Early Childhood - Connecticut State Department of Education

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Aesthetic & Physical Development Chapter 9 MOVEMENT • Acknowledge integration in your plans, e.g., the writing area emphasizes small-muscle development, oral language skills, and concepts about print and visual arts. At the beginning of life, movement allows a child to explore the world and separate the me from the not me. Movement and learning are inseparable. Infants repeat and refine movements to develop control of this tool for learning and outlet for emotions. Providing a safe, open environment for movement exploration is critically important. “Children need opportunities to express intent – to plan and talk about what they are going to do before they act. They need opportunities to carry out their plans and then recall what they have done. Planning and awareness are keys to thoughtful, purposeful movement” (Weikart, 1989). Movement is part of our social language by which we are able to communicate with others. The art form of dance is a way of forming and sharing the way we respond to the world in which we live by paying particular attention to experiences and giving them significance, particularly those experiences that can be organized and ordered in bodily movement (Lowden, 1989). Fundamental movement abilities include: steady beat independence, coordination, aural/visual processing, attending and concentrating, spacial awareness, language acquisition, creativity and problem solving, planning and decision making, and energy and vitality. Movement experiences need to be engaging, enabling and extending (Weikart, 1989). Creative movement education: • develops neural networks necessary for future learning; • increases the child’s movement vocabulary, leading to competent and confident movement; • increases the language vocabulary, particularly verbs and adverbs; • is a source of personal meaning, significance and power through self-concept; • offers opportunities to solve problems through physical action; • provides opportunities to develop relationships with others through leading, following, allowing time and space for others, and being a contributing member of a group; 126 • releases high energy or tension, leading to relaxation; and • provides imaginative ways to explore or practice concepts and skills from other subjects (Weikart, 1989). Movement experiences are noncompetitive. Children learn about working with others and about how to share space without interfering. They learn about their own bodies in space and how to control movement, direction and tempo. Confidence, creative ideas and self-esteem all result from quality music and movement curriculums. Best Practices The following best practices in the areas of creative movement and dance are recommended for use by early childhood educators. • Provide children with a vocabulary to describe their movements: high, low, under, as slow as, etc; and provide opportunities for children to talk about their movements. • Move to show placement, e.g., over, around, through, on, in, next to; and to show emotions such as anger, fear and happiness. • Give directions for movement. Start with one step and gradually increase the complexity of the directions as children’s skills develop. Start with large-motor coordination and build a movement vocabulary before focusing on small-motor coordination. • Use a variety of music, from classical or jazz to world music, to stimulate different types of movement. Encourage children to notice changes in pitch and tempo and to adjust their movements. • Involve all children in movement activities, but allow a choice of participation. • Be prepared for the excitement that movement activities create. Begin slowly and be patient. • Describe and label the children’s movements to encourage new and more elaborate movements (e.g., Xavier is walking on tip toes. Holly is spinning like a helicopter. Sam is stopping when the music stops and listening before he begins again.). • Use movement to illustrate the characters and action of stories. Sing songs with structured movements such as Bluebird, Rig a Jig Jig, I’m a Little Teapot, or Head, Shoulders, Knees & Toes. • Move to music of different cultural groups, especially those represented in the class.
Aesthetic & Physical Development Chapter 9 References • Play mirror games, by having pairs of children mirror one another. Children try following directions visually, while keeping up with a friend’s actions (e.g., Follow Your Partner, Follow the Leader). • Prepare children in advance to understand appropriate responses during movement activities. Some children will see this time as an opportunity for physical stunts. Help children to understand where to move, how to move, and when to start and stop. Checkley, K. “The First Seven… and the Eighth: A Conversation with Howard Gardner.” In Educational Leadership, September 1997. Edwards, C.; Gandini, L. and Forman, G., eds. The Hundred Languages of Children. Greenwich, CT: Ablex Publishing Co., 1998. Frost, J.L. Play and Playscapes. Albany, NY: Delmar, 1992. Frost, J.L. “Common Issues and Concerns About Outdoor Play Environments.” In M. Jalongo and J. Isenberg, Exploring Your Role: A Practitioner’s Introduction in Early Childhood Education, p. 177. Upper Saddle River, NJ: Merrill/Prentice Hall, 2000. Gallahue, D.L. “Motor Development and Movement Skill Acquisition in Early Childhood.” In B. Spodek. (ed.), Handbook of Research on the Education of Young Children, pgs. 24-41. Upper Saddle River, NJ: Merrill Prentice Hall, 1993. Jensen, E. Teaching With The Brain In Mind. Alexandria, VA: Association for Supervision and Curriculum Development (ASCD), 1998. Lowden, N. Dancing to Learn. Bristol, PA: The Palmer Press, 1989. MENC. The School Music Program: A New Vision. The K-12 National Standards, Pre-K Standards and What They Mean to Music Educators. Reston, VA: MENC, 1994. Neuman, S.B.; Copple, C. and Bredekamp, S. Learning to Read and Write: Developmentally Appropriate Practices for Young Children. Washington, DC: NAEYC, 2000. Wagner, B. J. and Heathcote, D. Drama As A Learning Medium. Washington, DC: National Education Association, 1976. 127 Wiekart, Phyllis. Movement Plus Music: Activities for Children Ages 3 to 7. Ypsilanti, MI: High/Scope Press, 1989. Yawkey, T., et al. Language Arts and The Young Child. Itasca, IL: F.E. Peacock Publishers, Inc., 1981. Resources Achilles, E. “Current Perspectives on Young Children’s Thinking: Implications for Preschool Music Education.” In Readings in Early Childhood Education, B. Andress, ed., pgs. 67-74, Reston, VA: Music Educators National Conference (MENC), 1992. Achilles, E. “Creating Music Environments in Early Programs.” In Young Children, Vol. 54:1, pg. 21-26, 1999. Alexander, D. and Day, M., eds. Discipline-Based Art Education: A Curriculum Sampler. Los Angeles, CA: The Getty Center for Education in the Arts, 1991. Alvarez, B. Developing Musical Concepts In Music in Pre- Kindergarten: Planning and Teaching. M. Palmer and W. Sims, eds., pg. 29-32. Reston, VA: MENC, 1993. Andress, B. and Walker, L., eds. Readings in Early Childhood Music Education. Reston, VA: MENC, 1992. Beaty, J. J. Skills for Preschool Teachers (6 th ed.). Upper Saddle River, NJ: Merrill/Prentice Hall, 2000. Brittain, L. W. Creativity, Art and The Young Child. New York: Macmillian, 1979. Burton, L. and Kudo, T. Sound Play: Understanding Music Through Creative Movement. Reston, VA: MENC, 2000. Centers for Disease Control and Prevention. Guidelines for School and Community Programs to Promote Lifelong Physical Activity Among Young People. MMWR 1997: 46 (No. RR-6). Chenfield, M.B. “Moving Moments for Wiggly Kids.” In Teaching in the Key of Life, pgs. 21-26. Washington, DC: National Association for the Education of Young Children (NAEYC), 1993. Cohen, E.P. and Gainer, R.S. Art: Another Language for Learning (3 rd ed.). Portsmouth, NH: Heinemann, 1995. Connecticut State Board of Education. A Guide to K- 12 Program Development in the Arts. Hartford, CT: Connecticut State Board of Education, 2002.
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Early Childhood - Connecticut State Department of Education

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