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Provocations and Invitations PPPrrrooovvvooocccaaatttiiiooonnnsss aaannnddd IIInnnvvviiitttaaatttiiiooonnnsss ttttoooo LLLLeeeeaaaarrrrnnnniiiinnnngggg iiiinnnn 
tttthhhheeee EEEEaaaarrrrllllyyyy CCCChhhhiiiillllddddhhhhoooooooodddd CCCCllllaaaassssssssrrrroooooooommmm 
IIIInnnnqqqquuuuiiiirrrryyyy SSSSppppaaaacccceeeessss 
CCCCrrrreeeeaaaattttiiiinnnngggg PPPPoooossssssssiiiibbbblllleeee WWWWoooorrrrllllddddssss 
SDAEYC April 2014 
Barbara Dowling 
Sue Parrott
Classroom Variables 
• Children Teachers 
• Environment 
• Materials
Our Image of the Child 
• "Each child is viewed as infinitely capable, creative, and 
intelligent. The job of the teacher is to support these 
qualities and to challenge children in appropriate ways 
so that they develop fully.” - Louise Boyd Cadwell 
Bringing Reggio Emilia Home: An Innovative Approach to Early Childhood 
• Your Image of the Child 
– http://www.earlylearning.prn.bc.ca/wp-content/uploads/Your-image-of- 
the-child-L.Malaguzzi.pdf
Teacher 
The gifted teacher is shaped only by working 
together with children and other adults, by 
building together, making mistakes together, 
correcting, revisiting and reflecting on work 
that has been done. The culture of our teachers 
is not only a question of inquiry and knowledge; I 
believe it is also expressed through a certain 
style, an approach to intelligence, imagination, 
to children’s need for affection and security. . . 
This gives [teachers] them endurance and a 
passion for their work. It reinforces that 
permanent pppeeerrrmmmaaannneeennnttt ccccuuuurrrriiiioooossssiiiittttyyyy.... .... .... 
Loris Malaguzzi
Environment: The Third Teacher 
• Space has to be a sort of aquarium that mirrors 
the ideas, values, attitudes and cultures of the 
people who live with it. L. Malaguzzi, 1984
Making a Transformation: What are the Differences? 
There is no better time 
than now to start 
growing a beautiful 
environment for 
children where they 
grow, thrive and are 
inspired to explore and 
discover.
Ideas 
“Ideas fly, bounce around, accelerate, rise up, fall apart, and 
spread, until one of them takes a decisive hold, flies higher and 
conquers the entire group.” Loris Malaguzzi 
Ideas have a way of inspiring children to dream and think 
bigger! 
As teachers you need to welcome an idea, to 
give it space to grow, and to see what 
happens next. 
Simple ideas can change the world!
Making Children’s Ideas Meaningful 
• When your child asks you, “Why is 
there a moon?” don’t reply with a 
scientific answer. Ask him, “What do 
you think?” He will understand that 
you are telling him, “You have your 
own mind and your own interpretation 
and your ideas are important to me.” 
Then you and he can look for the 
answers, sharing the wonder, curiosity, 
pain – everything. It is not the answers 
that are important, it is the process-that 
you and he search together. 
~Carlini Rinaldi
WWWWhhhhaaaatttt DDDDoooo YYYYoooouuuu Doooo Wiiiitttthhhh aaaannnn IIIIddddeeeeaaaa???? 
KKKKoooobbbbiiiiYYYYaaaammmmaaaaddddaaaa 
A little boy has an idea, but is perplexed on what to do. Share it with others? 
Pretend it doesn't exist? This idea is not to be deterred, it won't leave - it needs 
attention; especially an idea that’s different, or daring, or a little wild? You sit with. 
Get to know it by asking it a few questions like what it wants to be when it grows up 
Finally the little boy gathers courage to share it. Instead of providing 
encouragement, people laugh. They say it is no good, too weird, a waste of time... 
He almost gives up. But he doesn't, and it's a good thing, too. 
"And then, I realized what you do with an idea... You change the world." 
. http://www.live-inspired.com/What-Do-You-Do-With-an-Idea- 
P1366#sthash.eqgwKU6p.dpuf
Provocation/Invitation Defined 
• A Provocation is something that sparks questions, 
interest, ideas, theories, discussion, debate and engages 
the children's thinking. 
• Can come from the teachers, children or external 
sources such as the community. 
• Deliberate and thoughtful decisions made by the teacher 
to extend the ideas of the children. 
• Materials specific for each inquiry are intentionally 
organized to provoke the students and made available to 
them for their exploration/investigation
SSSSttttaaaarrrrtttt wwwwiiiitttthhhh aaaa QQQQuuuueeeessssttttiiiioooonnnn 
• What have they been wondering about? 
• This is your cue, your opportunity to provide an 
experience which will engage their interests. 
• http://www.aneverydaystory.com/beginners-guide-to-reggio-emilia/setting-up-a-reggio-inspired-activity/
Find out what your children already know 
• Brainstorm - where you discuss 
what you know and make a mind 
map 
• For younger children, what they understand will 
probably come through in their play, drawings 
and paintings 
• Take notes of what your children already know 
as well as any misconceptions they may have
Plan your Activity 
• What kinds of activities engage your children’s sense of wonder? 
• Maybe an observation of living creatures? 
• A sensory exploration like this large painting activity or 
playdough? 
• An exploration of a new art medium like exploration of paint or 
clay? 
• An observational 
painting or drawing 
activity? 
• A discovery activity like 
a nature walk? 
• An exploration of a new 
material like rocks and 
minerals or one with 
magnets?
Gather your Materials 
• Look for authentic materials, open-ended 
materials and ones which invoke a sense of 
wonder and discovery 
• If your subject is something real (in nature or 
around the neighborhood), head out for a 
walk, if you can, to explore the real thing 
• Connect the walk/outing to your child’s 
interests: 
– ‘You were asking about ant nests 
yesterday. Let’s go for a walk and see if 
we can find some.’ 
• Take along a notebook and pencil for 
sketching 
• Some binoculars and a magnifying glass (if 
useful) and a bag to carry any treasures and 
go explore 
• Listen to what your child is talking about, 
notice what they are doing, these little clues 
will help you to continue the exploration in 
your classroom.
Setting up an Activity (a provocation) 
• try to include natural materials in your activity
How does the activity look? 
Does it make you want to play too? 
Would you be attracted to this activity? 
Can you see everything that is available? 
Do you have some idea of what you might do 
with this activity?
Define your work area 
• When you define the work area with a mat or a 
tray you draw children’s attention in, they will 
move to that area. Try using: 
– a small cloth placemat a hard surface for building with 
blocks 
– a mirror for observational 
painting activity 
– a clipboard for 
observational drawing 
– a kitchen tile for clay 
or playdough
Define your work area (c0n)
Using mirrors 
• Our world is reflected to us in many different ways, 
and when children, and adults for that matter, begin to 
look at the world through different perspectives, their 
minds are opened up to many possibilities. 
• 
• What better way to begin reflecting about the world 
and self, than playing with mirrors. 
• Children can see themselves from different points of 
view, it helps build a positive self image, and they can 
experience emotion through dramatic play in front of a 
mirror. There is also an awareness of light and 
reflected light scattering in many different directions.
UUUUssssiiiinnnngggg mmmmiiiirrrrrrrroooorrrrssss ((((ccccoooonnnn)))) 
• Can the activity be enhanced at all by adding a mirror? Is there an 
aspect of the activity which would benefit from being seen from 
another perspective? 
• Using a mirror with blocks allows the front side of the blocks to be 
seen, encouraging the child to build more 3-dimentionally. 
• When painting or drawing, a mirror underneath an object allows 
the underside to be seen as well as reflecting light and color 
• Surrounding the activity with mirrors reflects light back onto the 
child as well as engages the child’s curiosity as they watch their 
movements.
Cathy Weisman Topal and Lella Gandini (1999) 
Beautiful Stuff: Children Learning with Found Materials 
• “To the young child the world is full of materials to touch, discover, and 
explore. To find, collect, sort and use materials is to embark on a special 
kind of adventure. For adults, gathering materials means rediscovering 
the richness and beauty in natural, unexpected, and recyclable objects 
that are all around us, but not often noticed. 
• One way to rediscover our own creative impulses is to see possibilities in 
material. Children possess a natural openness to the potential of materials. 
When adults become aware of this process, they find ways to watch and 
listen to children. Children and adults become collaborators as they discover, 
collect, sort, arrange, experiment, create, construct, and think with materials. 
The goal is to allow children to become fluent with materials – as if 
materials were a language.” 
• …bringing materials into the classroom and discovering their potential for 
learning involves many of the same process skills used in math and science 
and interpreting literature. It’s a way of thinking about things. It helps both 
teachers and children become more aware of how they think. The 
experience also refines our aesthetic sensibilities, and gives both adults and 
children a framework for learning life skills. (p. 98)
Provocations with Loose Parts 
• As long as materials can be moved, 
redesigned, put together and taken 
apart in a variety of ways, they are 
classified as loose parts. 
• When architect Simon Nicholson wrote 
about these materials that allow for 
creativity and choice he called it the 
“theory of loose parts” (Nicholson, 1971). 
• He said that in any environment, the 
degree of creativity and inventiveness is 
directly proportional to the numbers of 
variables in it. 
• Loose parts provide the variables 
children require to create new options 
in their play
Loose Parts (con) 
• Giving meaning to loose parts requires us to think 
about the possibilities of how a child learns and 
consider the materials and environments she uses. 
• Loose parts create endless possibilities and invite 
creativity. 
– For example, if a child picks up a rock and starts to play, 
most likely that rock can become anything the child wants 
it to be. 
• Imagination, creativity, curiosity, desire, and need 
are the motivation of loose parts.
Loose Parts (con) 
• A term strongly connected to loose parts is open-ended. 
Open ended materials, environments, and experiences 
encourage problem solving and are child centered. 
• Children involve themselves in concrete experiences using 
loose parts, which lead to explorations that occur naturally, 
as opposed to 
• adult directed. 
• However, adults do play important, intentional roles in 
preparing, guiding, and documenting open ended learning 
experiences. 
• When children are encouraged to integrate play materials 
and areas in their own creative ways, they are experiencing 
open ended learning
The richness of the materials allow children to 
deepen their understanding and construct new 
knowledge.
moved, redesigned, put mmmooovvveeeddd,,, rrreeedddeeesssiiigggnnneeeddd,,, pppuuuttt ttttooooggggeeeetttthhhheeeerrrr aaaannnndddd ttttaaaakkkkeeeennnn aaaappppaaaarrrrtttt 
iiiinnnn aaaa vvvvaaaarrrriiiieeeettttyyyy ooooffff wwwwaaaayyyyssss 
Chalk board contact paper 
http://picklebums.com/2013/07/30/chalkboard-and- 
loose-parts/
Displaying Loose Parts
Loose Parts: caps, corks, plastic, buttons
Loose Parts: Robot Workshop
http://thiskindylife.blogs 
pot.ca/2013/06/loosely-told- 
stories.html 
loosely told 
stories
Tinkering
Provocations with an Invention Box
Inventions with Loose Parts
Engineering with Loose Parts 
• Engineering Board
Provocations with Nature
Nature’s Provocations
Andy Goldsworthy 
• Naturally Beautiful 
https://www.youtube.com/watch?v=fUpVf-7i75I 
• Andy Goldsworthy Naturalist Artist 1 
https://www.youtube.com/watch?v=_opAMkK95gE 
• Andy Goldsworthy Naturalist Artist 2 
https://www.youtube.com/watch?v=H60eLNgRTLQ 
• Andy Goldsworthy Naturalist Artist 3 
https://www.youtube.com/watch?v=jC-4bedyT_k 
• Andy Goldsworthy Naturalist Artist 4 
• https://www.youtube.com/watch?v=mRd-Zafk8Q4
Provocations with Light and Shadow
Using an overhead 
projector to create 
backgrounds to stimulate 
imaginations.
Provocations in Sand /Water/Sensory Table
Provocations for a Science and Discovery Area
Provocations in Art
Weaving
Provocations for the 
Math Area
Provocations in the Writing Area
Provocations in the Reading Area 
• n
Provocations • with a Line 
• How would the child think about how to symbolically represent an idea through 
a line. Could you make a quiet line or a loud line? What color would a quiet line 
be?What size brush would you use? As an added challenge, the children could 
only connect to another line not cross through another child's work. 
• This provocation challenged children's symbolic thinking on many different 
levels, e.g., inventing a new strategy like "jumping a line," connecting two paths 
with a short cut, learning how to hold a brush, or inventing words like a 
"humpy" line. They also had to work collaboratively and patiently wait their 
turn making their marks while watching their friend work, quite like waiting for 
the other player to make a move on the chess board.
Provocations in the Block Area
Provocations about Balance
Provocations about Ramps and Pathways 
• When movement is added to the messing about invitation of balance, 
exploration and engagement require no further provocation.
Provocations in the House /Dramatic Play Area 
We asked the children to make drawings of what 
they did in the drama corner. Then with an 
overhead projector and black house paint we 
painted the drawings large on the walls in the 
corner. The children then added the colors.
• Our "Tree Contest" turned into an inquiry space that 
investigated the possibility of creating a life-sized forest 
http://myclassroomtransformation.blogspot.ca/2012/08/inquiry-spaces.html
In Review 
• There are multiple opportunities for children to show 
conceptual understanding through the materials. 
• Introductions lead to interactions and repeated experiences 
lead to expressions both verbally and through physical 
representations. This dialogue is at the heart of conceptual 
understanding. 
• It is through conversations and multiple experiences that we 
work out ideas in our head. Through discussing and telling 
someone about it and having someone question your ideas 
you realize you do not have it all worked out so that you can 
communicate clearly (or maybe you did, but didn’t really know 
it). 
• In a sense, the activities and the conversations allow for 
authentic assessment and continued demonstration of 
learning.
Resources on Loose Parts 
• Museum Notes 
– http://museumnotes.blogspot.com/2011/02/playing-with-loose-parts. 
html 
• How not to Cheat Children: The Theory of Loose Parts 
– file:///F:/curiosity/Imagination-Playground-Theory-of-Loose-Parts- 
Simon-Nicholson.pdf 
• Loose Parts: What does that mean? 
– file:///F:/curiosity/Loose-Parts.pdf 
• The Theory of Loose Parts An Important principle for design 
methodology 
– http://www.earlylearning.prn.bc.ca/wp-content/uploads/Theory-of- 
Loose-Parts.pdf 
• Web site 
• The Five Considerations for Incorporating Loose Parts 
– http://tecribresearch.wordpress.com/2013/01/31/the-five-considerations-for-incorporating- 
loose-parts-2/ 
• Early Learning 
– http://www.earlylearning.prn.bc.ca/?page_id=3788
Resources 
• Journey into Early Childhood 
– http://journeyintoearlychildhood.weebly.com 
• Teacher Tom 
– http://teachertomsblog.blogspot.com/ 
• Tom 
– http://tomsensori.blogspot.com/ 
• Inquiry is the medium; narrations are the message 
– file:///F:/curiosity/Inquiry-is-the-medium.pdf 
• Natural Curiosity 
– focus is on Environmental Inquiry, and how to bring inquiry-based teaching practices into 
the classroom 
– http://www.naturalcuriosity.ca/aboutus.php?m=b 
• Thinking with a Line by Cathy Weisman Topal 
• Provocations with a Line 
• http://www.midpac.edu/elementary/art_pk/2012/01/symbolic-thinki. 
php 
• mmm
Characteristics of Inquiry Based Learning
Teacher’s Role in Inquiry Based Learning

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Provocations and invitations_to_learning_in_the_early21

  • 1. Provocations and Invitations PPPrrrooovvvooocccaaatttiiiooonnnsss aaannnddd IIInnnvvviiitttaaatttiiiooonnnsss ttttoooo LLLLeeeeaaaarrrrnnnniiiinnnngggg iiiinnnn tttthhhheeee EEEEaaaarrrrllllyyyy CCCChhhhiiiillllddddhhhhoooooooodddd CCCCllllaaaassssssssrrrroooooooommmm IIIInnnnqqqquuuuiiiirrrryyyy SSSSppppaaaacccceeeessss CCCCrrrreeeeaaaattttiiiinnnngggg PPPPoooossssssssiiiibbbblllleeee WWWWoooorrrrllllddddssss SDAEYC April 2014 Barbara Dowling Sue Parrott
  • 2. Classroom Variables • Children Teachers • Environment • Materials
  • 3.
  • 4. Our Image of the Child • "Each child is viewed as infinitely capable, creative, and intelligent. The job of the teacher is to support these qualities and to challenge children in appropriate ways so that they develop fully.” - Louise Boyd Cadwell Bringing Reggio Emilia Home: An Innovative Approach to Early Childhood • Your Image of the Child – http://www.earlylearning.prn.bc.ca/wp-content/uploads/Your-image-of- the-child-L.Malaguzzi.pdf
  • 5. Teacher The gifted teacher is shaped only by working together with children and other adults, by building together, making mistakes together, correcting, revisiting and reflecting on work that has been done. The culture of our teachers is not only a question of inquiry and knowledge; I believe it is also expressed through a certain style, an approach to intelligence, imagination, to children’s need for affection and security. . . This gives [teachers] them endurance and a passion for their work. It reinforces that permanent pppeeerrrmmmaaannneeennnttt ccccuuuurrrriiiioooossssiiiittttyyyy.... .... .... Loris Malaguzzi
  • 6.
  • 7.
  • 8. Environment: The Third Teacher • Space has to be a sort of aquarium that mirrors the ideas, values, attitudes and cultures of the people who live with it. L. Malaguzzi, 1984
  • 9. Making a Transformation: What are the Differences? There is no better time than now to start growing a beautiful environment for children where they grow, thrive and are inspired to explore and discover.
  • 10.
  • 11. Ideas “Ideas fly, bounce around, accelerate, rise up, fall apart, and spread, until one of them takes a decisive hold, flies higher and conquers the entire group.” Loris Malaguzzi Ideas have a way of inspiring children to dream and think bigger! As teachers you need to welcome an idea, to give it space to grow, and to see what happens next. Simple ideas can change the world!
  • 12. Making Children’s Ideas Meaningful • When your child asks you, “Why is there a moon?” don’t reply with a scientific answer. Ask him, “What do you think?” He will understand that you are telling him, “You have your own mind and your own interpretation and your ideas are important to me.” Then you and he can look for the answers, sharing the wonder, curiosity, pain – everything. It is not the answers that are important, it is the process-that you and he search together. ~Carlini Rinaldi
  • 13. WWWWhhhhaaaatttt DDDDoooo YYYYoooouuuu Doooo Wiiiitttthhhh aaaannnn IIIIddddeeeeaaaa???? KKKKoooobbbbiiiiYYYYaaaammmmaaaaddddaaaa A little boy has an idea, but is perplexed on what to do. Share it with others? Pretend it doesn't exist? This idea is not to be deterred, it won't leave - it needs attention; especially an idea that’s different, or daring, or a little wild? You sit with. Get to know it by asking it a few questions like what it wants to be when it grows up Finally the little boy gathers courage to share it. Instead of providing encouragement, people laugh. They say it is no good, too weird, a waste of time... He almost gives up. But he doesn't, and it's a good thing, too. "And then, I realized what you do with an idea... You change the world." . http://www.live-inspired.com/What-Do-You-Do-With-an-Idea- P1366#sthash.eqgwKU6p.dpuf
  • 14.
  • 15. Provocation/Invitation Defined • A Provocation is something that sparks questions, interest, ideas, theories, discussion, debate and engages the children's thinking. • Can come from the teachers, children or external sources such as the community. • Deliberate and thoughtful decisions made by the teacher to extend the ideas of the children. • Materials specific for each inquiry are intentionally organized to provoke the students and made available to them for their exploration/investigation
  • 16. SSSSttttaaaarrrrtttt wwwwiiiitttthhhh aaaa QQQQuuuueeeessssttttiiiioooonnnn • What have they been wondering about? • This is your cue, your opportunity to provide an experience which will engage their interests. • http://www.aneverydaystory.com/beginners-guide-to-reggio-emilia/setting-up-a-reggio-inspired-activity/
  • 17. Find out what your children already know • Brainstorm - where you discuss what you know and make a mind map • For younger children, what they understand will probably come through in their play, drawings and paintings • Take notes of what your children already know as well as any misconceptions they may have
  • 18.
  • 19. Plan your Activity • What kinds of activities engage your children’s sense of wonder? • Maybe an observation of living creatures? • A sensory exploration like this large painting activity or playdough? • An exploration of a new art medium like exploration of paint or clay? • An observational painting or drawing activity? • A discovery activity like a nature walk? • An exploration of a new material like rocks and minerals or one with magnets?
  • 20. Gather your Materials • Look for authentic materials, open-ended materials and ones which invoke a sense of wonder and discovery • If your subject is something real (in nature or around the neighborhood), head out for a walk, if you can, to explore the real thing • Connect the walk/outing to your child’s interests: – ‘You were asking about ant nests yesterday. Let’s go for a walk and see if we can find some.’ • Take along a notebook and pencil for sketching • Some binoculars and a magnifying glass (if useful) and a bag to carry any treasures and go explore • Listen to what your child is talking about, notice what they are doing, these little clues will help you to continue the exploration in your classroom.
  • 21. Setting up an Activity (a provocation) • try to include natural materials in your activity
  • 22. How does the activity look? Does it make you want to play too? Would you be attracted to this activity? Can you see everything that is available? Do you have some idea of what you might do with this activity?
  • 23. Define your work area • When you define the work area with a mat or a tray you draw children’s attention in, they will move to that area. Try using: – a small cloth placemat a hard surface for building with blocks – a mirror for observational painting activity – a clipboard for observational drawing – a kitchen tile for clay or playdough
  • 24. Define your work area (c0n)
  • 25. Using mirrors • Our world is reflected to us in many different ways, and when children, and adults for that matter, begin to look at the world through different perspectives, their minds are opened up to many possibilities. • • What better way to begin reflecting about the world and self, than playing with mirrors. • Children can see themselves from different points of view, it helps build a positive self image, and they can experience emotion through dramatic play in front of a mirror. There is also an awareness of light and reflected light scattering in many different directions.
  • 26. UUUUssssiiiinnnngggg mmmmiiiirrrrrrrroooorrrrssss ((((ccccoooonnnn)))) • Can the activity be enhanced at all by adding a mirror? Is there an aspect of the activity which would benefit from being seen from another perspective? • Using a mirror with blocks allows the front side of the blocks to be seen, encouraging the child to build more 3-dimentionally. • When painting or drawing, a mirror underneath an object allows the underside to be seen as well as reflecting light and color • Surrounding the activity with mirrors reflects light back onto the child as well as engages the child’s curiosity as they watch their movements.
  • 27. Cathy Weisman Topal and Lella Gandini (1999) Beautiful Stuff: Children Learning with Found Materials • “To the young child the world is full of materials to touch, discover, and explore. To find, collect, sort and use materials is to embark on a special kind of adventure. For adults, gathering materials means rediscovering the richness and beauty in natural, unexpected, and recyclable objects that are all around us, but not often noticed. • One way to rediscover our own creative impulses is to see possibilities in material. Children possess a natural openness to the potential of materials. When adults become aware of this process, they find ways to watch and listen to children. Children and adults become collaborators as they discover, collect, sort, arrange, experiment, create, construct, and think with materials. The goal is to allow children to become fluent with materials – as if materials were a language.” • …bringing materials into the classroom and discovering their potential for learning involves many of the same process skills used in math and science and interpreting literature. It’s a way of thinking about things. It helps both teachers and children become more aware of how they think. The experience also refines our aesthetic sensibilities, and gives both adults and children a framework for learning life skills. (p. 98)
  • 28. Provocations with Loose Parts • As long as materials can be moved, redesigned, put together and taken apart in a variety of ways, they are classified as loose parts. • When architect Simon Nicholson wrote about these materials that allow for creativity and choice he called it the “theory of loose parts” (Nicholson, 1971). • He said that in any environment, the degree of creativity and inventiveness is directly proportional to the numbers of variables in it. • Loose parts provide the variables children require to create new options in their play
  • 29. Loose Parts (con) • Giving meaning to loose parts requires us to think about the possibilities of how a child learns and consider the materials and environments she uses. • Loose parts create endless possibilities and invite creativity. – For example, if a child picks up a rock and starts to play, most likely that rock can become anything the child wants it to be. • Imagination, creativity, curiosity, desire, and need are the motivation of loose parts.
  • 30. Loose Parts (con) • A term strongly connected to loose parts is open-ended. Open ended materials, environments, and experiences encourage problem solving and are child centered. • Children involve themselves in concrete experiences using loose parts, which lead to explorations that occur naturally, as opposed to • adult directed. • However, adults do play important, intentional roles in preparing, guiding, and documenting open ended learning experiences. • When children are encouraged to integrate play materials and areas in their own creative ways, they are experiencing open ended learning
  • 31. The richness of the materials allow children to deepen their understanding and construct new knowledge.
  • 32. moved, redesigned, put mmmooovvveeeddd,,, rrreeedddeeesssiiigggnnneeeddd,,, pppuuuttt ttttooooggggeeeetttthhhheeeerrrr aaaannnndddd ttttaaaakkkkeeeennnn aaaappppaaaarrrrtttt iiiinnnn aaaa vvvvaaaarrrriiiieeeettttyyyy ooooffff wwwwaaaayyyyssss Chalk board contact paper http://picklebums.com/2013/07/30/chalkboard-and- loose-parts/
  • 34. Loose Parts: caps, corks, plastic, buttons
  • 35. Loose Parts: Robot Workshop
  • 38. Provocations with an Invention Box
  • 40. Engineering with Loose Parts • Engineering Board
  • 41.
  • 44. Andy Goldsworthy • Naturally Beautiful https://www.youtube.com/watch?v=fUpVf-7i75I • Andy Goldsworthy Naturalist Artist 1 https://www.youtube.com/watch?v=_opAMkK95gE • Andy Goldsworthy Naturalist Artist 2 https://www.youtube.com/watch?v=H60eLNgRTLQ • Andy Goldsworthy Naturalist Artist 3 https://www.youtube.com/watch?v=jC-4bedyT_k • Andy Goldsworthy Naturalist Artist 4 • https://www.youtube.com/watch?v=mRd-Zafk8Q4
  • 46. Using an overhead projector to create backgrounds to stimulate imaginations.
  • 47.
  • 48. Provocations in Sand /Water/Sensory Table
  • 49. Provocations for a Science and Discovery Area
  • 52.
  • 53. Provocations for the Math Area
  • 54. Provocations in the Writing Area
  • 55. Provocations in the Reading Area • n
  • 56. Provocations • with a Line • How would the child think about how to symbolically represent an idea through a line. Could you make a quiet line or a loud line? What color would a quiet line be?What size brush would you use? As an added challenge, the children could only connect to another line not cross through another child's work. • This provocation challenged children's symbolic thinking on many different levels, e.g., inventing a new strategy like "jumping a line," connecting two paths with a short cut, learning how to hold a brush, or inventing words like a "humpy" line. They also had to work collaboratively and patiently wait their turn making their marks while watching their friend work, quite like waiting for the other player to make a move on the chess board.
  • 57. Provocations in the Block Area
  • 58.
  • 60. Provocations about Ramps and Pathways • When movement is added to the messing about invitation of balance, exploration and engagement require no further provocation.
  • 61. Provocations in the House /Dramatic Play Area We asked the children to make drawings of what they did in the drama corner. Then with an overhead projector and black house paint we painted the drawings large on the walls in the corner. The children then added the colors.
  • 62. • Our "Tree Contest" turned into an inquiry space that investigated the possibility of creating a life-sized forest http://myclassroomtransformation.blogspot.ca/2012/08/inquiry-spaces.html
  • 63. In Review • There are multiple opportunities for children to show conceptual understanding through the materials. • Introductions lead to interactions and repeated experiences lead to expressions both verbally and through physical representations. This dialogue is at the heart of conceptual understanding. • It is through conversations and multiple experiences that we work out ideas in our head. Through discussing and telling someone about it and having someone question your ideas you realize you do not have it all worked out so that you can communicate clearly (or maybe you did, but didn’t really know it). • In a sense, the activities and the conversations allow for authentic assessment and continued demonstration of learning.
  • 64.
  • 65.
  • 66. Resources on Loose Parts • Museum Notes – http://museumnotes.blogspot.com/2011/02/playing-with-loose-parts. html • How not to Cheat Children: The Theory of Loose Parts – file:///F:/curiosity/Imagination-Playground-Theory-of-Loose-Parts- Simon-Nicholson.pdf • Loose Parts: What does that mean? – file:///F:/curiosity/Loose-Parts.pdf • The Theory of Loose Parts An Important principle for design methodology – http://www.earlylearning.prn.bc.ca/wp-content/uploads/Theory-of- Loose-Parts.pdf • Web site • The Five Considerations for Incorporating Loose Parts – http://tecribresearch.wordpress.com/2013/01/31/the-five-considerations-for-incorporating- loose-parts-2/ • Early Learning – http://www.earlylearning.prn.bc.ca/?page_id=3788
  • 67. Resources • Journey into Early Childhood – http://journeyintoearlychildhood.weebly.com • Teacher Tom – http://teachertomsblog.blogspot.com/ • Tom – http://tomsensori.blogspot.com/ • Inquiry is the medium; narrations are the message – file:///F:/curiosity/Inquiry-is-the-medium.pdf • Natural Curiosity – focus is on Environmental Inquiry, and how to bring inquiry-based teaching practices into the classroom – http://www.naturalcuriosity.ca/aboutus.php?m=b • Thinking with a Line by Cathy Weisman Topal • Provocations with a Line • http://www.midpac.edu/elementary/art_pk/2012/01/symbolic-thinki. php • mmm
  • 68. Characteristics of Inquiry Based Learning
  • 69. Teacher’s Role in Inquiry Based Learning