also teaches them the courage to understand and directly look at their suffering by creating a play drama and to sublimate it into art. In this story, the farmer says: “It was painful, but it was fun anyway. I found fun” This is probably the story of us living because of the twinkling joy in a painful life. And How Children Process Grief and Loss through Play by Emily Kaplan tells the story of Happy4Rs, a project that was run for 2- to 6-year-old children who were unable to attend school in Hong Kong due to the Covid-19 outbreak. For example, in one of the toughest moments in the story, Frederick said to the other mice: ''Close your eyes... Now I send you the rays of the sun. Do you feel their golden glow? glow". And as Frederick talked about the sun, the four little mice started to get warmer. Is it Frederick's voice? Was it magic?' (Lionni 1967, 22) I believe that dreams are a ray of salvation, a ray of sunshine for children who have suffered trauma. Therefore, artists can rightly utilize the restorative and healing powers of art. We are the ones who can “send you the rays of the sun” to the traumatized children. I am proud to be an artist who can be a part of this. And in order to carry out these theatrical dramas, it is important to create an environment where children can safely and comfortably express their emotions with minimal intervention. B.E. As shown in Frederick's course drama, arts education can play a role in fostering human and human relationships using play, creativity and imagination to address disruptions or abnormalities. In doing so, we can find space to co-build. Co-development of resilience and a new normal. In other words, we can solve the abnormal problems around us and help children who are suffering from this safely and comfortably develop the power to solve their problems through art. Through this module, it is beneficial to benchmark various methodologies such as collaborative art projects, role play through plays, catharsis through creative movement, self-esteem through play making, community contribution, and creating an online platform for projects such as the Hong Kong case. I did. I am currently working on a project to teach drawing online to children in an orphanage in Myanmar. Myanmar children are also unable to go to school due to the long-standing civil war, and live with their lives threatened every day. Is art a luxury for them? Or is it a single ray of the sun? I think I've already found the answer by reading these articles. And I'm happy to find Hong Kong examples and A Teaspoon of Light very helpful for my projects. The teaspoons of the light |
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