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WHAT CHILDREN SEE 1 WHAT CHILDREN SEE: SOCIAL PHENOMENA IN YOUNG CHILDREN'S ART MAKING EXPERIENCES By NATHAN VASARHELY A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FO R THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2014
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WHAT CHILDREN SEE 2
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WHAT CHILDREN SEE 3 ! 2014 Nathan Vasarhely
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WHAT CHILDREN SEE 4 Acknowledgements I would like to thank Dr. Jodi Kushins and Dr. Michelle Tillander for their supportive guidance throughout this research. I would like to thank the participants and their families for their consistent help in making this study possible. I would especially like to thank my wife, Heidi, and my children, Hunter and Madeleine for their constant love and support throughout this ar duous program. From the bottom of my heart, I am eternally grateful.
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WHAT CHILDREN SEE 5 ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS WHAT CHILDREN SEE: SOCIAL PHENOMENA IN YOUNG CHIDLREN'S ART MAKING EXPERIENCES By Nathan Vasarhely December 2014 Chair: Jodi Kushins Member: Michelle Tillander Major: Art Education Abstract The ways in which children perceive the world are as unique as the art that the y create. Through this research I examine the significance of art making in the social development of young children with an emphasis on social interaction. The goal of my study was to gain further understanding into how young children approach their art m aking as it relates to their social interactions with the aim of nurturing and providing positive opportunities for children to interact with their peers within art education. By examining the literature of scholars such as Eisner (1978, 1980), Ivashkevich (2006, 2009), Pearson (2001) and Wilson (1976), I have grasped how experience and influence from the environment contribute to the overall understanding of the child artist as they develop within various social situations. Literature focusing on the act o f play also provides much insight into how art opportunities enhance one's ability to develop socially. The literature review section discusses the relationship between early art making experiences and the development of the child in specific social situat ions, including how we build understanding from experience and the socio cultural factors that contribute to the influence of our actions.
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WHAT CHILDREN SEE 6 To explore ideas in regards to influence, experience, and play within a social context, I conducted qualitative rese arch in the form of a case study. This study was conducted over four sessions where a group of 6 young children played with art making materials as they interacted with their environment. The data I collected included observations, questionnaires, surveys, and informal dialogue with the child artists and their parents. Through the analysis of my data, I was able to identify and articulate ways in which art making contributes to the social development of the child and the role of social experiences in young children's art making. I found that influence plays a major role in what children create; sharing comes in many shapes and forms; and that engagement comes from more than just the materials. As a result of what I observed and documented throughout this st udy, I created an ISSUU paper entitled, Artful Playdates: A Guide for Parents. It prescribes recommendations for individuals interested in starting up an art group for young children. These recommendations include what kind of group to start, how often to meet, where to meet, ideal group size, ideal length of art activities, ideal activity types, as well as the types of materials one might need to get started in relationship to my findings. This document can be found at http://issuu.com/vasarhelyn/docs/artful_playdates . I conclude this Capstone paper with my reflections on this research, how I might apply it in my classroom, and words of encouragement for anyone wanting to provide young child ren with art opportunities.
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WHAT CHILDREN SEE 7 Table of Contents Title Page ................................ ................................ ................................ ............................ 1 UF Copyright Page ................................ ................................ ................................ ............. 2 Acknowledgments ................................ ................................ ................................ ............... 3 UF Formatted Abstract ................................ ................................ ................................ ....... 4 Table of Contents ................................ ................................ ................................ ................ 6 Introduction ................................ ................................ ................................ ......................... 8 Statement of the Problem ................................ ................................ ............................ 9 Purpose or Goals of the Study ................................ ................................ .................... 9 Research Questions ................................ ................................ ................................ ... 11 Rationale and Significance of the Study ................................ ................................ ... 11 Assumptions of the Study ................................ ................................ ......................... 11 Study Limitations ................................ ................................ ................................ ...... 12 Definition of Terms ................................ ................................ ................................ ... 12 Literature Review ................................ ................................ ................................ .............. 13 Methodology ................................ ................................ ................................ ..................... 20 Research Participants ................................ ................................ ................................ 21 Research S ite ................................ ................................ ................................ ............. 22 Data Collection Procedures and Instrumentation ................................ ..................... 22
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WHAT CHILDREN SEE 8 Data Analysis Procedures ................................ ................................ ......................... 24 Findings ................................ ................................ ................................ ............................ 25 Finding 1: Ifluence Has Many Faces ................................ ................................ ........ 26 Finding 2: Cooperatively Sharing the Experience ................................ .................... 28 Finding 3: Factors Contributi ng to the Level of Engagement ................................ .. 30 Summary Across all Findings ................................ ................................ ................... 35 Discussion and Conclusion ................................ ................................ ............................... 36 Discussion and Interpretation of Findings ................................ ................................ 37 Significance, Implications, and Recommendations ................................ .................. 38 Conclusion ................................ ................................ ................................ ................ 40 References ................................ ................................ ................................ ......................... 42 Appendi x A ................................ ................................ ................................ ....................... 45 List of Figures and Figure Captions ................................ ................................ .................. 53 Author Biography ................................ ................................ ................................ ............. 54
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WHAT CHILDREN SEE 9 Introduction Art has been an important part of my life as far back as I can remember. Art has helped shape who I am and I how I view the world today. It is those early art experiences that I still cherish the most. As I observe my own children make art through playful interaction, I see the joy those experiences bring them and it reminds me of my experiences as a young child. I see the sparkle in their eyes as they discover new things and a pply those new discoveries to their art making for the first time. They are the source of inspiration for this research. I initially began thinking about art making in an informal setting as I observed my children create art with others during playful mom ents of self discovery while visiting the Bay Area Discovery Museum , located at Fort Baker in Sausalito, California in the fall (see Figures 1 and 2). This became the basis for my current focus and research, the role of art making in the socialization of y oung children. Figures 1 and 2. My son and daughter exploring art medi a and materials at Bay Area Discovery Museum.
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WHAT CHILDREN SEE 10 Statement of the Problem I want to gain further understanding into how young children, including my own, approach their art making as it pertains to their social interactions with others and the world around them. This s tudy is relevant to anyone dealing with children on a regular basis. This includes parents, child care givers, educators, researchers, and scientists seeking better understanding of children's social patterns, and how we may go about nurturing and providin g positive opportunities for children to interact with their peers. Purpose or Goals of the Study The purpose of my research was to examine the significance of art making in young children's development with an emphasis placed on social interaction. This research is needed because it provides a better understanding of the ways in which children perceive their own experience both artistically and socially within a specific context. The young child's perspective is underrepresented in art education and need s to be explored further, so that we may see how children view and interpret their experience through the interactions they encounter. For my study, focus was placed on observing each child's interaction with others, their interactions with the presented e nvironment, as well as the level of engagement with the provided materials. Children were asked to comment on these interactions through informal dialogue at the end of each session, ultimately highlighting their perceptions of the experience. Over the co urse of a five week period, I had six participants ranging in ages three to six meet four times in a specific domesticated setting for half hour sessions. Their art making experiences were completely self directed after a brief introduction of what materia ls would be used for the day. During these sessions, I observed each child as they
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WHAT CHILDREN SEE 11 made art and interacted with their overall environment. By analyzing the data collected from my conversations with the children and observations of their art making experien ces, I was able to present my perspective of their experience as it related to their interactions during art making. Thompson and Bales (1991) state, "experience suggests that young children interact with little prompting as a natural consequence of their placement in social situations" (p. 47). For this study, each participant with minimal prompting, was able to freely express themselves amongst their peers as they shared the art making and social experience together. As a result, this study not only show cased the art created by the young children involved; it acknowledged the social factors that influence their art making, and the significance behind all of this research. Additionally, the research provides insight into ways in which we can become more ac tive in the opportunities we provide our children as they play, explore, and begin to develop socially with their peers. From the experiences that I witnessed and documented, I created an online publication, setting forth recommendations for parents intere sted in leading art groups for children, as well as a list of related resources to aid in putting a group like this together (see Figure 3). Figure 3. Screenshot of ISSUU e magazine cover.
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WHAT CHILDREN SEE 12 A link to this online publication was disseminated throughout various social networking sites such as Facebook, Twitter, Art Education 2.0, and Instagram to see what kind of feedback I might get from users. Research Questions The specific research questions that guided my investigation as it unfolded were: 1. What significance does art making have in young children 's social experiences? 2. What role do social experiences have in young children's art making? Rationale and Significance of the Study As adults, our perception of childhood experience is seen, in part, through nostalgic recollection. Likewise, how we pe rceive our past is somehow influenced by our present, ultimately making our thoughts a fabrication. With this study, I do not want to assume the child's experience is something it truly is not. Of course my observations will be biased, but it is the child' s experience that I ultimately want to highlight through the presentation of my findings. By documenting the art making experiences of the child from the child's perspective, a clearer picture is presented from the actual thoughts and actions of the young developing artist. Assumptions of the Study In conducting this study I assumed that all children really enjoy making art deep down inside, because I remember how much joy it brought me when I was a child. I also assumed that when children are given the o pportunity to play, in this case with art, they take advantage of that opportunity. Since this study was conducted in a group setting, I
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WHAT CHILDREN SEE 13 assumed that social interaction would play a significant role in the art making experience, simply because of the desir e to be amongst and share the experience with ones peers. Study Limitations Some limitations of my study include the longitudinal aspect of my research. It would be interesting to study young children over the course of a few years to see how their art making practices and social habits change at various stages of their development. Since my participants are so young many of the variables presented, such as the amount of materials provided to share might have a tremendous affect on the way in which they interact with and perceive the overall experience. I also believe that their communication skills ultimately affect the way in which they express their perceptions of the experience. Being limited to a group of children that already have a rapport changes the dynamics of the whole situation, because some sort of relationship has already been established. How might the experience change if the individuals involved were complete strangers? Being limited to a specific location also has its strengths and weakne sses. The location becomes familiar to those involved; however, over time the environment might become stagnant. Definition of Terms Cognition: Eisner (1980) defines cognition as "the process of knowing, the means through which the organism becomes awar e of the environment" (p. 330). This requires the organism to actively participate with the environment by making choices. Therefore our perceptions of the world become a product of how we think about and interact with said world.
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WHAT CHILDREN SEE 14 Play: Sienkiewicz (1985) defines play as any self activity where the child enjoys the freedom for spontaneous development. Through play, children experiment with new skill sets and acquire new knowledge as a result. Literature Review Discovering the World Through Experience and A rt Making Children begin developing understanding from an early age. They are like sponges; they absorb everything in which they come into contact with, and as a result, shape a world around them composed of various experiences and influences. According t o Eisner (1980) "each of us constructs our own universe and because we occupy a common culture there is significant overlap in the worlds we create to make it possible to share a common, but not an identical world" (p. 330). By introducing art to young chi ldren they are given the opportunity to explore, experiment, and spontaneously play with art making practices that enhance their unique understanding of the world while recognizing their place in it as both an individual and collective being. By allowing children opportunities in the arts, we can help develop their social skills, problem solving skills, and nurture the ways in which they perceive things. Art provides a stable foundation for individuals to develop an understanding of the world and how one interacts with said world. Malin (2013) states: Art making is a personally meaningful activity, and it is important to understand who children are as artists if we want to know them, what they are learning in art making and what meaning they are making for themselves in the process. (p. 8) In turn, "young children undoubtedly draw upon cultural conventions, social situations, and denotative systems to give shape and form to their experience" (Louis, 2005, p. 353).
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WHAT CHILDREN SEE 15 In this regard, not only does our environme nt influence us, but our choices also become relevant in the shaping of our overall understanding of our experience. As a result, our art making becomes informed by our interactions with and influence from the outside world, regardless of whether or not th e situation is encountered individually or in a group. Connecting Child Art with Self discovery and Social Development In this section I will be discussing the relationship that exists between early art making experiences and the social development of th e child. A focus will be placed on art making in terms of experience, influence from the environment, and play as contributors to one's social development as they are defined and further explored. The author's agree that experience builds upon experience a nd it is these experiences across various environments that influence our social being. They also believe that the act of play allows certain skill sets to develop over time, including social skills and it is these skill sets that determine how we choose t o interact with the world. Therefore recording firsthand accounts of experience, influence from the environment, and play as contributors to social development in relationship to children's art making became most pertinent to my study. This allowed the chi ld's perspective in regards to art making and social ramifications to unfold, giving us, the adults, a better understanding of where children see themselves in the world and the worlds they create through their art making practice. Cognition Stemming from Experience Hamblen and Jones (1982) write that, "cognition involves the forming of categories and hierarchies of meaning whereby metaphoric transfer allows for the building of multiple reference systems and the subsuming of new knowledge within pre existin g categories" (p. 47). It is this building off of previous experience that allows one
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WHAT CHILDREN SEE 16 to form new knowledge by connecting it with pre existing knowledge. Louis (2005) considers artistic development to be a journey in which we build upon previous experienc es that relate to one another. Eisner adds that as a result of cognition "the organism becomes aware of the environment" (p. 330) and must think as a result of the encounters in which they experience. We are complex beings with a complex make up of unique experiences. This is what allows one to begin understanding the way in which the world works. Influence from the Environment Although our experiences are unique and they help construct meaning in our lives, influence plays an important part in the develop ment of the individual, especially as an artist. Exploration of the environment encourages interaction with the world and its inhabitants. As a result of that interaction we are influenced and forever changed by what we experience. Ivashkevich (2009) propo ses that "comprehending drawing as a form of contextual meaning production requires that the graphic images produced by children be understood as interwoven with the children's other daily activities and embedded in interactions with peers and adults" (p. 52). Ivashkevich (2006) also states that "influences include books, media images, and drawings produced by peers" (p. 46). We are a product of our environment and it is our interaction with said environment that allows us to create "a bridge to other peop le" (p. 49). Art making allows the individual to express themselves in ways that words cannot. At the same time art making embraces influence as a necessary means to connect one another both socially and culturally.
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WHAT CHILDREN SEE 17 Promoting Play Develops Social Skills Play is an essential part of learning from and interacting with our environment. "Play combines attention with relaxation, purpose with independence, and rule with freedom" (Sienkiewicz, 1985, p. 132). By promoting play in the arts, we are allowing young children to use their imagination and creativity to explore and experiment with art making practices while developing both their artistic and social skills. It allows us to form a dialogue with one another as we cooperate in our particular situation. "When children are first given an opportunity to use materialsÉthey learn, namely that their actions have consequences" (Eisner, 1978, p. 6). It is this realization that permeates a child's interaction with the world and develops an understanding of self, givi ng them a sense of place and purpose in the world. According to Milbrandt and Milbrandt (2011) "creativity is a valuable attribute, because it helps us to adapt to change and celebrate life" (p. 10). "Like adult artists, children engage in art making as a process of experimenting with materials and investigating ideas with media" (Malin, 2013, p. 13). In turn, play allows children to construct meaning from their self directed exploration and experimentation in the arts and attribute it to other aspects of their social being. Representing the World Through Art Making In this section I will be discussing how children's art making experiences reflect the ways in which they see and interact with the world. I will also be discussing acts of play as a form of s elf exploration and self discovery, in that it allows us to begin to develop problem solving skills that heighten our awareness. Children develop an outlook on the world dependent upon their situation and/or experience within their environment
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WHAT CHILDREN SEE 18 and this ca n be seen throughout the graphic representations they create. These provide insight into the inner workings of the child as well as how they see and interact with the world. From an early age, self discovery plays an important role in our development. It a llows us the opportunity to develop our skills over time as well as interact with the environment from which we are learning. Children use art making as a way of creating visible representations of the world. According to Pearson (2001), "children might use drawing differently but their involvement in it is defined by the uses that can be specified for their representations" (p. 356). "It is commonly agreed that young children's concept of representation originates in sensory and kinetic responses to mat erials" (Louis, 2005, p. 348). Early childhood representations of the world begin with the actual act of expression, where we utilize not only our observational skills but also the application of materials to convey specific meaning to those observations. At first they take on the form of simple mark making and as we grow older those representations grow into a reflection of the world as seen through our experienced eyes. According to Golomb as referenced in Ivashkevich (2006), "the child does not copy, bu t rather plays with reality by creating symbolic attributes of objects and their functions" (p. 47). In turn, these symbolic attributes lend a hand to the social development of the child by creating this unique vision of what the world represents. Art is a reflection of society. It allows us to interact with our surroundings on so many different levels. The images we create represent the ways in which we envision the world and are interpreted freely by others who encounter them. It is this bond that connect s us all. Lindqvist (2003) states "when the artist creates his art, he gives realistic
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WHAT CHILDREN SEE 19 material an aesthetic form, which touches upon the emotions of the readers and makes them interpret the work of art and bring it to life by using their imagination" (p. 248). As a result of this visual interaction, a symbiotic relationship occurs where all are affected differently by its existence. Therefore art making is a "socialization agent" (Hamblen & Jones, 1982, p. 49) that allows us the opportunity to interact wit h and relate to one another as we navigate through both our individual and shared experiences. Acquiring Understanding Through the Act of Play in Art Making Play is monumental in the development of a child. Influential German educator Friedrich Froebel ( 1782 1852) "saw such activity or play as preparation for the higher level of activity of creating representations of objects" (as cited in Sienkiewicz, 1985, p. 126). In turn, play acts as a foundation for artistic development in the child. As children pla y with materials throughout their art making experience and explore the ways in which things work, they begin to understand what is effective and what is not in terms of application to their art making practice. Gude (2010) states that, "creative individua ls develop a deep rooted trust in their own capacity to generate surprising solutions" (p. 37). As a result, we begin to take ownership in what it is we create and show others as our confidence in problem solving grows. Play is a form of exploration and c reates awareness in individuals. If self exploration is denied or non existent then we may never discover certain likes or dislikes, limiting the capability of the individual, because they lack the experience and knowledge acquired through those moments of self discovery. Play is not only a form of exploration, but also a form of practice. It allows children the skills necessary to advance their craft. It allows children to push the boundaries between what they know and what they can still
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WHAT CHILDREN SEE 20 discover. It also allows children to find unique solutions to the problem at hand. Through the act of play the possibilities become endless and exponentially rewarding as children interact with their environment. Although what children produce is directly influenced from t heir overall experience, "spontaneity and subconscious are vital to that creative journey" (Malin, 2013, p. 7) in that it provides a necessary outlet from reality. True creativity results within this intertwining of the real and the imagined as children ex press themselves artistically. The power of the visual experience that penetrates our thoughts and influences our imagination on a daily basis. Art provides individuals an outlet. It gives them a sense of purpose and place in the world. Art also provides ways for people, especially young children to express themselves in ways that words can sometimes not. Whether we are discussing art making as a means of representing the world or a way of acquiring understanding through moments of self discovery, we must recognize and embrace the significance art making has in the social development of young children as they interact with and comment on their surroundings during the process. Application to My Research: Contributors to Young Artists' Social Development Ar tistic exploration contributes to the development of the child in so many different ways. On a social level, it allows children the opportunity to interact with others in specific environments and use their imagination to create visual representations of o ne's encounters. This literature has informed my research topic by exposing ways in which the outside world influences children's art making experiences as well as ways in which acts of self discovery such as play contribute to the child's overall understa nding and development.
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WHAT CHILDREN SEE 21 By conducting observations of children's art making practices in a group dynamic and communicating directly with both the artists and their immediate family members, I was able to grasp a better understanding of the literature as it applies to children's perspectives towards art as a reflection of self and the accompanying world. Freedman (2007) argues that: What is truly basic to art education has not just to do with questions of how people make art. What is basic to art educati on also has to do with questions of why people make art, how they use art, and how they value art. (p. 211) This literature reviewed introduces factors that contribute to both the artistic and social development of the child. This includes acts of self di scovery in social settings as well as influence form the environment in which we are experiencing. Through my observations I examined how each child handled both their artistic and social experiences, demonstrating that we are influenced by many factors t hat cause us to act and interact a certain way. What still needs to be studied further is the perceptions children attribute to their own art making practice and the socialization that occurs as a result, rather than the often skewed adult perspective. By analyzing this topic in more detail a better understanding of the child's viewpoint will emerge. Further examination of play groups and creating art opportunities for our children must also occur to gain more confidence in actively incorporating these kind s of healthy activities into our young one's lives. Methodology I conducted qualitative research in the form of a case study. Merriam (1998) defines qualitative research as "an umbrella concept covering several forms of inquiry
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WHAT CHILDREN SEE 22 that help us understand and explain the meaning of social phenomena with as little disruption of the natural setting as possible" (Merriam, 1998, p. 5). Since I sought to investigate the significance art making has in the social development of young children in particular environment s, I conducted a series of observations to gain perspective of each child's experience both artistically and socially. This study required approval by the IRB because of the involvement of young human subjects and permission from each participant's parents was also granted before any research could be conducted (see Appendix A). According to Becker, Dawson, Devine, Hannum, Hill, Leydens, Matuskevich, Traver, and Palmquist (1994 2012) in Colorado State University's Writing Studio Guide, "the case study looks intensely at an individual or small participant pool, drawing conclusions only about that participant or group and only in that specific context" (Becker, et al., 2012, para. 1). I studied a group of young children, specifically 3 three year olds and 3six year olds simultaneously. These individuals were studied four times over the course of a five week period. This study was conducted in a domestic setting involving all six participants and each session lasted for approximately one half hour. Controlling t he environment, made it easier to explore and describe the interactions each artist had with that space and the others involved. Research Participants By asking for my friends' help, I was able to find participants in the age range I was looking for. In all, there were six children, three boys and three girls involved in the study, five of whom were in preschool or elementary school. They ranged between ages three and six, and all were considered socially active on a consistent basis according to
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WHAT CHILDREN SEE 23 their pa rents. All were said to make art at least once a week for an hour as well. Three of the six children were said to make art four plus hours per week. All of the subjects involved came from stable middle class homes that provide regular opportunities for gro wth. Throughout the remainder of this paper, pseudonyms will be used to protect identity when a child is mentioned specifically by name. Research Site This research took place in a cozy home, where different areas were utilized at each session. At two of the sessions the dining room table was used to make drawings and paintings using various mark making materials. Another session took place in the kitchen, where children's tables were set up so that they could explore the wonders of Play Doh " . A fourth ses sion took place out in the backyard on a warm sunny day. The cement ground and brick walls of the yard provided the perfect canvas for sidewalk chalk. Data Collection Procedures and Instrumentation Over the course of a five week period, I utilized various methods of collecting data to reinforce my research. Once I had each parent's permission, I initially collected data from surveys and questionnaires completed by each child's parents (see Appendix A). This happened at our first session while the children made art. The survey and questionnaire helped give me perspective on how the parent viewed their child's current art making, if applicable, and the way in which they perceived their child's social interaction with self and the world around them. I also col lected data from each child's art making experience. This included art works created, notes from my observations
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WHAT CHILDREN SEE 24 made during each session, and discussion with children of their work in both private and group settings. Each session was recorded digitally s o that multiple sources of data were collected and available for analysis. The recorded data was used solely for checking the accuracy of my notes and then the material was erased. The observational notes I gathered, document each child's art making practi ce and the way in which each child interacted with their presented environment, including their peers. I wanted to see if their interactions with other children would influence choices in their art making as well as to see how the young artists navigated s ocially in their group setting. I made sure to "report preliminary findings" so as to reduce the likelihood of bias (Becker, et al., 2012, para. 3), rather than just simply interpreting the data collectively at the end of the study. I made sure that the di alogue between the children and myself was conducted informally, so as to make the children feel more comfortable and to get a candid response from my participants. I also made sure that the questions I asked related to the observations I noticed during th eir art making activities. As a result I recorded their responses verbatim and transcribed them within my findings. Ribbins (2007) believes "producing rich and reliable data from interview based research, requires managing effectively at least four key th ings: what is asked and how, the interviewer and the interviewee, recording and transcribing" (p. 215). The data I collected from my observations and interactions with the child participants was beneficial, for it helped me present a clearer understanding of the child's perspective in relationship to their art making experience and social encounters.
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WHAT CHILDREN SEE 25 Data Analysis Procedures The collection and analysis of data occurred simultaneously. This allowed me to produce a better understanding of my intended rese arch and focus subsequent observations around questions as they arose. After each session I highlighted my observations and dictated what I had observed, so that I could get the information presented as accurately as possible. This also allowed me to see p atterns and make comparisons as they arose during each session and as a whole. By coding my collected data I was able to refer to my findings in their intended context. Merriam (1998) states, "with regard to the first level of coding, each interview, set o f field notes, and document needs identifying notations so that you can access them as needed in both the analysis and the write up of your findings" (p. 164). This helped make my findings manageable and more useful in the long run, because it allowed me t o refer to my information quickly and systematically. Once I felt that I had collected sufficient data the study concluded. I brought all of my information together and examined it more closely to see how it related to the questions in which I was trying to answer. Those questions being, what significance does art making have in young children's social experiences? And what role do social experiences have in young children's art making? Merriam (1998) suggests: To begin the more intensive phase of data an alysis in a case study, all the information about the case should be brought together --interview logs or transcripts, field notes, reports, records, the investigator's own documents, physical traces, and reflexive memos. (p.194)
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WHAT CHILDREN SEE 26 The more intensive phase of data analysis helped me to draw the data I had gathered together holistically, where it "does not attempt to break the evidence into parts, but rather to draw conclusions based on the text as a whole" (Becker, B. et al., 2012, para. 1). In turn, I was a ble to look for patterns that make my case study pertinent. As a result, I am able to present a stronger case through the dissemination of my findings and the recommendations I am offering. Findings The goal of this research was to gain further understand ing into how young children see their art making as it relates to their social experiences and vice versa. As a result of my research, I was able to identify some correlations between the two. As a researcher I wanted to see how the children handled themse lves in their presented environment and with situations that arose, and as parent I had to step back to give them the opportunity to do so. Throughout this study, focus was placed on each child's interaction with peers, their interactions with the environm ent, and engagement with the materials. My findings unfolded as a response to these foci. This section addresses my three findings and answers the questions which I have set forth. First, I found that when children are presented with a group opportunity, peer influence s become guiding light s throughout the process. Second, I found that children are more willing to share materials with others than we adults might initially perceive. I also found that engagement in the activity involves more than just the ma terials; it involves other people and the environment as well. In the following sections, I expand on these ideas.
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WHAT CHILDREN SEE 27 Finding 1: Influence Has Many Faces Peer i nfluence played a major role throughout this study. When the children were presented with an opp ortunity to play in a group, they began to influence each other almost instantly. However, the levels of influence and interaction did vary. Some children influenced each other by suggesting the usage of certain materials, others looked on and gained insig ht from their peers art making, while others elaborated and collaborated on stories accompanying their artworks. One example of this collaborative storytelling occurred while Michael and Frank, the two young boys above, left and right in Figure 4, b egan to make up a world filled with imaginary characters while using Play Doh " . The way in which they incorporated storytelling in their art helped to influence what they made and what they used to make it. When asked about why it is they were making up st ories alongside their creations, Frank Figure 4. Two boys sharing ideas about what to make while one girl looks on and listens.
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WHAT CHILDREN SEE 28 responded by saying that "the stories allow me to picture in my head what I wanted to make and how I was going to make it." At the same time he said that he liked his friend Michael making up the stories with him beca use they could work together to make a better story for their art. "Michael thought of some things that I didn't and I came up with other th ings that he didn't think about, " he told me. They also asked for one an other ' s input with regard to what colors wo uld look best with their particular creations. During the session in which the children were painting, Michael asked Frank, "What color should I use?" and Frank responded, "Use whatever color you want, because this is art." Over the course of the study, th ese two really shared their art experience as a way to bond socially. This was evidenced in the smiles that lit up their faces, the compliments they gave each other, and the constant use of high fives to congratulate one another. They found common ground i n using their imaginations to influence what they made both individually and collectively. I asked them why they felt using their imagination together was so important. Michael said, "I like how Frank makes things up as he makes art," while Frank said "I l ike how Michael let me share my imagination with his." I found that the younger children were influenced more by observing the actions of others, regardless of age. They tended to look at what was going on around them and what others were doing before delving into their own approach and sharing the outcome. By witnessing the use of certain materials and observing the overall situation amongst peers the younger participants gained the confidence and awareness to create using the materials the way that th eir older counterparts did. During the drawing session, Grace watched how the boys used multiple markers at the same time while drawing. After
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WHAT CHILDREN SEE 29 watching them do this for approximately two minutes, she picked up three markers of her own, held them in her rig ht hand and began to make marks on her sheet of cardboard. At the end of this particular session, I asked Grace why she was watching the older kids before she started making her own art and she replied, "I liked watching my brother. I liked how he used th e markers. I wanted to do that too." Finding 2: Controlling Materials and Space to Promote Cooperatively Sharing the Experience Art in a group setting required the participants to share materials and the space provided. I was able to control this by prov iding an amount of material that would require individuals to share at some point and choosing contained spaces to encourage more interaction. I decided to do this because I wanted more interaction amongst the participants to occur and I felt by controllin g these factors I would see more social interaction. Being a shared experience the children accepted the activities as a form of community and treated each other with respect and kindness. Since the children were aware of this, they were able to actively cooperate with the materials at hand. It was interesting to see how some of the children waited until another was done playing with the tool they wanted before taking their turn, while others simply gravitated towards another material if their initial choi ce was being used. During one instance, John wanted to use a piece of red chalk on the ground, however, Grace was already using it. When he realized that, he went over to the bucket and grabbed a green piece of chalk. Later I asked him why he did this and he said, "Grace was using the red chalk and I needed a piece of chalk so I grabbed one." I asked him why he chose a green one and he simply said, "it
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WHAT CHILDREN SEE 30 was the first one I saw." However, all in all they cooperatively shared the experience as a time to bond o ver their art making (see Figure 5). On the other hand I found that the older children were willing to share materials more openly. One instance occurred when Alexis wanted to use the large paintbrush Michael was playing with during our painting sess ion. She asked Michael if she could use that paintbrush. Without a word, Michael simply handed her the tool and then proceeded to grab another paintbrush and a feather to paint with. The older children also made suggestions to others by providing tips on h ow to achieve something or what to use in their artwork. Frank suggested to Alexis that she use a straw to blow the paint around her painting. After that suggestion, Alexis picked up a straw and began to blow on the blue paint she had just applied. At time s the older children would try to share materials that no one else seemed to want. Throughout the course of the study, Michael did this Figure 5. Three children share materials as they interact during Play Doh " time.
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WHAT CHILDREN SEE 31 five times. At the end of our final session I asked him why he kept offering materials to others even though they didn't want them and he stated, "I thought that if they used the materials I wanted them to, their art would look better." The sharing of ideas led Michael and Frank to push their works further and ultimately gave them the opportunity to work collaboratively on drawings. At one point, Frank suggested that if Michael used a large black crayon to outline the character he was creating it would stand out more. As they collaborated on their drawings, they shared materials, space, and built upon each other's ideas. At one point, Frank said to Michael "I like sharing my time with you." I later asked him what he meant by that and he said, "I have fun making art with Michael." In this case, sharing transcended the simple sharing of materials; it encapsulated the sharing of the overall experience that resulted from the simple act of play. Finding 3: Factors Contributing to the Level of Engagement Many factors contributed to the level of each child's engagement throughout the course of the study. These factors included the level of engagement in the activity, the level of engagement with one's peers, the level of engagement within the environment, and the level of engagement at varying times of the day. Focusing on these allowed me to determine what types of activities chil dren gravitated more towards, whether or not social interaction played a role in their level of engagement, where these activities were most suitable, and at which time of the day the children were most engaged. Movement. I found that children were more e ngaged with activities that involved movement and the use of multiple materials. Gathering around the dining room table required the children to move around to gather materials more because of its size in
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WHAT CHILDREN SEE 32 relationship to their size. Using untraditional mat erials was novel and different. I asked the children as a group why they thought the use of more materials was more fun and Alexis responded with a smile, "I didn't know that you could paint with beads and feathers." And Frank said, "I like having a choice in what I can use and how I can use it." As a result of this, three of the four sessions were highly successful. Each session required the children to participate in a different art activity. At the first session they drew on cardboard using various mark making materials such as markers and crayons. At the second session Play Doh was set out with a variety of roller pins, cutting, and designing tools. At the third session the children were asked to go outside and draw on the cement ground and brick wall w ith sidewalk chalk. At the fourth session they painted using various mark making tools including but limited to their fingers. Of these four sessions, I found the Play Doh " was most successful and suspect this was because it was more hands on. The tactile nature of the Play Doh " allowed the children to not only construct something out of nothing, it allowed them to transform the material directly with their hands. The reason why I say this is because it was the only activity in which the children came back to multiple times. With the other activities, once they were done, they were done. Michael said that he liked the way in which the Play Doh " felt in his hands and that he got to use his imagination more. He was especially fond of sharing his ideas with ot hers and the others sharing their ideas with him. The least successful activity took place ou tside with the sidewalk chalk. I suspect t his was for a couple of reasons. This activity did not really allow for much movement of the bodies, because they were i n a sitting or kneeling position on the ground carving out
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WHAT CHILDREN SEE 33 there own space while looking down at the surface they were applying chalk to. As a result, not much social interaction occurred. This also made for a little more required effort on the part of the child retrieving new materials. I asked the children what they liked best about art and the children all agreed that they liked to use their hands. One young boy, John said, "I like to build things. Play Doh " was the best." Another little girl, Grace sta ted, I like using my imagination when making art." By incorporating kinetic art activities into my playgroup, I observed that the children were able to explore the environment and use of materials more freely with their peers while remaining engaged in the overall experience. Personal Actions . Children are children and when you give them the opportunity to play, they will take advantage of it. Art can be both personal and shared, as can be the experience of making it. Simply because a child was quiet and r eserved did not mean that they were not engaged. The same was true with the talkative child. They were simply engaged in different aspects of the experience which helped contribute to their own art making. I found that boys were more social as they tended to tell stories and move around a lot, while the girls were more focused on their art making. At the first session, one of the three year old girls, Alexis, sat quietly drawing and making marks on her paper, while two of the six year old boys, Michael and Frank, excitably played with what it is they were creating by narrating while they created. They were both engaged but at complete opposite ends of the social spectrum. At the final session everyone's level of engagement was high. This was not only becaus e of the materials being used but the time of day, which I will discuss later. I simply mentioned the word paint and everyone's eyes lit up with excitement. I asked
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WHAT CHILDREN SEE 34 them why they were so excited and John said, "It's paint. I love how messy it is." And Kim said, "Paint is my favorite." At this session the young girl below, Grace was so involved with her painting and the usage of so many novel materials that she became lost in her work for more than thirty minutes, ignoring everything around her (see Figure 6 ). I observed her pick up the beads and dip it in the paint and then place the beads on different areas of her paper. After five minutes of doing this, she picked up a large paintbrush and used it to spread orange and blue paint in one area. When sh e was done using the brush, she used a straw to blow paint around. She had witnessed the older kids doing this, so she mimicked their actions. After playing around with this for five more minutes, she spent fifteen minutes using her fingers to spread paint around her paper. Her last move was the addition of a plastic flower covered in paint that she pasted onto the Figure 6. A young girl highly enga ged in her painting. She is utilizing her fingers, beads, brushes, and a straw.
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WHAT CHILDREN SEE 35 bottom right corner of her artwork. When she was done, she had paint all over her arms, legs, face, and clothes, but the smile on her face was p riceless. I then proceeded to ask her what she made. She told me, "I made a painting with my hands, a paintbrush, a straw, and a necklace." I asked her how it made her feel and she said "happy." And then I asked her why she didn't talk to her friends. She replied, "I wanted to paint." Environment . I found that young children prefer making art at tables, rather than on the ground. At these tables I observed children sitting and standing depending on what was needed. Every activity at a table, the older ch ildren would stand and the younger children would sit. This allowed them to freely navigate around the space and interact with others during their own art making. I found that indoor art spaces presented more effective locations for creating art, because t he outdoors provided too many distractions such as the warm weather, lack of table to work on, and stockade of toys located in the vicinity of the sidewalk chalk art activity. This was evidenced by the fact that 3 of the 6 children asked me if they could p lay with the toys instead of making art within the first five minutes of the activity, wherein I replied, "If that is what you would like to do." Timing . Each session in the study was conducted at different times of the day. The children were most engaged at two different times throughout the day. I found that the children were most engaged in the mid morning after breakfast and in the early evening before dinner. They were alert in the morning and energetic throughout the session at this time. Of the six c hildren, four of them made art for thirty minutes while the other two spent fifteen minutes. In the early evening they were full of energy carried over from their encounters throughout the day. They all made art for thirty five minutes. After taking a shor t five minute break three of the children came back to play with the materials
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WHAT CHILDREN SEE 36 for another ten minutes. They were refreshed when given the opportunity to play and then share a meal together. I found that the children were least engaged after lunch. They we re slow moving and seemingly tired. John actually asked for naptime. I asked him why he wanted to take a nap and he said, "I'm full from lunch and I go to sleep at this time." I found that coordinating art activities requires choosing the right time of day for effective art making. Summary Across all Findings The findings helped me to consider the significance of art making in young children's social experiences and the role of social experiences in young children's art making, by demonstrating the impor tance of influence in their art making, the impact of sharing the overall experience as a group, and the engagement of making and interacting. Looking across all of my findings revealed that children need the opportunity to explore the world with their pee rs in some sort of way, because it allows them the opportunity to develop the skills necessary to deal with situations as they arise , and that art making is a viable outlet for that to occur. It allows children to make connections with their art by sharing the experience and being influenced by others. When children are put into social situations they adapt to their surroundings in ways that influence, sharing, and engagement afford. Wilson (1976) suggests, "through experiencing, individuals learn to antic ipate and then actively to seek out those experiences that will heighten their awareness and move them to desired emotional states" (p. 51). As a result, children become engaged in different facets of the overall experience, especially the ones that they d eem most important and we as parents must respect that. Sometimes it is not about the art; it's about the social experience and
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WHAT CHILDREN SEE 37 sometimes it not about the social experience; it's about the art. Art making is simply a vehicle to aid in the interaction of ch ildren. Discussion and Conclusion The purpose of my research was to examine the significance of art making in young children's social development with an emphasis placed on social interaction. The scholarly literature suggested that art is social in natu re whether we are the artist or the viewer and that our experiences influence our perceptions. Eisner (1980) suggests that, "in our transaction with the environment both the qualities of the environment and our own intentions determine what aspects of the environment shall be experienced" (p. 330). The literature also suggested that play is fundamental to development. "Touching, feeling, seeing, manipulating, tasting, listening, in fact any method of perceiving and reacting to the environment is essentially background to the production of art forms, whether on a child's level or the professional artist's" (Sienkiewicz, 1985, p. 130). Play allows children to develop creativity and the opportunity to learn how things work by experiencing those things firsthand . My case study examined the significance of art making in young children's social experiences and examined the role of social experiences in young children's art making. I found that when children are presented with the opportunity to make art in a group setting, social interaction is inevitable. With that opportunity ultimately comes moments of influence and the willingness to share on so many levels. I also found that engagement involves many factors and that engagement does not necessarily mean that so meone has to be social. In the following sections I will discuss and interpret what I saw throughout the study. I will then address the significance of my research, the implications of my
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WHAT CHILDREN SEE 38 findings, and recommendations towards its application. Lastly, I wil l add some final thoughts reflecting on the adventure that has unfolded. Discussion and Interpretation of Findings Art groups are a wonderful way for children to get together and play. It provides them the opportunity to interact with their peers on a so cial level while using their creativity throughout the artistic process. "The arts connect and engage people more deeply in ways of seeing, which often elicits social bonds and encourages community cohesion" (Milbrandt & Milbrandt, 2011, p. 11). The most i mportant thing is that children are getting together to bond over the creation of something new. As a result, trusting relationships are formed because they feel safe amongst their peers and the environment they are presented with. In accordance to art ma king , Ivashkevich (2009) believes "self initiated image production by specific children is influenced by their social environment and peer and family culture" (p. 52). From what I have gathered, both art making and social experience compliment each other w hen presented in a group setting. You cannot seem to have one without the other for they both relate to the overall experience of the child. Whether children are sharing materials or they become influenced by the actions of their peers, some sort of engage ment occurs where they become invested in the situation. Based on my findings, we as adults must provide consistent opportunities for our children to grow by allowing them to experience various social situations on their own. As parents we must step ba ck and allow our children the freedom of self discovery and we must realize that our perceptions of the world aren't necessarily their perceptions of the world. It reminds me of the film, Finding Nemo when Nemo's dad comes in contact
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WHAT CHILDREN SEE 39 with the wise turtle w hose son has fallen out of the group. Marlin worries about the boy and wants to intervene, while the wise old turtle tells him to wait a moment to see what little Squirt is capable of. We as parents must be willing to sit back so that we can see what our c hildren are capable of. Children will surprise us when we least expect it, but we must give them the opportunity to do so without interruption. It is all right for our children to make mistakes, that is how they learn and begin to build upon their experien ces. Significance, Implications, and Recommendations What stands out as important to me now that all of this research has been conducted is the fact that children need consistent opportunities to build relationships with their peers, whether that is at the park, at school, or with a designated playgroup. It is through the act of play that children begin developing an understanding of the world they live in, those that inhabit it, and how they contribute to it. When social situations are introduced regula rly, children begin building positive social skills. This research is relevant to early childhood art educators and parents seeking a better understanding of the ways in which children see and act upon their experiences with the world of art in a grou p setting. By providing recommendations for setting up the ideal art group, anyone interested in embarking on the endeavor will be able to with confidence. This topic is also relevant to researchers seeking knowledge regarding children's social patterns wi thin specific settings, with an emphasis on art making. This study provided opportunities that showed how socialization affected the art making experience of young children and how children perceived that experience in a socialized setting.
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WHAT CHILDREN SEE 40 This study doe sn't necessarily contribute directly to my community of practice, because I teach high school, but it does provide insight into the ways in which young children view their art making and how we as adults can nurture those experiences as they develop over t ime. Regardless of a child's age, they need to be nurtured and supported. This idea can ultimately be carried over into any situation in any setting. We may think that high school students are too old to play, but isn't that how we've learned from the begi nning? Why not continue the cycle? Art educators need to offer more time for playful discovery whether individually or collectively. As a matter of fact, all educators would benefit from incorporating more time for constructive play in the curriculum. "Pla y is how children learn to socialize, to think, to solve problems, to mature and most importantly to have fun. Play connects children with their imagination, their environment, their parents family and the world" (Anderson McNamee & Bailey, 2010, para. 1). Imagine how engaged everyone would be as a result of this implementation. We don't need to let them know that they are learning. That'll be our little secret. From this research I hope others begin to understand the reasons why we make the choices that w e do when it comes to our art making and how our interactions with others and the environment contribute to those experiences when we are young. To anyone still interested, I wou ld recommend further research of art groups that are already in existence or o ther resources relating to art groups, some of which I share in my ISSUU paper. I would also research social patterns of the specific age group one is targeting to see what types of social behaviors to expect from children. Conclusion
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WHAT CHILDREN SEE 41 As this study has dra wn to a close, I have realized the significance of art making in the lives of young children, especially my own. This study has showed me that children do enjoy being given the opportunity to create and spend time together and that we, as parents must nurt ure the positive opportunities in which we provide our children, regardless their age. I have always found my experience in the art classroom to be one filled with socialization and social interaction will continue to flourish in my classroom in the future . This research will shape my own professional practices in the classroom by allowing me to devote more time for social interaction as students play with materials on their own terms, because sometimes it is these bonds that transcend the art making experi ence. As a result of this study I created an ISSUU e magazine offering recommendations and a list of resources for parents interested in starting art groups. My online publication can be found at http://issuu.com/vasarhelyn/docs/artful_playdates . These recommendations include what kind of group to start, how often to meet, where to meet, ideal group size, ideal length of art activities, ideal project types as well as the types of materials one might need to get started (see Figure 7). The ISSUU paper is visually friendly and easy to digest in its format. This means that you don't have to be an artist to understand it and that you don't have to be an artist to start up social playgroups invol ving art. You must simply be willing to provide that opportunity for your children to discover with their peers. Step back and be amazed, not only with the art that they create, but the way in which they interact with their environment.
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WHAT CHILDREN SEE 42 Figure 7. Screenshot of contents inside ISSUU e magazine showcasing recommendations.
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WHAT CHILDREN SEE 43 References A nderson McNamee, J. K., & Bailey, S. J. (2010). The importance of play in early childhood development. Retrieved from http://msuextension.org/publications/HomeHealthand Family/Mt201003HR.pdf Becker, B., Dawson, P., Devine, K., Hannum, C., Hill, S., Leydens, J., Matuskevich, D., Traver, C., & Palmquist, M. (1994 2012). Case studies. writing@CSU. Colorado State University. Retrieved from http://writing.colostate.edu/guides/guide.cfm?guideid=60 Eisner, E. (1978). What do children learn when they paint? Art Education 31 (3), 6 10. Eisner, E. (1980). Artistic thinking, human intelligence and the mission o f the school. The High School Journal, 63 (8), 326 334. Freedman, K. (2007). Artmaking/Troublmaking: Creativity, policy, and leadership in art education. Studies in Art Education, 48 (2), 204 217. Gude, O. Playing, creativity, possibility. Art Education, 63 (2), 31 37. Hamblen, K. A., & Jones, B. J. (1982). Art theory as a sociological metaphor. Visual Arts Research, 8 (2), 46 53. Ivashkevich, O. (2006). Drawing in children's lives. In J. Fineberg (Ed.), When we were young: Perspectives on the art of the child (pp. 45 59). Los Angeles, CA: University of California Press. Ivashkevich, O. (2009). Children's drawings as a sociocultural practice: Remaking gender and popular culture. Studies in Art Education, 51 (1), 50 63. Lindqvist, G. (2003). Vygotsky's theory of creativity. Creativity Research Journal, 15 (2), 245 251.
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WHAT CHILDREN SEE 44 Louis, L. L. (2005). What children have in mind: A study of early representational development in paint. Studies in Art Education, 46 (4), 339 355. Malin, H. (2013). Making meaningful: Intention in ch ildren's art making. International Journal of Art & Design Education, 32 (1), 6 17. Merriam, S. B. (1998). Qualitative research and case study applications in education. San Francisco, CA: Jossey Bass. Milbrandt, M., & Milbrandt, L. (2011). Creativity: What are we talking about? Art Education, 64 (1), 8 13. Pearson, P. (2001). Towards a theory of children's drawing as social practice. Studies in Art Education, 42 (4), 348 365. Ribbins, P. (2007). Interviews in education research: Conversations with purpose. In A. Briggs and M. Coleman (eds.), Research methods in educational leadership and management (pp. 207 223). Thousand Oaks, CA: Sage. Sienkiewicz, C. (1985). The Froebelian kindergarten as an art academy. In B. Wilson & H. Hoffa (Eds.), The history of art ed ucation: Proceedings from the Penn State conference (pp. 125 127). Reston, VA: National Art Education Association. Thompson, C., & Bales, S. (1991). "Michael doesn't like my dinosaurs": Conversations in a preschool art class. Studies in Art Education, 33 (1 ), 43 55. Thompson, C. M. (2005). Under construction: Images of the child in art teacher education. Art Education, 58 (2), 18 23. Wilson, B. (1976). Guest editorial: Child art and art education. Studies in Art Education, 17 (2), 5 7.
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WHAT CHILDREN SEE 45 Wilson, B. (1976). Littl e Julian's impure drawings: Why children make art. Studies in Art education, 17 (2), 45 61.
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WHAT CHILDREN SEE 46 Appendix A: IRB Protocol Forms UFIRB 02 Ã Social & Behavioral Research Protocol Submission Form This form must be typed. Send this form and the supporting docum ents to IRB02, PO Box 112250, Gainesville, FL 32611. Should you have questions about completing this form, call 352 392 0433. Title of Protocol: What Children See: Social Phenomena In Young Children's Art Making Experiences Principal Investigator: Nathan Daniel Vasarhely UFID #: 10716536 Degree / Title: Master of Arts In Art Education Mailing Address: (If on campus include PO Box address): 500 Summit Dr. Pinole, CA 94564 Email: vasarhelyn@ufl.edu Dep artment: School of Art and Art History Telephone #: (510) 724 6213 Co Investigator(s): N.A. UFID#: N.A. Email: N.A. Supervisor (If PI is student) : UFID#: Degree / Title: Mailing Address: (If on campus include PO Box address): Emai l : Department: Telephone #: Dates of Proposed Research: June July 2014 (6/8; 6/15; 6/22; 6/29; 7/6) Source of Funding (A copy of the grant proposal must be submitted with this protocol if funding is involved): N.A.
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WHAT CHILDREN SEE 47 Scientific Purpose of th e Study: The purpose of my study is to examine the significance of art making in young children's social development. The goal of my study is to gain further understanding into how young children view their art making as it relates to their social interact ions. Describe the Research Methodology in Non Technical Language: ( Explain what will be done with or to the research participant. ) I will be studying a group of young children, specifically three, three year olds and three, six year olds. These indiv iduals will be studied three to five times over the course of a five week period. This study will be conducted in an informal domestic setting involving all six participants and each session will last for two hours. I want to explore and describe the inter actions each artist has with his or her environment and those involved while making art. My collected data will include observational notes, questionnaires, surveys, and informal interviews with the child artists. I will initially collect data from surveys and questionnaires completed by each child's parents. This will occur before any sort of art making happens. This will help give me perspective on how the parent(s) views their child's current art making, if applicable and the way in which they perceive t heir child's social interaction with self and the world. I will repeat this process at the end of the study by having each parent complete another survey and questionnaire to note any change in perspective and/or what their child said about their art makin g experience. I will also be collecting data from each child's art making experience. This will include art works created in their presented environment, notes from observations made during each session, discussion of work in both private and group setting s, as well as informal interviews conducted with each participant. Each session will be recorded digitally for the sole purpose of checking the accuracy of my notes. Afterwards the recorded material will be erased. The observational notes I gather will doc ument each child's art making practice and the way in which each child interacts with their presented environment and peers. Describe Potential Benefits: By observing and documenting the art making experiences of the child from the child's perspective, a clearer picture is presented from the actual thoughts and actions of the young developing artist. This study provides insight into the ways in which young children view their art making and how we as adults can nurture those experiences as they develop ov er time. Describe Potential Risks: ( If risk of physical, psychological or economic harm may be involved, describe the steps taken to protect participant.) N.A. Describe How Participant(s) Will Be Recruited: For this study I will be recruiting the chi ldren of several family friends. Six participants ranging in age from three to six will be recruited on a voluntary basis and will be free to leave the study at any time. Parents of the child participants will be contacted and asked to have their child or children to take part in my study. A consent form will then be sent out to confirm their child's participation before the study is conducted.
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WHAT CHILDREN SEE 48 Maximum Number of Participants (to be approached with consent) 10 Age Range of Participants: 3 6 years old Amo unt of Compensation/ course credit: N.A. Describe the Informed Consent Process. (Attach a Copy of the Informed Consent Document. See http://irb.ufl.edu/irb02/samples.html for examples of consent.) (SIGNATURE SECTION) Principal Investigator(s) Signature: Date: 5/8/14 Co Investigator(s) Signature(s): Date: Supervisor's Signature (if PI is a student): Date: Department Chair Signature: Date:
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WHAT CHILDREN SEE 49
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WHAT CHILDREN SEE 50 Parental Consen t Form School of Art and Art History P.O. Box 115801 University of Florida Gainesville, FL 32611 5801 Dear Parent/Guardian I am a graduate student in the College of Fine Arts School of Art and Art History at the University of Florida, conducting researc h on the social phenomena occurring within young children's art making experiences under the supervision of Dr. Jodi Kushins. The purpose of the study is to examine the significance of art making in young children's social development. The goal of the stud y is to gain further understanding into how young children view their art making as it relates to their social interactions. The results of the study may reveal how children view their surroundings both individually and collectively as they play with art m aking. With your permission, I would like to ask your child to volunteer for this research. I will be studying a group of young children, specifically three, three year olds and three, six year olds. These individuals will be studied three to five times o ver the course of a five week period. This study will be conducted in an informal domestic setting involving all six participants and each session will last for two hours. I want to explore and describe the interactions each artist has with his or her envi ronment and those involved while making art. My collected data will include observational notes, questionnaires, surveys, and informal interviews with the child artists. I will initially collect data from surveys and questionnaires completed by each child' s parents. This will occur before any sort of art making happens. This will help give me perspective on how the parent(s) views their child's current art making, if applicable and the way in which they perceive their child's social interaction with self an d the world. I will repeat this process at the end of the study by having each parent complete another survey and questionnaire to note any change in perspective and/or what their child said about their art making experience. I will also be collecting data from each child's art making experience. This will include art works created in their presented environment, notes from observations made during each session, discussion of work in both private and group settings, as well as informal interviews conducted with each participant. Each session will be recorded digitally for the sole purpose of checking the accuracy of my notes. Afterwards the recorded material will be erased. The observational notes I gather will document each child's art making practice and t he way in which each child interacts with their presented environment and peers. Your child's identity will be kept confidential to the extent provided by law. Participant's names will be replaced with pseudonyms. Results will only be reported in the form of group data. You and your child have the right to withdraw consent for your child's participation at any time without consequence. There are no known risks or immediate benefits to the participants. No compensation is offered for participation. Group r esults of this study will
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WHAT CHILDREN SEE 51 be available in August upon request. If you have any questions or concerns about this research protocol, please contact me at (510) 691 3130 or my faculty supervisor, Dr. Jodi Kushins, at (614) 499 6176. Questions or concerns abou t your child's rights as a research participant may be directed to the IRB02 office, University of Florida, P.O. Box 112250, Gainesville, FL 32611, (352) 392 0433. Nathan Vasarhely I have read the procedure described above. I voluntarily give consent fo r my child, _____________________________, to participate in Nathan Vasarhely's study of social phenomena in young children's art making experiences. I have received a copy of this description. ______________________________________________________ _____ ____ Parent/Guardian Date ______________________________________________________ _________ 2 nd Parent/Witness Date
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WHAT CHILDREN SEE 52 Photo Usage Consent Form Dear parent, Please allow me to use any photos taken of your child and of his or her artwork during the course of the study. Remember names will be kept confidential and photos will be used for educational purposes only. Nathan Vasarhely I have read the information above and I voluntarily give consent to Nathan Vasarhely to use my child, __________________________ picture throughout his study of social phenomena in young children's art making experiences. I have received a copy of this description. ______________________________________________________ _________ Parent/ Guardian Date ______________________________________________________ _________ 2 nd Parent/Witness Date
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WHAT CHILDREN SEE 53 Parent Survey and Questionnaire Child's Name: ________________________________________________ How old is your child? (Years and months old) Is your child in preschool or elementary school? YES or NO Describe what social activities your child participates inÉ How often does your child interact with other children? (Number of times per week; minutes/h ours) How often does your child make art per week? (Number of times; minutes and hours) Describe your child's temperament? What word best describes your child?
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WHAT CHILDREN SEE 54 Child Assent Script Hello, my name is Nathan Vasarhely, and I'm from the Unive rsity of Florida. I'd like to tell you some stories and talk with you about them. I'd also like to have you participate in some art making activities that we will talk about as well. Your parents said it was ok. We'll do it at my house, and it takes about 30 45 minutes each session, totaling no more than five meetings. Would you like to come do this?
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WHAT CHILDREN SEE 55 List of Figures and Figure Captions Figures 1 and 2. My son and daughter exploring art media and materials at Bay Area Discovery Museum. Figure 3. Screensh ot of ISSUU e magazine cover. Figure 4. Two boys sharing ideas of what to make while one girl looks on and listens. Figure 5. Three children share materials as they interact during Play Doh " time. Figure 6. A young girl highly engaged in her painting. She is utilizing her fingers, beads, brushes, and a straw. Figure 7. Screenshot of contents inside ISSUU e magazine showcasing recommendations.
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WHAT CHILDREN SEE 56 Author Biography I am an artist, educator, observer, independent thinker, and life long learner. I remember as a kid always having this deep appreciation for art and the visual. That appreciation evolved from there. I grew up and still reside in Pinole, California, which is in the San Francisco Bay Area. I have a wife, Heidi and two kids. My son, Hunter is six year s old and my daughter, Madeleine, "Maddi" is three. As an artist, I am always willing to try new things and explore the possibilities. I have the Duchampian philosophy, "Art is what I declare it to be." We are all capable of great things through practice , patience, and opportunity. I create every chance I get and I share that passion with others: students, family, friends, and the community. I graduated from San Francisco State University in 2002, receiving my BA in Fine Arts with an emphasis in Printmaki ng. I furthered my education right after graduation by entering Credential school. This is where I met and fell in love with my wife. I received my Single Subject Teaching Credential in both Art and English with a BCLAD in 2004, from Chapman University. In 2012, I decided to pursue a graduate program and here I am today finishing up that goal through the University of Florida. I began my teaching career in 2003, first as a substitute teacher and then as a full time faculty member at Ygnacio Valley High Sch ool in Concord, California. At YVHS, I initially taught English and ELD. I transitioned into the Art Department several years back and have been experimenting with various approaches, ideas, and projects ever since. My proudest achievement at YVHS has been the implementation of community service within one of our Academies that I participated in. This fall will mark the beginning of my twelfth year at YVHS.
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