An Evening of Discussion on Children’s Rights

November 20th is Universal Children’s Day, a day to honor the rights of children. It is also the date in 1989 when the UN General assembly adopted the Convention on the Rights of the Child.

Boulder Journey School (BJS) collaborates regularly with Hawkins Centers of Learning to hold evening workshops, open to the community as well as all members of the Boulder Journey School Teacher Education Program (BJSTEP). To learn about and register for upcoming workshops, click here.

This month, in honor of Universal Children’s Day, we held An Evening of Discussion About Children’s Rights.


“I think it is a topic a lot of people don’t think about, including myself. I know people and children are the same, but I think we don’t know how to offer children the space to exercise their rights.” – Kourtney, Denver Public School educator

On Tuesday, November 14, educators from Boulder and Denver gathered in the Boulder Journey School Teacher Education Room to view The Voices of Children, a short documentary composed of children sharing their lives and experiences through a series of “listening sessions”. The viewing and subsequent dialogue were facilitated by Sam Hall, Member of The Voices of Children Production Team.

The Voices of Children documentary project was initiated by the World Forum Foundation Working Group on Children’s Rights, formed at the 2011 World Forum on Early Childhood Care and Education, in Hawaii, USA. The following year, in Moss, Norway, members of the Working Group, Voices of Children committee, defined their primary goal and the means to achieve it. The goal was to articulate the rights of children worldwide, from the child’s perspective, rather than from the viewpoint of the adult. One means of accomplishing this unique goal was the creation of a video documentary that would capture children’s voices directly, without filtering them through adult interpretations. – From The Voices of Children Documentary Project Background Information Sheet 

 

Following the viewing of the documentary, we engaged in dialogue around the rights of children in our personal contexts and how these contribute to our understanding of children’s contexts around the world.

One of the big questions we examined was the grey area between honoring a child’s right to protection, and honoring a child’s right to participate.

When we protect a child from realities that may seem scary, are we prohibiting them from offering their viewpoints, their understandings, and their solutions to the community?

When we offer children experiences that require their voices, does this take away from the protection of their childhoods?

As a group, we discussed that the answers to these questions lie deeply embedded in the cultural contexts in which the children live.

In the film, we saw children stirring steaming vats of food to be served for meals, cutting branches with machetes, and digging with pickaxes. This is in contrast to the protected experiences many of us from Colorado engage in with children. Three girls from Kenya, who appear to be between the ages of seven and ten, explain to the camera, “The reason kids rush to help and do some of the work, the reason we don’t just sit like this, it is because children cannot just sit while the elderly people work. We can help with everything.”

Photo by The Voices of Children documentary team.

 

Taylor, a Denver-based Early Childhood Education teacher and BJSTEP alumna reflected, “Anyone who works with children knows they don’t want to just sit around. There is a connection between work and feeling a sense of pride. Offering children the opportunity to do meaningful work, not work that we just make up, but work that they can see why it is important, why it matters, helps children in the long run develop a sense of pride in their contributions to the community.”

Elizabeth, a Fort Collins-based educator and BJSTEP alumna built on this reflection, “Do the children who were cooking and contributing feel a stronger sense of ‘I’m a citizen’ than children who are offered arbitrary experiences, such as a teacher ‘letting’ a child clean up all the red blocks?”

We wondered whether children who have to do work feel more a part of the community because they are responsible for the well-being of the community.

We reflected that affluent cultures tend to value protection over participation. Does that shift in values strip children of their sense of self and community, and their sense of responsibility to the communities in which they reside?

We wondered how we, steeped as we are in our own cultures and contexts, might actively seek to move beyond our own biases. There may not be universal answers to these questions. We must seek to listen, just as the documentary team listened to children, to help us honor the rights of children in the contexts and cultures in which they live.

We cannot afford to ignore situations because they make us uncomfortable.

As we drew to a close on the night of the viewing, filled with questions, wondering whether we had said the right things, asked the right questions, or listened intently enough, Gwen, a Boulder-based educator shared, “With all the discussion, I feel that I want answers. I don’t like the questions. I want answers. And what I’ve taken from tonight is that the conversation is where the answers come from. It is valuable just to have the conversation even if it is uncomfortable. I appreciate that.”

 


If you are interested in screening The Voices of Children, please contact Sam Hall at sam.hall@boulderjourneyschool.com for more information. Be sure to include your name, city and country, so we can direct your request to the correct team member.

Advertisements

The Art of Mandalas: Mindfulness in the Classroom

Boulder Journey School collaborates regularly with Hawkins Centers of Learning to hold evening workshops, open to the community. To learn about and register for upcoming workshops, click here.

The topic of each workshop varies; however each experience offers time and space to engage in the three phases of Messing About, as proposed by David Hawkins.


In October, 2017, we focused our workshop on mandalas and how the creation of mandalas is tied to the practice of mindfulness. We viewed the construction and deconstruction of a sand mandala from Werner Herzog’s documentary on Buddhism, Wheel of Time.

Participants reflected on the tension they felt as they watched the monks destroy the intricate design. As a group, we reflected on the relationship with work when we intentionally create temporary work. How does temporary work offer us the mindset to focus on the process rather than the product? What are the experiences of temporary artists such as Andy Goldsworthy and Christo?

Together we dove into the traditional definition of a mandala. We took meaning from an interview with the Venerable Khenpo Rinpoche, who explained that ‘mandala’ is made of two words: man, which means mind, and da, which means maintaining. A mandala is a tool for maintaining the mind.

Additionally, the word mandala is sanskrit for circle, which signifies completion.

The Venerable Khenpo Rinpoche explained that everything is circular and completed within the mind – the mind is the source of everything, which when expanded, offers itself as the house of the deity. For this reason, the mandala should be luxurious, “the house of the deity is not a poor house” (The Meaning of Mandala, 2013).

Mandala created by a participant in the workshop.

Although we do not typically associate Buddhist monks with luxuries, this interpretation of mandala offers a space to recognize the luxuries within our own thoughts and creations.

Turning to Western interpretation of mandalas, we explored Carl Jung’s use and subsequent popularization of the mandala in psychology. Jung spent time drawing mandalas every day. He reflected,

“Only gradually did I discover what the mandala really is:

And that is the self, the wholeness of the personality, which if all goes well is harmonious, but which cannot tolerate self-deceptions.

My mandalas were cryptograms concerning the state of the self which were presented to me anew each day” (Memories, Dreams, Reflections, 1957, p. 239).

Mandalas created by a participant in the workshop

 

What is mindfulness? And how are mandalas related?

So why are we, educators, studying mandalas? What role do they play in our lives with children?

Susan Buchalter suggests that the practice of meditation and mindfulness can be aided through the creation of mandalas. She suggests that mandalas offer a tangible focus point for the mind, and as such can be a tool for quieting thoughts during meditation (Mandala Symbolism and Techniques: Innovative Approaches for Professionals, 2013).

And why do we feel it is important to engage in mindfulness?

Dan Siegel, a clinical professor of psychiatry at the UCLA School of Medicine and the founding co-director of the Mindful Awareness Research Center at UCLA, shares the following benefits to mindfulness,

“There is a role in mindfulness in parenting [teaching]. Parents need to be conscientious, intentional, and caring in what they do. They need to be present moment to moment, tracking experiences, letting go of judgements, and really being kind and compassionate, having self-compassion…. They also need to be creative, so they aren’t coming to premature conclusions about who a child is and be open to the unfolding of a child” (On The Importance of Mindfulness, 2009).

To explore for ourselves the connections between mandalas and mindfulness, we offered participants the space to participate in the creation of mandalas. We wondered how, in this short timeframe, could we tap into the mindset outlined by Siegel.

Following their experiences creating, the participants reflected on their flow, their concentration, their enchantment with the materials, their personal pride in their work, and their meandering paths of creation.

As facilitators, one thing we noticed was how busy the room was as participants worked. There was never a time that all people were sitting still or quiet. At least one person was always up, looking at other people’s work, or gathering more materials, or even moving to a different space to work.

When we brought this reflection to the group there was some surprise. That had not been felt by the participants, and it clearly had not been a distraction. We thought about the classroom – how busy it can seem to someone not in flow – a teacher or a visitor – and how drastically different that can feel to the child who is deeply engrossed. Would we have ripped that thread of concentration if we had told our participants they were not allowed to move or talk with their neighbors? Do we rip that thread of concentration with children when we ask them to sit still?


 

This workshop, as with most of our Hawkins-inspired professional development, was intended to offer teachers insight into learners through participation in their own learning, rather than to offer teachers specific activities to take into their classrooms.

Look for a future blog post exploring possibilities for incorporating mandala work with young children in the classroom.

Reading for Racial Justice

During the 2017-2018 school year, educators, including mentor teachers and graduate students, and families, are participating in a research group examining the goals of Anti-Bias Education. Click here to read more about this group.

“Brown bear, brown bear, what do you see? … I see children looking at me.”

Many of us have been taught, directly or indirectly, that this book is a lovely example of inclusive, non-bias, “colorblind” literature – sure to support children from diverse racial backgrounds in feeling comfortable and welcome – as there are children who appear Black, Asian, Latinx, and White all pictured happily together.

Marissa Tafura visited Boulder Journey School in October to join our community of educators and families in better understanding Reading for Racial Justice. She prompted us to examine the true message that we are portraying when we say we are “colorblind”. Marissa pointed out that we have been, “socialized to think that naming race is racist.” However, rather than being inclusive, an attitude of “not seeing race” erases diverse perspectives and someone’s experience in the world. She pointed out that just as we typically acknowledge someone’s gender, it’s similarly important that we acknowledge a person’s racial identity as central to who they are.

Marissa works with Empowering Kids Colorado and Showing Up For Racial Justice to encourage active participation in anti-bias practices that support racial justice. She shared that her own background, a white woman growing up in a culture that encouraged silence on topics of race, has shaped her own perspective on the topic. She reminded us that acting for racial justice is messy, and that we must be open to embracing our mistakes on the topic and learning from them. It is okay to ask our kids, “I didn’t like the way I phrased that, can we revisit the topic?”

As a community, we reflected that, while we are growing more comfortable engaging children when they bring a topic or question to us, we are less sure how to initiate conversations. Marissa shared tips for examining the books we offer as entry points into new conversations about race.

According to statistics compiled in 2015, 73.3% of children’s books published that year featured White protagonists, 12.5% featured non-living protagonists, 7.6% feature African and African-American protagonists, 3.3% feature Asian Pacific and Asian Pacific-American protagonists, 2.4% feature Latinx protagonists, and .9% feature Native American and First Nation protagonists. A great place to start is checking to see whether racial diversity is present in the books offered to children.

Marissa reminded us that the presence of racial diversity is not enough, however. We must also check to see whether there is racial diversity among the authors of the books we offer.

Additionally, books should be diverse in the stories they tell. It is crucial to have more than just stories of oppression or over-coming oppression; they should also tell stories of normalized life as a person of color, stories of activism, and stories of contribution from people of color.

It is also important to name race, including Whiteness, so that children can become practiced in identifying racial constructs.

So, when reading Brown Bear, Brown Bear, a book that is all about naming differences that we see in animals, when we come to the last page, let’s discuss the races of the children who are “looking at me”.

What strategies do you use to support anti-bias in your classrooms or at home?

 

Resources from Marissa

 

http://www.empoweringkidscolorado.com/resources/

http://www.empoweringkidscolorado.com/wp-content/uploads/2017/04/children_colorblind.pdf

https://www.safetypinbox.com/kids

Visiting Spaces: A Professional Development Experience

Our best source of professional development is observing one another and questioning our practices. To do this, we have to create a space that is safe. We make sure to ask questions of all of the teachers, new and long-standing.” – Alison Maher, Education Director

When we invite people into our space, it changes the dynamics. We are always striving to offer the best possible experiences for the children in our classrooms. When visitors arrive, we must also consider how to offer the best possible experiences for children in classrooms around the world.

In September 2017, teachers, administrators, and professors from the Kingdom of Saudi Arabia visited Boulder Journey School. In collaboration with Videatives, Inc., we hosted the visitors as part of an international study tour, organized by the National Association for the Education of Young Children (NAEYC). The tour was designed to examine early childhood programs and initiatives in international contexts to inform the National Early Childhood Curriculum in the Saudi Arabian Kingdom.

Our visitors spent two days observing in classrooms, taking notes on the interactions between children, mentor teachers, and graduate students in the Boulder Journey School Teacher Education Program. They unpacked their observations during afternoon dialogues that included presentations and remarks by Boulder Journey School and Videatives, Inc. educators.

One visitor shared that her takeaways from the experience included the understanding that, “the environment is very important. A mindful teacher is even more important.”

Through visits such as these, we grow not only as educators, but also as advocates for quality in early childhood education worldwide.

Delegates from the Kingdom​ ​of​ ​Saudi​ ​Arabia​ ​Early​ ​Learning​ ​Curriculum​ ​Project with NAEYC representatives, and educators from Boulder Journey School and Videatives, Inc. 

To learn more about the Boulder Journey School Study Tour Program, click here. We host tours such as this one through the year.
To subscribe to the Videatives, Inc. blog, Videatives Views, click here and receive a free video analysis monthly.

 

Small World Play: The Benefits of Miniature Fantasy Lands

Six times a year, Boulder Journey School collaborates with Hawkins Centers of Learning to hold evening workshops, open to the community. The topic of each workshop varies; however each experience offers time and space to engage in the three phases of Messing About, as proposed by David Hawkins.

Screen Shot 2017-05-19 at 11.01.27 AM

“[Fantasy] is the mother of all possibilities where, like all psychological opposites, the inner and outer worlds are joined together in a living union.”

Carl Jung

As part of our Professional Development series, Messing About with Teaching, we invited educators to explore the history of small world play, as well as to spend time engaging with miniature fantasy lands.

As participants entered the room, they were greeted by hundreds of miniatures, ranging from medieval characters to marine creatures. Amidst these figures were a series of loose parts and trays that could act as landscapes. In some settings, the figurines and landscapes were a logical pairing; in others, they were incongruous.

The participants examined the tables and chose which sets to sit near.

“Each of us have such different spaces. You look at some of these different classes or visit and think, ‘Oh I wish I had that.’ But you work with what you have, and the children work with what they have. How you set things up highlights what you have already. And I think that was a really big learning experience for me.” – participant reflection

To begin the evening, we explored the history of Small World Play – a practice rooted in psychotherapy and inspired by science fiction writer, H.G. Wells.

The ‘World Technique’ in play therapy was developed by Dr. Margaret Lowenfeld in 1929. The goal of this methodology was to offer children an avenue to explore and communicate their thoughts and feeling through non-verbal strategies. (http://www.creativecounseling101.com/sandtray-therapy-class-history-of-sandtray-therapy-student-1.html)

Her outstanding contributions sprang from her recognition that play is an important activity in children’s development and that language is often an unsatisfactory medium for children to express their experiences. She consequently invented non-verbal techniques that enabled them to convey their thoughts and feelings without resort to words. – The Dr. Margaret Lowenfeld Trust

Lowenfeld herself was inspired by the book Floor Games by H.G. Wells (1911), in which the author of The Time Machine explored fantasy lands with his own children.

(http://www.creativecounseling101.com/sandtray-therapy-class-history-of-sandtray-therapy-student-1.html)

Lowenfeld’s work has extended into classrooms, where teachers and children create and use these settings and figures to explore intra- and interpersonal relationships, as well as to explore the world on a manageable scale. Careful observation of children, and as we discovered during the workshop, ourselves at play with these small worlds offer myriad insights into personalities and learning styles.

Participants “shop” for figurines to use in their play.


Consider this dialogue excerpt from the reflection session at the end of play*:

Kathy and Steve know each other, but in a very limited capacity. Andrea, Brian, and Emily all work closely together, Andrea and Brian as co-teachers, Emily as their Pedagogical Support. Nina and the rest of the participants in her group all teach at the same school.

Alex (facilitator): How did you react to the spaces that you had?

Kathy: I’m very introverted, so to avoid that, I stepped away. I really like ledges and small spaces, so I wanted to take my figures over to the small space.

Steve: I was worried that I had co-opted your space. But it turns out we are of a very similar mindset.

Andrea: It’s interesting that you thought about that. I didn’t even consider infringing on someone else’s space. I just built, and he started building this way, and I was like, well, that’s the edge.

And, I don’t like to work in small spaces. I would have preferred to work on the floor, but I didn’t feel there was adequate space for it.

Brian: It felt like it was a small space, but I embraced it. I mirrored [Andrea’s]. It’s kind of how we work in the classroom; we’ll mirror each other. I mirrored this, and I just worked with my space. Emily’s phone ended up in my way, so instead of just moving it, it became a wall to my space. I felt like the space was too small, so I shifted the scope of my idea. I used the phone and built around it.

Andrea: Whereas, if Emily’s phone had ended up in my space, I would move it to a different space and define, “Here’s your space.”

Emily: And Brian would just work around it.

Nina: The way our table was set up, with the mirrors on each side, it didn’t even occur to us to split up or to change the setting in any way. There was this big piece in the middle that anchored us and drew us to play together.

*participants’ names have been changed


Through our work with these materials, and with each other, we gained understandings of the learning process. Following this workshop, we found ourselves watching children’s work with figures and playscapes through a new lens.

Do you offer spaces for small world play in your context? Share those experiences in the comments.

 

Camden and Olivia Use a Tool

As a school, we use video documentation to guide our work with children. One crucial piece of working with video is revisiting the video, analyzing it to pull out questions for further research or to reach new understandings of children’s and teachers’ motivations. We practice analyzing videos with interns and mentors.

Below is a video and write-up that we have shared with Videatives, an organization with whom we partner.

Camden and Olivia Use a Tool

Camden and Olivia, both 3, are on their third day of school. Both are brand new to an already established class of children. While using the outdoor classroom, they have discovered a tool is needed to move the handle of the zip-line to the rider’s position.

 

Olivia, who is next for a turn to ride, is actively cheering Camden’s efforts.

 

Camden is using a tool that is appropriate for the job, however tripped up, literally, by an extra material on the ground.

 

At 0:44, Camden realizes the white tube lying on the ground is playing some part in his setbacks. At 0:54, the white tube does not act as he is expecting, and he throws it to the ground, his face conveying that he is on the verge of frustration and giving up. He makes a brief moment of eye contact with the teacher (behind the video camera).

 

Consider: According to the Zone of Proximal Development, this would be an ideal moment for scaffolding from the teacher. In this instance, the teacher chose to remain silent – ultimately a decision that paid off for Camden. Did the eye contact act as the teacher’s scaffolding (did it communicate, ‘I’m here, I’m present, you can do this’)? How could the teacher’s interaction here have altered Camden’s next steps? As a first experience at this school, how will this interaction shape Camden’s sense of self-efficacy within the school community?

 

At 1:00, Camden revisits his initial strategy with the longer black tube. He is successful, now that the white tube is gone. At this point, the teacher joins in with a cheer.

 

Consider: How did Olivia’s encouragements act as scaffolding? Did the teacher’s voice become stronger because she added it as a collaborative celebration rather than a top-down instruction?
Also consider: When Camden switched to using the white tube, was his motivation that he recognized the white tube was a key ingredient in some way and did not recognize that its role was merely to be moved?

Oliver Goes to the Moon: A Video Analysis

As a school, we use video documentation to guide our work with children. One crucial piece of working with video is revisiting the video, analyzing it to pull out questions for further research or to reach new understandings of children’s and teachers’ motivations. We practice analyzing videos with interns and mentors.

Below is a video and write-up that we have shared with Videatives, an organization with whom we partner.

“[Study] results indicate that children may sometimes be confused about the nature of imagined objects, although these confusions do not occur all the time. Thus, it is not the case that children are either perpetually confused or perpetually clear about this distinction between imagination and reality.” – Weisberg, D. 2013.“Distinguishing Imagination from Reality.” The Oxford Handbook of the Development of Imagination. P. 82 

The video opens on a child, Oliver, 3 years old, sitting inside a structure composed of fabric and piping. It is a little hard to see in this video, but there is a projection of a space scene on the fabric in front of him.

He is holding his hands about “steering wheel distance” apart and making a steady hum engine noise in his throat. About 15 seconds in, the sound in his throat catches. He continues with the sound, now a broken hum (we will use the onomatopoeia “hm-hm” for the broken sound), for about four seconds. At this point, Oliver’s eyebrows knit together, and he looks down.

“Why did it just go “hm-hm”? He picks up a block and, while examining the block says, “We need to stop it for a sec. We need to stop it because it just went ‘hm-hm’” He makes the broken sound again a few times.

His teacher, Charlotte, who is holding the camera, asks, “That’s not how it’s supposed to sound?” Oliver shakes his head, no.

Charlotte asks, “Alright, are you going to fix the engine so you can keep traveling to the moon?”

Oliver looks to the projection of space. He points to a spot, “Maybe to that over there. I’m supposed to drive over there.”

He then arranges a series of loose parts (pvc type piping) in front of him and says, “Beep-beep- beep-beep,” while poking at the blue block he was holding earlier.

Charlotte holds up another loose part, “Oli, here’s some tools.” He takes them from her and proceeds to touch them to the piping, concentrating intently on his work.

A question to consider is, how did Oliver write the script for his play? From his initial actions and his teacher’s initial attempt to redirect him to flying to the moon, it seems that the script was to fly a spaceship to the moon.

Did Oliver’s voice break, causing him to hear the engine as breaking? Or was that intentional? His initial look of confusion implies that for a moment, he may have truly believed the spaceship was broken. Did he temporarily forget that he had control over the script?

As Weisberg noted in her study (link above), “It is not the case that children are either perpetually confused or perpetually clear about this distinction between imagination and reality.” Where did Oliver sit in this distinction?