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Engaging Children in Arts – Visual Arts in Early Childhood Education

The Visual Arts Portfolio entails an informed and personal analysis of beliefs and practices that support children’s learning in the visual arts. It involves a critical analysis of practices that support child engagement and learning in the visual arts in the 3-5 year old setting and primary school. The practical artworks teacher candidates develop during workshops will not be assessed. You are strongly recommended to keep a journal that documents workshop discussion and practice. This journal will be a valuable reference for the assessment task, professional placement and future teaching. Photos may be included. Word Count: 1350 words Due Date: Friday 23rd July The Visual Arts Portfolio entails an informed and personal analysis of beliefs and practices that support children’s learning in the visual arts. It involves a critical analysis of practices that support child engagement and learning in the visual arts. When submitting please ensure you include, -your name in the document file name -your name, student number and word count on the first page, and page numbers ASSESSMENT TASK Comment on — a) why the visual arts experiences are significant for children, and b)what do you see as your role in enabling engaging visual arts experiences for children? Your views must be supported by key visual arts readings (4-6) and explained through clear reference to short personal illustrative anecdotes (up to 3). These anecdotes should be drawn from encounters you have had as a child/young person and/or with children and must include at least one reflection on your experience as a learner, exploring art media and processes in this course. Photographs of the arts practice and artwork samples are encouraged. If you have permission, photos of your students can also be included. Images of related resources (e.g., picture books, student artworks) can also be attached to this assignment. This task can be written in first person. To guide your response to this task students may refer to the following prompting statement: ‘An engaging visual arts experience for children involves a holistic personal encounter with the visual world. This experience is enhanced through teachers who stimulate noticing, visual thinking, communication and creativity, and encourage and guide child media exploration and meaning-making through the creation of permanent and ephemeral visual forms.’ WRITING GUIDELINES -Include in your INTRODUCTION an explanation of what your writing will cover and note values (e.g., creativity)and teacher roles (e.g,. facilitator) that you will examine in some depth. -Give an anecdote early in your writing so as to illustrate your discussion -In the BODY OF YOUR WRITING comment broadly on • why the visual arts are significant to children and examine some values in some depth, supported by illustrative/ prompting anecdotes and readings, and • the teacher’s role in enabling engaging visual arts experiences for c​‌‍‍‍‌‍‍‌‍‌‌‍‍‍‌‍‌‌‌‍​hildren and examine some roles in some depth, supported by illustrative/prompting anecdotes and readings -In your CONCLUSION re-cap on the main values and teacher roles discussed and note what you have learnt from this task and the challenges you will have to grapple with in the future to afford children an engaging visual arts program. TASK ASSESSMENT CRITERIA C1: Articulate an informed position on why the visual arts are significant to children (25%) C2: Critically examine the teacher’s role in enabling engaging visual arts experiences for children (25%) C3: Use insightful illustrative anecdotes that are clearly linked to discussion (25%) C4: Demonstrate clear written expression and structure (20%) C5: Acknowledge and cite all references appropriately using APA 7th referencing (5%) Details: C1: Comment on why visual arts experiences are significant to children. Your views must be supported by key readings (addressing both C1 and C2) – seek out appropriate readings from the ones I’ve uploaded or from the list provided. C2: Comment on what you see as your role as the teacher in enabling engaging visual arts experiences for children. Your views must be supported by key readings (addressing both C1 and C2). C3: Your views must be supported by key readings (4-6) and explained through clear reference to short personal illustrative anecdotes (up to 3) each of which is written from one or both perspectives – learner and/or teacher. See Uploaded VISUAL ARTS ? ANECDOTE EXAMPLES for de-identified examples. Note how they are closely linked to the discussion and where possible the literature. To help explain your anecdotes photographs of artworks (child or adult), visual resources and visually rich environments may be included and discussed. Your anecdotes should be drawn from encounters you have had as a child/young person and/or with children and must include at least one reflection on your experience as a learner in the visual arts workshops undertaken. Give an anecdote early in your writing so as to illustrate your discussion. Ensure your illustrative anecdotes describe with insight your arts experience/s, bringing them to life with your description and thoughtful commentary. Your illustrative anecdotes should be written using first person and prose. You can write the body of your essay in first or third person, as long as you are consistent. C4: It is expected that the essay will be clearly expressed with clear links made between points. ‘Topic’ or ‘analytic’ sentences are useful at the beginning of each section of the essay––these sentences outline what is to follow in each section. A small number of sub-headings/topic headings can be used to guide the reading. We recommend a careful proofread before submitting your task on Turnitin. C5: Use American Psychology Association (APA) 7th for referencing. Most referencing will be indirect. Direct references (quotes) should be meaningfully integrated into your discussion, which should flow c​‌‍‍‍‌‍‍‌‍‌‌‍‍‍‌‍‌‌‌‍​oherently throughout the essay.

Sample Solution

The Last Great Explorer GuidesorSubmit my paper for examination By Brook Wilensky-Lanford The journey to discover the Garden of Eden seems like an occupation that ought to have fallen by the wayside a long time before the nineteenth century. Never again did the whimsical medieval topographies of Prester John or Columbus take into consideration the presence of a fascinating, pristine natural heaven. This was a more up to date, smarter age. We had vanquished the wild areas of the world. What's more, Darwin's Origin of Species, distributed in 1859, was gradually demonstrating that individuals and, state, the fowls of the air, were not made at the same time in a solitary spot on the globe. Darwin himself rejected the quest for a land purpose of sources in his 1871 Descent of Man. He permitted that: "It is to some degree progressively likely that our initial ancestors lived on the African mainland than somewhere else." But, he announced, there was additionally a huge gorilla that wandered Europe in the relatively recent past, and at any rate the earth is mature enough for primate species to have moved right around it at this point. In this way, "It is pointless to estimate regarding this matter." Victoria Woodhull, women's activist radical and free-love advocate, was less discretionary in her epic discourse "The Garden of Eden," which she conveyed oftentimes during the 1870s. Eden on Earth was rubbish: "Any school kid of twelve years old who should peruse the portrayal of this nursery and not find that it has no topographical centrality whatever, should be criticized for his ineptitude." Perhaps she was alluding to the minister voyager David Livingstone, who had proclaimed, while frantic with jungle fever in 1871, that heaven existed at the wellspring of the Nile, which he made a decision to be in the Lake Bangweulu area of Zambia. Livingstone was by all account not the only one despite everything searching for Eden. This valiant modern lifestyle was flipping around time-respected convictions. Advancement was proposing that people had rose after some time from our less-canny, carnal primate sources. In any case, Christianity had been demanding for quite a long time that people had slipped, through unique sin, from close heavenly statures in the Garden of Eden to the hopeless, debased society of the late nineteenth century. What was a cutting edge, loyal individual to accept? Enter William Fairfield Warren, recognized Methodist pastor and instructor. As the leader of Boston University, he realized science would characterize what's to come. However, he was reluctant to surrender his religious philosophy to the new order. How to weave the two points of view together? Irrationally, Warren looked to Eden. He set about making an interpretation of the Bible into science: Eden was "the one spot on Earth where the natural conditions are the most great." Genesis says Eden contains "each tree that is lovely to the eye or useful for nourishment"; Warren set "widely varied vegetation of practically unheard of force and extravagance." He observed a newfound actuality: a large number of years back, Earth had been a lot hotter. He followed the revealing of phenomenal animals without a moment's delay well-known and legendary, similar to the wooly mammoth, the dinosaur, and the goliath sequoia. He knew there was as yet one clear spot on the world guide, a spot where no one had been. Furthermore, he come to the unavoidable end result: the Garden of Eden is at the North Pole. It seemed well and good, as it were. Both Eden and the Pole had frustratingly opposed endeavors to find and guarantee them, regardless of hundreds of years of risky, costly undertakings. Warren distributed this hypothesis in 1881 as Paradise Found, The Cradle of the Human Race at the North Pole. The tome emphatically smelled with scholastic power. There were long sections in French, German, and antiquated Greek in the references. He drew on his claim to fame, near folklore, which he portrayed as "the study of the most seasoned conventional convictions and recollections of humanity." He knew the incredible epic old stories of the Hindus, the Celts, the Chinese, the Persians. In the nineteenth century, this was an uncommon, recondite assortment of information, brimming with allegorical echoes of Bible stories, and goal "proof" of Christian realities. The list of "creators alluded to or cited" in Paradise Found records 580 sources—for 495 pages of content. Directly by Darwin, there is Ignatius Donnelly, who guaranteed the lost mainland of Atlantis was genuine; it was demolished by the close impact of Earth with a comet. His 1882 book Atlantis was uncontrollably well known (Donnelly had another hypothesis—that Shakespeare's plays may really be composed by Francis Bacon—yet at that point, that was considered too crazy to be in any way paid attention to). A few commentators felt that Warren's wanton reference did his contention no favors, however obviously numerous perusers were not disturbed. The second printing of Paradise Found, discharged just months after the first, was peppered with tributes. Warren composed gladly of a "plain unschooled Bible understudy," Mr. Alexander Skelton, a mechanical engineer and metal forger of Paterson, New Jersey, who had freely landed at his own "strikingly complete and apt" contention for a North Pole Eden. Warren gloated that one Professor Heer, a haughty Swiss scientist, guaranteed that Warren was copying him. He likewise distributed a tribute from the British classicist, and reliable Anglican, Archibald Henry Sayce: "Temporarily, I may state that your view appears to me famously sensible… " (regardless of that Sayce was really alluding to a prior work of Warren's, about the cosmology of Homer's Iliad). Warren's hypothesis was "quickly overriding each previous speculation" on the two sides of the Atlantic—regardless of whether Warren said so himself. In this way, it involved jumbling dissatisfaction for him that other Eden hypotheses kept on showing up. A German paleologist, Moritz Engel of Leipzig, had the nerve to distribute The Solution to the Paradise Question all the while with Paradise Found. Engel's Eden was a desert spring in the desert outside of Damascus. His four waterways were flood downpours that vanish in the dry season, come May or June. Warren retaliated: Engel's Eden was terrible. Maybe Mr. Engel had never at any point understood Genesis, with its image of plenitude and bounty! It was additionally biased, as though he never at any point saw that there were "legends of the Happy Garden" found in many other antiquated customs! To top it all off, Engel's Eden was informal, putting forth no attempt to join "the realities and speculations of ethnologists and zoologists with regards to the beginnings of human life… . The ideal opportunity for investigations of such limitation as this is past." Warren's request that the North Pole Eden was the abrogating, definitive record was genuine. Yet, it might have been a little gullible, given the mystery that Warren himself uncovered on the absolute last page of his book: he didn't really figure his heaven could be found. He composes, sorrowfully: "Tragically deceased Eden is found, yet its doors are banned against us. Presently, as toward the start of our outcast, a sword turns each approach to keep the Way of the Tree of Life… " Arriving at Polar Eden, we could sit idle "however swiftly bow in the midst of a solidified destruction and, moronic with an anonymous wonderment, let fall a couple of hot tears over the covered and destroyed hearthstone of Humanity's soonest and loveliest home." The best way to return to Eden was in death, on the off chance that we acknowledge the penance of Christ. Follow Jesus throughout everyday life, and in death you can walk directly past the cherubim with their blazing swords. Furthermore, much the same as that, regardless of his earnest attempts to be the final word on Eden, Warren had accidentally opened the entryway for a totally different age of Eden-searchers. They started to spring up very quickly, and many even refered to Warren as legitimate proof for their own cases, similarly as Warren had finished with his 580 sources. It began with Warren's own partners in the Methodist church. Reverend E. D. Ledyard declared to a group of people of 5,000 at a retreat in upstate New York that Eden was fairly nearer to home. "In Chautauqua, we see one spot where Edenic benefits have been reestablished. Christ is the focal figure here. During that time Adam heaven is being recovered." In 1890, a three-section article in the San Jose, California evening paper entitled "Nursery of Eden: Its Position on the Globe Has Been Definitely Located" clarified that California's Santa Clara Valley had all the qualities of an Eden—flawless state, immaculate atmosphere, and the goliath sequoia. On the off chance that Warren was so enthused about the sequoia, the author notes, for what reason didn't he pick California? "In coming so close to reality, it appears to be abnormal that the capable logical essayist didn't get the genuine light with regards to the area of the first home of man." Warren couldn't have been glad to discover his work lauded by Wyoming author Willis George Emerson in the introduction to his 1908 sci-fi novel The Smoky God. The book professed to be the genuine record of a Norwegian angler who in 1829 had fallen through an opening at the North Pole into the inside of the Hollow Earth—where the Garden of Eden is reachable by monorail. "In his painstakingly arranged volume, Mr. Warren nearly stubbed his toe against the genuine truth, yet missed it apparently by just a tiny bit." Dr. George C. Allen, a Boston University philologist, trusted him associate Warren that Eden was at the North Pole—yet he made one significant change. In 1921, he guaranteed that the North Pole moves altogether around the globe at regular intervals, so "cautious scientific calculations bring the first heaven where Ohio presently is." Warren himself, who passed on in 1929 at 96 years old, remained totally, outreachingly persuaded of his unique hypothesis' veracity. The North Pole Eden "has shown itself the preeminent and unavoidable speculation from the real factors of current information regarding man and the world. It has fit the most seasoned customs of religion and the most recent accomplishments of science…
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