Motivation, Play, and Observation

As we have seen in the past few posts, one of the keys to motivation is the welling up inside us of a desire to achieve a certain goal. That was the point of the last post, in which I described my frustration with school. In a classroom, the goals can come from the teacher or from the student. It is the job of the teacher to use observation to discover the desires of the students and develop goals to achieve based on those desires.

This morning I have been doing a little more research into emergent curriculum – research that I have been wanting to do for a while but have not really found the time to do. Because this blog has taken the direction that it has – into the realm of creativity, motivation, and interest – concepts of emergent curriculum are highly relevant.

The concept that I want to address today is that of play. As I pointed out in yesterday’s post, children really don’t need a lot of motivation to play. They do it automatically. When we observe children during their play, we find that they explore many different concepts and ideas during their play. They explore building, going to the doctor, having a birthday party, going to the movies, a restaurant, or any of the other experiences that have been memorable to them. Our job, as teachers, is to pick out the themes of their play and use those themes to develop activities and lessons that can extend their learning through this play into other areas.

A key point about using play to develop learning activities is to make sure that children have enough time to dive deep into their play. Remember that some key points about allowing children to be creative include time, tools, and tolerance. In the book Emergent Curriculum in Early Childhood Settings: From Theory to Practice, Susan Stacey writes:

Emergent curriculum places extremely high value on play as a generator for curriculum. Play provides an opportunity for children’s exploration, problem solving, incubation and development of big ideas, and therefore, learning. It also provides the teacher, as researcher, a prime opportunity to watch and listen carefully in order to generate further understanding of the individual child. All of which means that for children to fully develop their ideas and for the teachers to watch, interact, and write notes, a generous amount of time must be allotted to play.

While children are playing, it is important to write notes about observations that are made and responses that are given as teachers interact to clarify the child’s understanding of what they are doing. This process is talked about more in-depth by Stacey, who gives a few examples of interactions between children and teachers and the way that teachers have used their observations. One key feature about using observations is communication between teachers in the classroom. Teachers should be in sync about the direction they want to take an interest of the children. An example that Stacey gives is of a girl creating a face with eyes made out of buttons. The girl explains that when the buttons are covered with tape, the eyes can’t see. There were several different directions that teachers could have taken this observation, including how the body works, how eyes work, etc. They decided to focus on perspective taking, not just visually, but socially and emotionally as well. The teachers then came up with environment modifications and activities that could be done to extend thinking about perspective taking.

Doing observations and using them to extend ideas such as this are motivating to the teacher and to the student. The teacher gets the opportunity to develop learning activities in the context of what the child is already showing an interest in, which means that the teacher gets the opportunity to think creatively about the direction that the classroom is going. The child is motivated because their own interests and ideas are being used to stimulate learning in the classroom – and they get to play. As teachers, we should all know how motivating it is for children when we become involved in their play. As teachers interact with students, children gather around and play seems to take on a life of its own. Asking children open-ended questions during these times of interaction gives the teacher an unending spring of information with which to plan learning experiences, and keeps the classroom alive.

 

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Talking About Emergent Curriculum and Creativity

I recently began putting together the concrete pieces of what a creative classroom looks like. One piece is the curriculum and teaching style. I picked up a book that I have had for awhile: Emergent Curriculum in Early Childhood Settings: From Theory to Practice by Susan Stacey. On page five, Stacey outlines her assumptions about emergent curriculum:

  • While framed by the teacher, it is child initiated, allowing for collaborations between children and teachers, and giving everyone a voice.
  • It is responsive to the child, thereby allowing teachers to build on existing interests.
  • In its practice, the teacher takes on the role of facilitator, taking what she sees and hears, and bringing to children the opportunity to discover more, dig deeper, and construct further knowledge.
  • It is flexible in that curriculum planning, rather than being done well in advance, is constantly developing. Curriculum is dynamic, neither stagnant nor repetitive.
  • It enables children’s learning and teachers’ thinking to be made visible through varied forms of documentation.
  • It builds upon the theories of the recognized theorists in our field: the work of Dewey, Piaget, and Vygotsky supports the philosophy of emergent curriculum. Practices embedded in emergent curriculum make visible the work of these theorists – no longer is it contained only in early childhood texts.

Some of these points have been discussed before on this blog, but  most have not. But the framework of assumptions gives a picture of a classroom that exhibits many of the qualities of creativity that have been discussed on this blog.

curriculum creativity