“In order to act as an educator for the child, the environment has to be flexible: it must undergo frequent modification by the children and the teachers in order to remain up-to-date and responsive to their needs to be protagonists in constructing their knowledge.” – Lella Gandini, “Education and Caring Spaces”
At the beginning of the school year, the children in Room 14 at Boulder Journey School expressed a strong interest in performance and music. The teachers observed the children frequently discussing and engaging in play around performance and instrument design, especially in the outdoor classroom. According to Erin, the mentor teacher in Room 14, “It started with two children using materials to represent different instruments. There was a wooden platform outside that they made into a stage, where they performed.”
The children used shovels or flat, long “loose parts” to represent guitars; they would play them together in groups. Microphones were represented as fairly tall objects that either stood on their own or could be propped. Erin recalled, “They used tall stable objects, such as shelves to balance sticks or tubes to be hands-free and reach their mouths.”
In addition to their interest in representing instruments, the children showed a strong interest in using their instruments to perform songs for others. Erin recalls that many children shared an interest in songs by Jeff and Paige, a local children’s group. They sang these with and to one another. They also sang pop culture hits, and made up their own songs. Ultimately the children’s’ shared interest in music and performance sparked a year-long investigation into the concepts of music, performance, and instrument design.
As an assignment for the Teacher Education Program (TEP), the teachers reflected on the incorporation of technology as an essential learning tool into the classroom. One goal of the TEP is to seamlessly weave together current theory with classroom practices. As the graduate students learned about the changing role of technology in the early childhood classroom, they also engaged in dialogue with their mentor teacher to uncover the ways this assignment would fit with the current work taking place in the classroom. Building on these conversations, the children were offered videos and projections of professional live performances to act as references in their understanding of guitars and microphones. The children were then asked to reflect on and share their observations of the videos and photos.
Alongside their digital investigation of professional performances, the teachers worked to deepen children’s understanding and interest in performance and instrument creation through adaptations of the classroom environment. While the children started the year performing their songs outside on a wooden platform “stage”, over time the children and teachers worked together to create a performance stage with open ended materials for instrument design and exploration within the classroom. The performance area is an example of a responsive environment, one which develops in relation to the children’s interests.
The children also added new elements to their instrument creation. Wire, fabric, and string were used to represent the straps, plugs, and wires of guitars, banjos, and other string instruments. Room 14 teachers continued to observe the children’s interest in music, and offered new materials and provocations to spark further exploration. Teachers introduced tape to the children and supported individual and collective exploration of the properties of tape over several weeks. As the children developed their understanding of the properties of a variety of materials, including tape, teachers presented a question to the class: “Is there a way you can make microphones stand up so you can play your guitar and sing at the same time?”
The children also offered a challenge to themselves: to make a more accurate looking guitar that had a strap so you could let go of the guitar.
Over the course of several weeks, the teachers and children in room 14 explored and worked with multiple materials to create their own microphones and guitars. As they worked, they became more aware and intentional about the physical elements of design.
“With trial and error, a design was created that fit the criteria of the children,” recalls their teacher. For example, the children designed a shovel with a wire going through the hand hold and wrapped around the neck as their first prototype for a guitar. Over time, this design was adapted, and the final prototype for a guitar was established as a long piece of wood with tape used to depict frets, binder clips to hold lanyard, and wire to plug into the amp.
TEP mentor and intern teachers worked to scaffold and deepen the process of learning by revisiting and reflecting on the instrument prototypes with children. Teachers presented children with complex materials and questions that encouraged them to engage in the reflective process of critical thinking and learning.
In the children’s process of designing a microphone prototype through open-ended exploration, they considered four main elements: design, height, functionality, and stability. While many children engaged in an independent process of design, they also tested different designs out with one another, as well as with older children in prekindergarten Room 12, who have an expertise in design and construction work.
Currently there are a few prototypes for microphones. Most involve tape, wire, tubes, and cut pool noodles, with a large container with a weight in it to act as the base of the microphone. Erin noted, “The class now seems to have a fairly strong idea of the elements that they need for each microphone. The challenge of stability is now the biggest obstacle in their path.”
As the children continue to explore the concepts of stability and functionality through their design process, they also express a passion for innovation and creativity. In addition to the elements of design, room 14 continues to explore and incorporate the various social aspects of performance into their classroom culture.
Erin recognizes that the goals of the class have evolved, “We have started to look into the
different elements of performance, including dance and music, and consider the children’s interests relating to these elements. The dynamic of a band is really interesting to them right now. The social negotiation of who is going to take on what role in the band is very interesting.”
As the children continue to delve into the social aspects of performance, the teachers in room 14 hope to continue to support children’s social-emotional, cognitive, and physical learning around the art of music, instrument design, and performance.
Gandini, L. 1998. “Education and Caring Spaces” in Edwards, C., Gandini, L., & Forman, G. The Hundred Languages of Children. Greenwich, CT: Ablex.