Earn a Master's Degree from University of Colorado Denver in Education and Human Development and an Early Childhood Teaching License in one year, while teaching in a paid practicum under the supervision of a Mentor.
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?
“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.
We believe in honoring the history of the land we temporarily occupy. Bob Stanley was the first American to fly a jet plane…. There is a history of innovation here, of boldness. We embrace it.
– Stanifesto, Stanley Marketplace, Home of OPENair Stapleton
Once a month, we partner with Hawkins Centers of Learning to offer Professional Development workshops to our faculty, graduate students, and the community-at-large.
Many of these are hosted at Boulder Journey School, some are held on the campuses of our partner schools, as a way to further our collaboration. The February, 2017 workshop was held at OPENair Stapleton – a brand new campus located inside an old airplane hangar. It was a fitting spot, as the content of the explorations were: Pendulums, Paper Airplanes, and Wind Tunnels: A Study of Aerodynamics.
We gathered in the OPENair Maker Studio with 3 sets of materials:
Stands and jars
A variety of strings
Print-outs of patterns and instructions
A variety of paper weights
A pre-made Wind Tunnel
Loose parts including paper, feathers, plastic, and more
Most of the workshops are structured to offer participants time and space to engage in each of the three phases of Messing About, as defined by David Hawkins.
We opened the evening with a discussion of aerodynamics (engaging in the square phase – the unpacking of theory). The word aerodynamics invited mixed emotions, ranging from panic to giddiness. Lindsay, a Denver-based teacher, shared that thinking of aerodynamics reminded her of her father and Girl Scout camp, while another teacher mentioned that the word itself made her stomach clench.
We read the definition of aerodynamics:
the science that studies the movement of gases and the way solid bodies,
such as aircraft, move through them
Cambridge Academic Content Dictionary
the study of the properties of moving air, and especially of the interaction between the air and solid bodies moving through it.
The Oxford American College Dictionary
Using the definition as our starting place, we developed initial questions to guide us before working with the materials (engaging in the triangle phase – a time for choosing a path and narrowing the focus). These questions were mostly vague – one of them asked simply, “What do I do with this stuff?”
As the teachers worked, they tracked new questions that were developing for them.
One group of teachers reflected on the evolution of their thoughts when working with the wind tunnel. When they first approached the materials, they wondered how they had been chosen – how would such heavy materials fly?
This initial question evolved into new questions:
What combinations of materials work well together?
How can we alter heavy materials to give them more air surface and lift?
How can we alter the way the materials enter the wind tunnel to boost their lift?
A group of teachers who focused their attention on the paper airplanes reflected that their ultimate goal had been performance. They wanted to land as many airplanes as possible on the mezzanine.
They developed systems for testing the different airplane designs.They reflected that they were able to begin developing systems because they had been offered time and space to mess about with materials and ideas, and wondered, “What systems would the children develop when offered similar time and space?”
The pendulum players reflected that as they entered into the work they were faced with so many variables. Through the workshop, they altered the materials in the cone (sand, paint, water, heavy bobs, etc.), the shape of the cone, the length of the string, the height of the string, the type of string. They realized, when offering pendulums in a classroom, they would need to pare down their choices and determine a variable for their focus. One teacher from the group reflected that although we tend to think of a strong environment as one that offers limitless possibilities, sometimes, “a well-designed environment is one that narrows the possibilities to support the investigation of one variable.”
Without having the time and space to play with pendulums and their many variables, the teachers reflected they would be intimidated, or clumsy, in offering them to children. Through their play, the teachers were able to make decisions about how to sharpen the focus for children.
During our final reflections, one teacher noted that she had come to the experience tired from a day at work. She was not sure what to expect.
What she uncovered was that play, for her as well as for children, offered, “Joy, joy, joy.”