By Susan Wright
How do we comprehend younger kid's improvement in larger intensity? How do they view the realm round them, and what do they suspect the longer term may possibly glance like?
Creativity in early early life is a space of fascination for all these operating with children, and Understanding Creativity in Early Childhood investigates why young children create, and what their creations suggest. Chapters describe the techniques and depict the results of meaning-making, and of constructing room for kid's voices throughout the open-ended task of drawing.
Issues tested include:
the more and more renowned use of multi-modal texts
links among creativity and literacy
the value of artwork in early childhood
concrete examples of kid's meaning-making
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Extra resources for Understanding creativity in early childhood : meaning-making and children's drawing
As Linqvist describes it, ‘children draw pictures and tell a story at the same time; they act a role and create their lines as they go along’ (Linqvist, 2001, p. 8). , demonstrating a steering motion to indicate driving a car) Using play as the vehicle for their explorations, children selectively and frequently move from one mode to another to represent and re-present what they know most effectively. They may choose to draw it, or to tell it, or to show it through their bodies – or to combine these modes.
Drawing serves as direct documentation of the diverse concepts that children apply to their personal experiences, to more fully grasp their worlds. Most notably, it enables children to imagine new perspectives, new worlds. Drawing is something the child can inhabit or get inside of. Indeed, drawing is something the child is. It is the integration of three modes in consort – graphic, narrative and embodied – that makes visual narrative a powerful source for children’s learning, representational thought and creativity.
A type of dialogue which is more common in children’s socio-dramatic play, or solitary play with toys. Rather, the playing of characters and events while drawing is more omniscient, descriptive and indexical, such as, ‘this is where she stepped on the stones to get to the other side of the river’ (this issue will be discussed in more detail in the next chapter). In addition, because the child’s dialogue is intimately linked to his/her graphic action, it is similar in some ways to the dialogue found in film – it is highly succinct.