Die Kind in die Terapeutiese Speelkamer
Foster Preschoolers’ Critical Thinking and Problem Solving through Movement
Die Uitplasing en Aanbied van Aktiwiteite in die Kleuterskool
The Importance of Mother Tongue in ECD
Volume 37 no/nr 1 - Mei/May 2012
Contents
2 From The Committee / Bestuursbrief 4 Your Questions / Vra Gerus 8 Postbox / Posbus
Voorblad: Zoe Burger
10 - Moving Bodies, Building Minds
- On The Cover / Voorblad storie 10 Moving Bodies, Building Minds 16 Don’t Leave Children Lost In Translation ..... .....The Importance Of Mother Tongue In ECD 20 Die Kind In Die Terapeutiese Speelkamer 40 Lok Die Kleuters ..... .....Die Uitplasing En Aanbied Van Aktiwiteite In Die .... Kleuterskool - Articles / Artikels 18 Poniepret By Die Pretoria-Oostertjies 24 Movement Is The Best Medicine For Tricky .....Behaviour! 27 Fussy Eaters 30 Scenes From Our Seminars 53 Ek Begin Skoolhou! - The School Kitchen / Skoolkombuis 36 Tuna Spaghetti 36 Tuna En Rys Gereg 37 Pork Stew 37 Beetroot Mould - Baking / Bak & Brou 38 Groentesop
20 - Die Kind In Die Terapeutiese Speelkamer
- Did You Know? / Werd Om Te Weet 34 Immergroen Ouerskap - Theme Thoughts / Tematyd 48 Books - Health / Gesondheid 52 Die Belangrikheid Van Griepinspuitings 54 Parent Poster / Ouerplakkaat 56 News From Our Schools / Skolenuus 58 Reading Corner / Ons Boekhoekie
40 - Lok die kleuters .....
60 AECYC - Affiliation Form
Editorial Team / Redaksie Cherry Stephen Marthie Stoltz Louisa Burger Graphic Design / Grafiese Ontwerp Aliza Smit Design & Layout / Ontwerp & Uitleg Project Design
......
Printing / Drukwerk Spektrum Advertising / Reklame Loraine Ferreira Uitgewers / Publishers VVOS/AECYC Distribution / Verspreiding VVOS/AECYC Affiliation / Affiliasies VVOS/AECYC Contact Us / Kontak Ons Tel: 012 664 5313 Fax: 012 664 0457 E-mail: vvosinfo@tiscali.co.za www.vvos.co.za Opinionsexpressed expressedin inthis thismagazine magazinedo donot not Opinions necessarilyreflect reflectthose thoseof ofthe theEditorial EditorialTeam Team necessarily orthe theAECYC AECYCCommittee. Committee.The TheEditorial EditorialTeam Team or reservesthe theright rightto toamend amendor orreject rejectany anyeditorial editorial reserves matteror orphotographs photographssubmitted submittedfor forpublication. publication. matter Acceptanceof ofadvertising advertisingdoes doesnot notrepresent representthe the Acceptance AECYC’sendorsement endorsementof ofany anyproduct productor orservice, service, AECYC’s norisisthe theAECYC AECYCresponsible responsiblefor forrepresentations representations nor madeby byadvertisers. advertisers. made Geenaanspreeklikheid aanspreeklikheidword wordaanvaar aanvaarvir virenige enige Geen geding wat uit hierdie publikasie mag spruit nie. geding wat uit hierdie publikasie mag spruit nie.
Marthie Stoltz en Celia Stoltz
E
k skryf vandag hoofsaaklik aan hoofde van kleuterskole. Ek dink aan julle as inspirerende vroue/ mans aan die werk wat ander inspireer, bemoedig en bemagtig. Mag jy die krag en durf vind om die beste te wees wat jy kan. Hierdie taak wat my opgelê is word altyd gemotiveer deur die noodsaaklikheid om ‘n beter omgewing vir my kollegas en leergeleenthede vir die leerdertjies te skep. Ek sal graag ‘n Suid-Afrika wil sien waar kinders gesond en veilig kan grootword, met al die opvoedkundige geleenthede wat nodig is om hulle in verantwoordelike en liefdevolle volwassenes te ontwikkel. “Mans laat vir mekaar rolmodelle en verhale van sukses na. Mans volg in voetspore. Elke vrou begin egter altyd alleen. Sy begin reg van voor af omdat ons nog steeds aan die leer is hoe om suksesverhale as nalatenskap vir mekaar aan te gee.” – Antjie Krog Ek glo dat hoofde doeltreffende leiers uitmaak omdat hulle nie net op hul IK’s staatmaak nie, maar ook op hul emosionele intelligensie vertrou om situasies te lees, 2 Kleuterklanke
Mei 2012
effektiewe besluite te neem en uiteindelik hul mense te motifeer en inspireer. Harde werk, aandag aan detail, ‘n goeie organisasievermoë, die vermoë om te kan delegeer, visie, toewyding en deursettingsvermoë is ook onderskeidelike einskappe waaraan ons kan vashou.Wees oorspronklik in dit wat jy doen. Omring jou met diverse en uitstekende spesialiste en rolmodelle – mense by wie jy kan leer. Behou ‘n sin vir humor en geniet humor van jou kollegas en selfs die onskuldige humor van kinders. Jy moet pret hê saam met die mense om jou. Bo en behalwe bogenoemde, is en bly ons passie die opvoeding en onderrig van kinders in die vroeë kinderontwikelingsfase. Dit is dus baie belangrik dat die hoof die toonaangewende persoon is, en tesame met haar kollegas die skool toerus met n leerprogram wat optimale geleentheid vir leer insluit. (“Windows of opportunity”) “Kinders is nie bottels wat volgemaak moet word nie, hulle is lampe wat aangesteek moet word.” Die idee dat daar sekere tye in die jong kind se lewe is wanneer sekere leerstof beter bemeester word as gedurende ander tye is nie ‘n nuwe konsep nie. Piaget het alreeds jare gelede hiervan gepraat. Wat ons egter vandag weet is dat hierdie optimale leergeleenthede baie meer spesifiek is en ook baie belangriker is in terme van die invloed op latere leer en vaardighede. Die teorie van hierdie optimale leertye kom eenvoudig daarop neer dat sekere ervarings, wanneer dit op die regte tyd gebeur, die potensiaal in breinselle skep vir latere suksesvolle leer. Die venster van geleentheid wat die langste oopbly, is die van beweging! Die feit dat hierdie geleentheid vanaf geboorte tot ongeveer sewe jaar strek is vir ons ‘n aanduiding van hoe belangrik leer deur groot- en klein motoriek is as wyse waarop ervarings in die leefomgewing ontdek en verken kan word. Vrye beweging in spel is egter baie belangrik. Ek wil graag beklemtoon: ervaring in ‘n ryk, interessante omgewing laat die brein ontwikkel en laat potensiaal ontluik. Die gemiddelde middelklas Suid Afrikaanse jong kind se leeromgewing het saai en eentonig geword. Kinders se nuuskierigheid en belangstelling in die wêreld rondom hulle het afgeneem en TV is nou die bron van tweedehandse ervaring wat baie min verband hou met die werklikheid. Kinders kan dus nie meer die ervaring in hulle leefwereld gebruik om toepaslike vaardighede te ontwikkel nie. Dit is voor die hand liggend wat ons as opvoeders moet doen. Ons moet die opwinding van die alledaagse, wonderlike, konkrete, regte wereld weer
terugsit in ons kinders se lewens. Ek is opgewonde en weet dat jou kreatiewe, inspirerende insette in die kurrikulum by jou kleuterskool aansteeklik gaan wees en ‘n ontploffing van ervaringe vir die kinders te weeg sal bring. Sterkte! Ons sal graag wil hoor van jul suksesvolle beplanning t.o.v. lewenservaringe “real life experiences” wat by jul skool geinisieer is. Skryf aan ons vir plasing in die volgende Kleuterklanke/Learning Years. Ek doen graag ‘n beroep op kleuterskoolhoofde om saam met hul personeel die VVOS se jaarlikse seminare by te woon. Ons sien julle graag daar. Groete.
Aan uittredende bestuurslede van termyn 2010 – 2012
die
an
Cherry Stephen, Helena Hough, Sus Dorfling en Ina van Schalkwyk.
dankie sê aan Dit is met groot waardering dat ons yn op die ons bestuurslede wat die vorige term ‘n onbaatsugtige bestuur gedien het. Ons weet dit is S. ‘n Besondere diens wat gelewer word aan die VVO bare bydrae met dank aan Cherry vir haar onbereken gs van die die Kleuterklanke, Ina met die uitdagin so ver gery het uitstallers en Helena en Susan wat om vergaderings by te woon.
Marthie Stoltz VVOS Bestuurslede - Nuwe Bestuur 1
Ananta Moolman
Ligstraaltjies Kleuterskool
2
Angelique Fouchè
Siembamba Kleuterskool
3
Carina Taylor
Arbeidsterapeut
4
Helen Dempsey
Hansie & Grietjie Educare Centre
5
Ida Bester
The Baby Whisperers
6
Korrina Robberts
Kidz@Collage
7
Linda Bosch
Heideland Lynnwood
8
Loraine Ferreira
Siembamba Kleuterskool
9
Louisa Burger
Babbel en Krabbel
10
Marelie Janse van Vuren
Value Added Teaching
11
Marthie Stoltz
Siembamba Kleuterskool
12
Mathilda van der Merwe
Kabouterland Rustenburg
13
Rika van Wyk
Irene Pre-Primary
14
Roeleen Lemmer
Moreleta Duifies
15
Wietske Boon
Spelterapeut
16
Zéta Dempsey
Kleuterark Kleuterskool May 2012 Learning Years
3
V
Ons hoor baie dat vroeë intervensie die beste is as `n kind `n probleem het, maar aan die ander kant weet ons dat kinders teen verskillende tempo’s ontwikkel en dat elkeen uniek is. Dit gebeur dan dat ouers soms enige ekstra hulp vir jong kinders vermy. Wanneer is die beste tyd vir `n kind om arbeidsterapie te kry en wanneer is dit “te laat”? Ek het gehoor dat daar `n punt kom waar arbeidsterapie nie meer die antwoord is nie en dat die kind dan eerder na `n remediërende onderwyser toe moet gaan. Is dit waar?
A
Ons het deskundige raad by ’n aarbeidsterapeut ingewin en sy antwoord soos volg: Die ideaal met die gebruik van vroeë intervensie programme sou wees om dit vir alle kinders, met probleme of nie, aan te bied. Die doel van die program is om kinders wat die risiko loop om probleme te ontwikkel, by te staan en sodoende die “probleem” uit te sorteer voor dit regtig opgeduik het. Hierdie programme hoef nie noodwendig gesien te word as hulp vir kinders met probleme nie, maar eerder as `n program om jou kind toe te laat om tot die beste van sy vermoë te ontwikkel. Groepe waar kinders van geboorte af klassies bywoon saam met hulle ouers om hul ontwikkeling te stimuleer, is dieselfde as `n vroeë intervensie program en hierdie is vir kinders waar geen probleme verwag word nie. Dit is nooit te vroeg om arbeidsterapie te kry nie. Arbeidsterapeute werk hard in die neonatale eenhede in hospitale om die kinders se stimulasie in die hospitaal te bevorder. Omdat dit so duidelik is watter spiergroepe hoe en wanneer moet ontwikkel, kan `n arbeidsterapeut jou kind aanhelp om hierdie ontwikkeling te bemeester deur die gebruik van `n unieke program wat vir die spesifieke kind saamgestel is. Maar dis nie waar dit stop nie, hulle gee ook aandag aan visuele, sosiale en perseptuele ontwikkeling op die korrekte ouderdomme.
Die beste tyd vir kinders om arbeidsterapie te kry, sou hulle nie by `n vroeë intervensie program betrokke wees nie, is sodra enige probleem opgemerk word. Al is daar nie sekerheid nie en die probleem word slegs vermoed, is dit altyd voordelig om jou kind so gou as moontlik by `n arbeidsterpeut te kry, sodat hy geëvalueer kan word. Jou arbeidsterapeut sal dan vir jou kan sê of daar werklik `n probleem is, asook wat die behandelingsopsies is, toepaslike verwysings maak, indien nodig, asook behandeling aanbied. Hoe vroeër die kind by `n arbeidsterapeut uitkom, hoe beter. Soos bo beskryf, is dit nooit te vroeg nie. Daar is egter sommige terapeute wat voel dat daar wel `n “te laat” tydperk bestaan. Hierdie tydperk hang baie af van wat aangespreek moet word. As `n kind sensoriese integrasie probleme het, is die beste tyd definitief voor 9 jaar om die probleme in terapie aan te spreek. Die enigste rede waarom daar `n “te laat” bestaan, is omdat kinders baie maal te laat by die arbeidsterapeut uitkom en hul die probleme teen daardie tyd al baie ingeoefen het. Die probleem is byvoorbeeld dan nie noodwendig net meer suiwer `n visuele persepsie probleem nie, maar iets wat aangeleer en ingeoefen is. Indien die evaluasie toon dat `n kind nog visuele persepsie uitvalle toon op `n later ouderdom, moet die kind arbeidsterapie ontvang. Remediërende onderwys spreek nie die persepsie probleme aan nie, maar eerder die skoolverwante gedeelte, soos byvoorbeeld spelreëls, wiskunde ens. Dit sal dan voordelig wees om albei intervensies te ontvang. Indien die evaluasie sou toon dat daar geen persepsie, motoriese of sensoriese uitvalle is nie, sal slegs remediërende onderwys voldoende wees. 4 Kleuterklanke
Mei 2012
V
My drie maande oue baba kwyl verskriklik en sy hande is heeltyd in sy mondjie. Kan dit wees dat hy begin tande kry? My Ma en Ouma sê die tande kom in die kaste; wat bedoel hulle hiermee?
A
Van drie maande af begin speeksel ontwikkel en baba het nog nie die vermoë om dit in te sluk nie. Die tande is reeds vanaf 18 weke in jou swangerskap almal in die kaste; as jy sy bolippie oplig sal jy hulle almal daar in die tandvleisies sien. Die handjies wat die heeltyd in die mond is beteken dat die 4e sintuig nou goed op dreef is, wat orale toleransie en taktiele ontwikkeling insluit. Alles sal nou mond toe gaan. selfs 'n sagte 'rattle' wat hy nou veronderstel is om te begin vashou! Smeer dalk net bietjie van jou tepelroom wat oor is rondom sy mondjie om die uitslag wat die speeksel gewoonlik veroorsaak tee te werk! Sterkte .
Q
As a new teacher I am really nervous about having interviews with parents. They are older and more experienced than I am and they know their children so well. I am afraid of hurting their feelings but at the same time I know I have to tell them if the child has a behaviour problem or does not seem to be achieving for his age. How do I go about this so that I don’t put their backs up?
A
You’re already well on your way towards a successful interview because you are sensitive to the needs and feelings of the parents! It is important to build a good relationship with Mom and Dad from the first day the child enters your classroom. They need to get to know you as a warm, friendly person who has their child’s interests at heart and also to experience day by day that the child is in the hands of a professional teacher whom they can trust and respect. It is important to plan your interview beforehand. You must know what you want to say and what information you want to get from them. This, of course, will depend on your professional observation and assessment of the child in the classroom and on the playground. Faber and van Staden, in their book The Year Before School, suggest that you arrange a time where you can talk to the parents uninterrupted, and arrange chairs in a circle to include the parents and yourself, rather than sitting behind a desk. Make eye contact and listen. Listening is more important than talking! Use language the parents will understand and don’t use educational jargon to try to impress them. Ask the parents how they experience the child at home. Often, if there is a problem, they will mention it and you will then be in a position to confirm their observations. This makes it easier for everyone to suggest possible solutions and come up with a plan of action. May 2012 Learning Years
5
Q
At a seminar a while ago it was mentioned that we had to fill in a report about every accident on the playground or indoors at school. I believe there is a form to be filled in: please could you let us know where we could get this?
A
Presumably you are referring to the Incident Report Form which is provided in the Guidelines for Early Childhood Development Services, issued by the Department of Social Development. This can be downloaded on the Department’s website. The Department requires that the form be completed in triplicate, one copy going to the parent, one copy to the child’s file and one copy to the accident file. We list below the information to be filled in on this report form:
Name of the child Date of the incident Description of accident / injury / incident Where did it occur? When did it occur? Who witnessed the accident / injury / incident? What injuries or symptoms resulted (describe part of the body)? Was any blood present? How much blood? Where was the blood? What was done for the child (first aid treatment)? Is any further medical attention required? When was the parent notified? When did the parent collect the child? What advice was given to the parent? Who was in charge when the incident occurred? What measures are necessary to prevent such an incident in the future? Signature and date: staff member Signature and date: parent
6 Kleuterklanke
May 2012
Photo: www.photoxpress.com
esin te Die g and na e aan die ie a vra om hou d s. Pappa ns doen ien me odsd moet ‘n aan? g s i slik u g h : Wat l toe te ) wil vree oe s r e e t kind hem jaar oud ee hom 4 g r( a Piete ord en P id. n i e l o K t he antw geleent “Jy moe g a : a r e d i g d or ntwo aan!” a e s r dg Piete eers doo
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7
Dear Colleagues I was paging through the December 2008 issue of Kleuterklanke, and seeing the article on the theme “Bread”, was reminded of an activity I saw on the internet and tried successfully in my classroom a few weeks ago. I provided various types of bread for the children to taste – white, brown, wholewheat, rye, olive, and ciabatta. I made a poster to put together a class graph, with the title “Breads We Like”. Down the left side of the poster was a picture of each bread that we had sampled and we wrote the child’s name next to the picture of the bread that he/she liked best. Later we used the graph to ask and answer “more than” and “less than” questions. It turned out to be a successful numeracy activity and I thought it was worth sharing with you.
VVOS Posbus 15800 Lyttelton 0140
Greetings Susan van den Heever
Beste Mev Stoltz Net‘nvinnigedankiebriefievirgisterse onvergeetlikeseminaar.Ekwasso beïndrukmetdiemanierwaaropallesge organiseerwas.Ekwasregtigbaie trots om‘n onderwysstudent te wees en te weet dit is dié soort mense metwieektedoengaanhê.Diemanier waaropdieseminaarmetSkrifen gebedgeopenwas,wasekstraspesiaal. Ekkannieonthouwanneerlaasek bydiesoortgeleentheidwas,waardieog gendaandieHereopgedraisnie. Dieleerstylewerkswinkelasookdieinteg rasievandiekunstebyDrZenda Nel het ek soveel geniet ek boonop ba ie geleer. Ek sien uit daarna om graad te kry en te gaan toepas wat ek gister geleer het. Ek wens elke lid van die vereniging ba ie seën, voorspoed en sterkte toe. Groete
8 Kleuterklanke
Nadia Swanepoel Mei 2012
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VVOS May 2012 Learning Years 9 00 Posbus 158
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Foster Preschoolers’ Critical Thinking and Problem Solving through Movement Michelle L. Marigliano and Michele J. Russo Michelle L. Marigliano, BA, is master teaching artist for Young Audiences New Jersey. For more than 20 years, Michelle’s creative movement work has inspired children to explore new territory, take risks, and experience joy. marlev@verizon.net Michele J. Russo, BA, is poetry coordinator for the Geraldine R. Dodge Foundation. As former senior education associate for Young Audiences New Jersey, Michele developed and managed innovative early childhood arts residencies, reaching young children in underserved areas of New Jersey. info@yanj.org or mrusso@grdodge.org
10 Kleuterklanke
May 2012
At circle time, Ms. Anita tells the preschoolers, “Today we are going to explore how we move our bodies.” She invites the children to explore moving as she taps out a simple rhythm on a drum. When she asks, “What body parts did you move?” the children answer with the obvious: arms, shoulders, hands, and so on. In response, Ms. Anita invites them to select and move only one of the mentioned body parts. Then Ms. Anita asks the children to think about a body part not mentioned and to come up with different ways to move that part. She writes down all the words the children use to describe how their bodies move— bend, straighten, twist, curl—on a large piece of paper, which she calls the Dance Word Bank [see p. 12].
C
reative movement is an ideal Standards for Dance in Early incorporated into a fabric of way to help young children Childhood, by the National Dance communication and understanding. develop critical thinking and Education Organization (NDEO (NDEO 2005, 4) problem-solving skills. Most young 2005), can guide teachers in offering children are, by nature, extremely children joyful and creative dance physical. They delight in exploring experiences, while encouraging Moving the mind muscles the world with their bodies and critical thinking and problem solving. Critical thinking requires children expressing their ideas and feelings The standards include a wealth to carefully and rigorously reflect through movement (NDEO 2005; of developmentally appropriate on their past experiences and to use Lobo & Winsler 2006; Lorenzotheir memory to note relationships Lasa, Ideishi, & Ideishi 2007). When and make comparisons based on presented with movement ideas a set of criteria (Zachopoulou When initiating a or problems that can be solved & Makri 2005). Teachers with a movement response, help children develop their movement activity, teachers many young children create working memory—the can use the scaffolding movement spontaneously. ability to hold information Furthermore, linking in the mind over a period technique of engage, expand, movement experiences of many seconds— when and empower—the three with language—both they ask children to recall receptive language what movements they did or Es—to create a rich (understanding that of saw their peers do. In addition, experience. others) and expressive language children use their working (sharing one’s own thoughts and memory as they reflect on their own ideas)—builds children’s thinking thinking and see connections between skills. Children go through a thinking activities. different experiences. To the young child, verbal language process when given a problem When Ms. Anita asked the and movement are entwined. to solve. Movement provides the preschoolers to identify which body Preverbal movement expression cognitive loop between the idea, parts they moved when she tapped problem, or intent and the outcome or does not cease when a child the drum, the children thought develops language. The road to solution (NDEO 2005). back and literacy involves the translation of One fun problem-solving game described involves challenging children to keep movement expression what they and communication into one body part “glued” to the floor had done. words. Language and while they explore moving other Inviting dance are not separate body parts (Feierabend & Kahan children to threads, 2003). First, children respond to share but are your cue to “glue your hands to the woven floor.” Then, invite them to discover together ways to move while their hands are and glued. Ask children to share and talk about their experiences while you record their ideas (“I can still lift one foot up while my hands are glued” or “I can rotate around my hands while they are glued”). The cognitive loop is closed when the children successfully solve the movement problem and then share their ideas with others.
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May 2012 Learning Years
11
Creating a Dance Word Bank Movement is often spontaneous, and a Dance Word Bank is a great way to capture children’s ideas and language as they explore movement. It encourages them to reflect on their ideas. Create a bank by dividing a large sheet of chart paper into two columns. Label the first column Body Parts That Move, and record children’s ideas by drawing illustrations or pasting photographs of the body parts they name. Label the second column Ways to Move (such as twist, bend, shake), ask children to generate ideas, and record their responses. Help children explore new ways to dance by asking them to select a body part from the first column and a way to move it from the second. A full bank provides a visual support for vocabulary and offers opportunities to try new movements.
their own ideas increases their focus and encourages them to have greater recall of the movements. Children can use these personal memories to generate descriptive language and later to create new movements. When body movements are paired with language, and language paired with sensory motor experiences, children have two ways to make meaning of their experiences. This bodily kinaesthetic and linguistic connection encourages children to recall and use descriptive language and discover new types of movement (Zachopoulou & Makri 2005; Lorenzo-Lasa, Ideishi, & Ideishi 2007). For example, if a child notes and demonstrates that she moved her shoulders “back and forth,” the teacher could ask clarifying questions about the movement (“Do you mean that your shoulders moved backward together and then frontward together? Or do you mean that you moved one shoulder forward at a time?”). Teachers also support critical
thinking when they guide children to note similarities and differences and identify the relationships between things, based on a set of criteria (Zachopoulou & Makri 2005). For example, when Michael sees his friend Rebecca wiggling her wrists, his teacher could ask him, “What other body parts can you wiggle? Can you wiggle slowly or wiggle across the room?” The teacher might also prompt Michael to think of other ways Rebecca could move her wrists: “Can she bend them, twist them, shake them, or hold them still while moving the rest of her body?” In this case the teacher encourages children to compare how their friends’ movements are alike and different. Fostering movement experiences: Engage, expand, empower When initiating a movement activity, teachers can use the scaffolding technique of engage, expand, and empower—the three Es—to create a rich experience. Focusing on one or two dance standards can
Photo: www.photoxpress.com
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movement rather than just pantomiming the engage children and give them action of the story (Tortora 2006). For an interesting problem to Selected children’s example, if a character in the story solve with their peers. For example, a teacher can literature fosters open-ended is walking, encourage children to discover many different ways to select the elements of dance experiences and rich walk, rather than imitating the level (high and low) and walk illustrated in the book. relationship (beside, conversations that promote Open-ended prompts challenge behind, in front of, children’s emerging children to problem solve around toward, and away) for a set of parameters. For example, the children to focus on as literacy. if a book features a snake character, they create movements and the following prompts could encourage watch other dancers improvise. children’s snakelike movements: A simple song or chant helps organize the movement experience and cue the children • How would you move if you were a snake? (see “Making Shapes Song,” p. 48). • I saw you use a low level to develop your snake Next, the teacher can expand children’s experiences through the use of open-ended questions—“Now that you’ve made your low shape, how can you move while still holding your shape? How is your shape different from Corinna’s shape?” Finally the teacher can empower a child by noticing and validating her shape and inviting peers to do the same. For example, the teacher might say, “I see Corinna’s fingers are stretching wide apart. Who can add a wide stretch to their shape?” Notice that the teacher asks the children to expand on their friend’s ideas rather than imitate what their friend has done; they could interpret a wide stretch in many different ways. Scaffolding the three Es gives teachers a way to challenge children and create thoughtful activities. Read it, move it, be it! Selected children’s literature fosters open-ended dance experiences and rich conversations that promote children’s emerging literacy. Invite children to use the plot and characters as inspiration for creative movement. Encourage them to explore
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Using Dance Standards The following is a modified excerpt from NDEO’s Standards for Dance in Early Childhood (2005). Teachers can refer to the standards as they help children develop movement ideas. Body: Identifying body parts, moving body parts in isolation, and coordinating several body parts to move together Movement skills: Nonlocomotor movement (moving in place) and locomotor movement (moving through space) Dance elements: Space: Direction (such as forward, backward, side to side) Pathway (such as zigzag, straight, curvy) Level (such as low to the ground, high off the ground) Personal space: Knowing where your body ends and another begins Relationships: Over, under, beside, and so on Time: Slow, fast
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• • • • •
movement. Did you realise you just did that? How would a snake move to this music? Can you show me how the snake moves along a curved pathway? What would a snake look like if it moved fast? I noticed your snake is slithering. How else could the snake move across the rug? You curled your body into a circle. Is there another way your snake moves in one place?
The movements do not have to be consistent with the story. In fact, children get a better mental workout if challenged to invent new ways for the characters to move. In addition, it’s helpful to refrain from making animal sounds during the activity. The sounds may distract children from exploring animal movement. Make room to move Safety is a common concern in movement activities. Choose a space in the classroom that is free of distractions— the group meeting area is usually a good bet. If possible, move bookshelves, equipment, and other classroom materials out of the space. Avoid grouping Supporting Children with Special Needs Every child should have opportunities to move and create movement. Movement activates the neural wiring throughout the body, making the whole body “the instrument of learning” (Hannaford 1995). This multilayered experience serves as a framework for creating adaptations for children with different abilities, interests, and backgrounds (Lorenzo-Lasa, Ideishi, & Ideishi 2007). When involving children with special needs in movement activities, adapt the prompts and challenges to reflect their social, cognitive, and physical abilities. For example, if a child uses a wheelchair, be certain the dance space allows for free movement. Include prompts for the parts of the body the child can move. Even if a child is not verbally expressive, it’s important to include him in the discussion by making eye contact and affirming his accomplishments (“Joey, I noticed your eyes were moving up and down” or “You really like stomping your feet!”). Some children may prefer to play small instruments for the group or record ideas on the Dance Word Bank. Such contributions make activities rich for all children. 14 Kleuterklanke
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Making Shapes Song A few children dance freely while others in the group sing this song to the tune of “Three Blind Mice”. At the end of the song, the dancers freeze into a shape. Making shapes, Making shapes. Ben and Latoya, Ben and Latoya. He’s moving moving moving now. She’s moving moving moving now. Freeze right now. Freeze right now. Ask the other children to describe the shapes the dancers are holding (such as “Ben is low to the ground and behind Latoya. Latoya is standing tall in a high level and is frozen beside the block area.”) Have children describe the shapes by what their classmates’ bodies are doing, not by what they look like (a cat, a cow, a snake, and so on). children together if you know they have a pattern of purposely getting in each other’s way. It is helpful to start with just two or three dancers, with other children observing. After a few minutes, gradually add more children to the group as everyone gets better at managing space. As you grow in confidence, you can work with a larger group and in different spaces. Children should be able to stretch out their arms and not touch anyone. However, young children are just learning about personal and shared space. They often bump into each other, either by accident or on purpose. A “home base,” or personal space, where children are not touching anyone or anything, is a good idea. Children can complete locomotor movements—those in which they move from one place to another—as they move away from and back to their personal space. Another strategy is to give specific verbal prompts, such as “Can you make your shape without touching your neighbour?” Visual cues such as rugs and individual carpet squares help define space. Another way to define
During creative movement experiences, children learn to think before they act, pay attention to detail, and consider differences between experiences.
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physical space is to offer children hula hoops to hold or place on the floor. Older preschoolers can understand the concept of a magic bubble enclosing their body. Warn them that if their bubble touches anyone else’s bubble, both bubbles will pop. At the end of a locomotor movement experience, such as walking around the room in curved pathways, prompt children to use eight counts to move back to their personal space. “1-2-34-5-6-7-8 – and freeze.” Use a small percussion instrument as you count. Comment on a child who moves back in the eight counts, so other children see how important it is (“Madelyn returned to her space before I said freeze”).
Connecting with Families Keeping families informed about how creative movement benefits children contributes to connections with families (Lorenzo-Lasa, Ideishi, & Ideishi 2007). Create and post a movement photo gallery for families to see when they drop off or pick up children. With each photo include a brief anecdote about what the child discovered or verbalised. When possible, use direct quotes from children and show the process of their discoveries. Invite children to look at the photos and recall their movement experiences. Encourage families to ask their child openended questions, such as “How can you use your favourite movement on the playground?” or “What kind of movement will we do when we go to the grocery store?”
Conclusion Creative movement activities foster critical-thinking and problem-solving skills while encouraging joyful exploration. During creative movement experiences, children learn to think before they act, pay attention to detail, and consider differences between experiences. Using NDEO’s dance standards, open-ended questions, and interesting literature, teachers can scaffold movement experiences that encourage children to generate and express themselves with rich verbal and body language. References Feierabend, J.M., & J. Kahan. 2003. The Book of Movement Exploration: Can You Move Like This? Chicago: Gia. Hannaford, C. 1995. Smart Moves: Why Learning Is Not All in Your Head. Arlington, VA: Great Ocean. Lobo, Y.B., & A. Winsler. 2006. “The Effects of a Creative Dance and Movement Program on the Social Competence of Head Start Preschoolers.” Social Development 15 (30): 501–19. Lorenzo-Lasa, R., R.I. Ideishi, & S.K. Ideishi. 2007. “Facilitating Preschool Learning and Movement through Dance.” Early Childhood Educational Journal 35 (1): 25–31. NDEO (National Dance Education Organization). 2005. Standards for Dance in Early Childhood. Silver Spring, MD: Author. www.ndeo.org. Tortora, S. 2006. The Dancing Dialogue: Using the Communicative Power of Movement with Young Children. Baltimore: Brookes. Zachopoulou, E. & A. Makri. 2005. “A Developmental Perspective of Divergent Movement Ability in Early Young Children.” Early Child Development and Care 175 (1): 85–95.
Children’s Books Involving Movement Dance! by Bill T. Jones and Susan Kuklin. 1998. New York: Hyperion. Giraffes Can’t Dance, by Andrea Giles. 1999. New York: Orchard Books. The Magic Hat, by Mem Fox. 2002. New York: Harcourt. My Many Colored Days, by Dr. Seuss. 1998. New York: Random House. Pete the Cat: I Love My White Shoes, by Eric Litwin. 2010. New York: HarperCollins This Jazz Man, by Karen Ehrhardt. 2009. New York: Harcourt. Watch Me Dance, by Andrea and Brian Pinkney. 1997. New York: Red Wagon, Harcourt.
NOTE: This article originally appeared in the September 2011 issue (Vol. 66, No. 5, pp. 49) of Young Children, the journal of the National Association for the Education of Young Children (NAEYC). © 2011 NAEYC. It is reprinted here with permission from NAEYC. Personal review copies may be created, but any other use requires written permission from NAEYC. Send requests to LThompson@naeyc.org. May 2012 Learning Years
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Don’t leave children lost in translation ..... by starting them on anything but your own mother tongue Once they’ve mastered that, they can move on to English Judith Ancer
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im was raised by deaf mute parents. Unaware of the importance of verbal interaction in the early years of infancy, Jim’s parents put him in front of a television set. With his only exposure to language being to the monologue of TV, Jim not only took longer than normal to learn to speak, but his speech was inadequate, his articulation poor and his grammar deviant. Jim’s case (documented by US researchers in 1981) illustrates the importance of human interaction in learning
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language. Language grows best out of the dance and rhythms of human conversation, the give and take, the negotiating of meaning between speakers. Mastery of language requires learning in a languagerich environment where people read, write and most importantly, talk to each other. Infants need to engage with adults, not just listen to them. But not just any interaction is required. It is important that parents have an intact mother tongue and talk to their
child in that mother tongue in the first three years of life. These realities have huge impact in South Africa, where English is valued as the language of access to power, money and education, but where many people have another language as their mother tongue. Where parents are not fluent and confident in English, it can create problems to try to raise a child speaking English first. Experts on language development explain that when parents speak to their children in their own language, they automatically immerse them in the rich vocabulary and complex grammatical structures of that language. Critically, parents must understand that if a child learns to speak in his parents’ mother tongue, he will develop an intact sense of language. He will learn to think in language, not just speak learnt phrases, and once a child can think in a language, he is quite capable of performing advanced cognitive tasks, including learning other languages like English. Many foreign students can speak and think in their mother tongue and that’s why, when they enter South African schools, they often do well enough in subjects like maths and become proficient remarkably quickly in English. Having already mastered one language, they have the brain wiring and confidence to learn another. It’s not uncommon for parents to believe otherwise, or even for the occasional misinformed professional to advise parents to raise their child speaking English, where the parents do not use it as a mother tongue. Such
Having already mastered one language, they have the brain wiring and confidence to learn another. should make provision for special assistance and supplementary learning of the additional language, until such time as the learner is able to learn effectively in the language of learning and teaching.” An interesting situation arises when the parents have two different mother tongues. In such cases, it is advisable for each parent to speak to their child in his or her own language. Children are quite capable of learning two intact languages in the same home. One exception to teaching bilingualism might be when a child has a diagnosed language learning difficulty, when it is preferable for the family to choose one language and make that the home language for the child, who has enough difficulties to cope with without moving between two languages. To encapsulate the importance of learning in mother tongue, I like this quote by Edward R Murrow, US news broadcaster: “Learn your language well and command it well, and you will have the first component to life”. Judith Ancer is a Johannesburg-based clinical psychologist. This article was first published in the Sunday Times, 11 March 2012, and is reproduced by kind permission of the author. Photo: www.photoxpress.com
Language grows best out of the dance and rhythms of human conversation.
as possible. Where learners enter a school where the language of learning and teaching is an additional language for the learner, teachers and other educators
practices must be roundly discouraged. Of course, the government understands this and instructs schools to teach all children in their mother tongue until the end of the Foundation Phase (Grade 3) wherever possible. The Department of Basic Education policy states that “where learners have to make a transition from their home language to an additional language as the language of learning and teaching, this should be carefully planned: the additional language should be introduced as a subject in Grade 1. The home language should continue to be used alongside the additional language for as long May 2012 Learning Years
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Poniepret by die
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PretoriaOostertjies Karin Louw
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aerskool Pretoria-Oos se voorskoolse maats laat al van 2007 die koppe van motoriste en voetgangers op die hoek van Lynnwood en Roperstraat, draai! Elke Maandag volg ons ‘n heerlike Bewegingspele program met Equiterapie as een van die stasies. ‘n Kind leer deur beweging en spel. Die kwaliteit van sy bewegingsvermoë kan die ontwikkeling van sy begripsvermoë positief of negatief beïnvloed. Akademici meen dat liggaamsbeweging die mees basiese en belangrikste komponent in die kind se leer is. Tydens bewegingspele word daar ondermeer aandag gegee aan balans, ritme, posisie in die ruimte, koördinasie, rigtingsin en algemene grootspierontwikkeling.
“There is something about the outside of a horse that is good for the inside of a man” – Churchill
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Hoekom equiterapie? Daar is reeds jare gelede bewys dat leerprobleme bv. middellynkruising, lae spiertonus en aandagafleibaarheid ontstaan a.g.v. die disfunksie van die sensoriese integrasiestelsel. Om te kan leer, moet ons liggaam kan waarneem en ons brein moet hierdie waarnemings korrek kan organiseer en verwerk. Hiervoor is die beweging van die vloeistof in die binne-oor nodig. Equiterapie / sensoriese integrasie terapie / bewegingsterapie is juis gebaseer op die beweging van die vloeistof in die binne-oor. Die op en af beweging op die ponie stimuleer dit. Bloot net vir die pret? Ons doen dit so: Daar word telkens 4 ponies met 4 touleiers sowel as ‘n terapeut gestuur. Die terapeut bied aktiwiteite vir die kleuters aan wat hulle op die ponies doen. Die ponies is verskillende groottes om alle kleuters te akkomodeer. Daar is nie ‘n saal op die ponie nie, maar ‘n spesiale kombersie sodat die effek van die bewegende dier groter op die kind is. Die assistente hou die kinders vas en lei die ponies. Die kleuter gebruik sy hande om ‘n aktiwiteit uit te voer. Elke kleuter doen 7 – 10 minute lank hierdie oefeninge. Die ander kleuters van die klas doen dan ander motoriese oefeninge saam met hulle juffrou ter vaslegging van vaardighede. Voorwaar groot pret! So speel-speel leer ons en so klippetie-klippetie-klop word jy sommer ‘n slimkop! Vir meer inligting oor Equiterapie kontak Eugenie Banks van Horse Worx by 0833267787.
jy die voor! l e t S sig e g rek p e s s e u g o juffr rie, na ‘n y ouma “M Ma Liza- e kaktus: kding by i * oor d ok so ‘n k .” het o die huis May 2012 Learning Years
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D I E K I ND I N D IE
TERAP EUTI E S E S P EELK AM E R Wietske Boon
Spelterapeut B.Socsci (Hons) Sielkunde UP MDIAC (Spelterapie) UNISA www.childtherapist.co.za wietske@childtherapist.co.za
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anneer ouers ‘n kind na ‘n spelterapeut neem, is dit omdat die ouer/s of versorger/s bekommerd is ten opsigte van die kind se gedrag en/of emosionele welsyn. Die gedrag kan die oorsaak wees van ‘n spesifieke traumatiese gebeurtenis, maar in sommige gevalle weet die ouers nie wat die oorsaak is van hul kind se kommerwekkende optrede nie.
korrigering en gestraf word wanneer hulle gedrag nie na wense is nie. Dít maak die speelkamer veilig en uniek vir die kind.
vir ander om ‘n terapeut te vertrou. Kinders wat dit moeilik vind om vertroue in die terapeut te ervaar is meestal ‘n kind wat mishandel is of ‘n kind wie se vertroue in ‘n belangrike ander persoon geskend is. Dit verg dus baie geduld, tyd en ‘n baie veilige omgewing om ‘n vertrouensverhouding met die kind op te bou.
Sonder self-bewustheid kan die kind nie emosies en ervarings eien en hanteer nie.
Die speelkamer Binne die speelkamer kry die kind die geleentheid om waarlik homself te wees deurdat hy onvoorwaardelik aanvaar word deur die terapeut. Straf, verwyte en kritiek is nie deel van enige terapeutiese prosesse nie. Die speelkamer is anders as die samelewing waar kinders leer deur 20 Kleuterklanke
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Die terapeutiese verhouding Voordat terapie gedoen kan word moet daar ‘n vertrouensverhouding tussen die kind en terapeut gevestig word. Dit gebeur deur speletjies en aktiwiteite waarby die kind en terapeut gelyktydig betrokke is. Vir sommige kinders is dit makliker as
Emosionele- en selfbewustheid Na ‘n traumatiese gebeurtenis sny sommige kinders hulself af van hul emosies en hul omgewing. In so ‘n geval verlaag die kind se selfbewustheid en sy bewustheid van homself in sy omgewing. As hanteringsstrategie wil die kind nie sy emosies erken en eien nie, en ook nie sensoriese stimuli ervaar
nie aangesien dit te traumaties is (veral kinders wat fisies mishandel is of word). Dit is belangrik dat emosionele- en sensoriese bewustheidsoefeninge met die kind gedoen word. Sonder self-bewustheid kan die kind nie emosies en ervarings eien en hanteer nie. Deur verskillende prentjies met gesiggies vir die kind te wys kan emosionele bewustheid verskerp word. Die terapeut sal dan byvoorbeeld die volgende vrae vra: “Hoe voel die mannetjie in hierdie prentjie?” “Voel jy ook somtyds so?” “Wat maak dat jy so voel?” Sensoriese oefeninge sluit in om die kind bloot te stel aan verskillende sensoriese stimuli en die emosies en herinneringe wat dit by die kind ontlok te ondersoek. Wanneer ‘n kind na musiek luister kan die terapeut die volgende vrae vra: “Hoe laat die musiek jou voel?” “Wanneer voel jy so?” “Waaraan herinner die musiek jou?” Op hierdie wyse begin die kind se self-bewustheid asook die bewustheid van homself in sy omgewing asook die ervarings vanuit sy direkte omgewing verbeter en kan terapie voortgesit word.
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Die projektering van emosies deur die kind Die terapeut lei en moedig die kind aan om direk of indirek sy ervarings en emosies te verwoord of uit te beeld deur spel. In die speelkamer kry die speelgoed “lewe”. Die kind kan
uiting gee aan emosies sonder om te voel dat hy iets verkeerd doen of sê waarvoor hy kwalik geneem of gestraf gaan word. Kinders skep vir hulself ‘n veilige fantasiewêreld waarbinne hulle speel, projeksies maak en emosies verwerk en hanteer.
Die kind kan deur spel die werklikheid verander sodat dit minder bedreigend en angswekkend word. deur spel die werklikheid verander sodat dit minder bedreigend en angswekkend word en die situasie of ervaring meer aanvaarbaar vir die kind is. Tydens spel maak die kind ‘n storie op wat verband hou met sy eie lewe en sy ervarings. Die spel wat die kind speel verteenwoordig dus sy eie realiteit. Spel is veilig vir ‘n kind aangesien hy deur fantasie ‘n ander karakter kan word wat homself verteenwoordig. Vir ‘n kind is dit makliker om emosies en ervarings te hanteer en te verwoord wanneer dit op iets anders geprojekteer word byvoorbeeld, deur diere te gebruik om sy gesin uit te beeld. Op hierdie wyse kan die kind met ervarings eksperimenteer en
Spel gee vir die kind die geleentheid om beheer te neem oor onbeheerbare situasies deur sekere ervarings oor te vertel soos dit is of dit selfs te verander waar die kind dit nodig vind. Tydens spel kan die werklike gebeure verander word sodat dit minder angswekkend en draagliker word. Spel help die kind om gebeure of situasies te organiseer, te voorspel, te verwerk en te aanvaar. Humor kan ook effektief in terapie gebruik word. Humor, wat vir die kind aanvaarbaar is, verander emosies (bv. angs, vrees, woede) in iets wat draagliker is, wat makliker hanteer kan word en met humor bespreek kan word. In terapie kry die kind, soos reeds genoem, die geleentheid om sy gedrag te verander,
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daarmee te eksperimenteer, moontlik te faal, maar in die veilige omgewing van die speelkamer weer te probeer. Wanneer die kind ‘n nuwe gedrag beproef het en genoeg selfvertroue het, sal hy die nuwe gedrag ook buite die speelkamer begin toepas. Nadat die kind ‘n paar sessies gespeel het en hy gereed en gemaklik voel met sy eie ervarings en die situasie, sal die kind gewoonlik oor die realiteit, sy eie ervarings en verwagtinge begin praat. Die emosies word dan ondersoek, verwerk en hanteer en indien nodig, kan aanvaarbare alternatiewe vir ‘n probleemsituasie ondersoek word. Die kind kan uiting gee aan woede, frustrasie, vrees of hartseer deur byvoorbeeld ‘n kussing te slaan of selfgetekende prentjies te verskeur (dit vind onder toesig plaas en is ‘n veilige en aanvaarbare manier om aan woede uiting te gee). Die terapeut moedig hierdie spel in die speelkamer aan. Steeds kom dit soms voor dat kinders hul spel en dialoog verander na wat hulle dink die terapeut wil sien en hoor, dinge wat aanvaarbaar is, maar wat nie die kind se ware gevoelens of ondervinding van die werklikheid is nie. Die oorsaak hiervan kan enige van die volgende redes wees:
funksioneer. ‘n Kind wat afhanklik word van die terapeut sal nie sonder die terapeut kan funksioneer nie; dit veroorsaak ‘n gevoel van erge verlies en verwerping vir die kind. Die kind word voorberei op die terminering van terapie, die rede, gevolge en die kind se emosies daaromtrent. Die terapeut lei dus die kind en later die ouers om sekere gedragsveranderinge te maak sodat die kind veilig en gelukkig in sy eie omgewing voel. In terapie word die mure wat die kind om homself gebou het vir emosionele veiligheid stelselmatig afgebreek totdat die kind waarlik homself kan wees.
Die terapeut moet waaksaam wees dat die kind nie emosioneel afhanklik van haar word nie.
Soeke na aanvaarding by die terapeut; Vrees vir die terapeut se reaksie; Vrees dat die kind se ouers gaan uitvind wat in die speelkamer gesê word; Geoefende gedrag (die kind is gewoond om voor te gee); Die kind is nie gereed om die waarheid of ware emosies te projekteer nie. 22 Kleuterklanke
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Die terapeut Dit is belangrik dat die terapeut intensiewe aandag gee aan die kind en sy spel (die storie wat hy vertel). Die terapeut moet baie geduldig wees sodat die kind op sy eie tyd die storie vertel, verander waar hy dit nodig vind en die ervarings en gebeure eien. Afleidings word nie uit die kind se spel gemaak nie, maar eerder met die kind geverifieer deur gepaste vrae te vra oor sy spel. In die veilige speelkamer gee die kind die pas aan en die terapeut moet daarvoor aanpasbaar wees. Aangesien kinders wat vir terapie kom moontlik reeds emosionele skade opgedoen het, moet die terapeut waaksaam wees dat die kind nie emosioneel afhanklik van haar word nie. Kinders wat uit ‘n onveilige omgewing kom, kan maklik afhanklik word van die veiligheid wat die terapeut en die speelkamer bied. Die kind begin floreer op die aandag, aanvaarding en kalmte van die terapeut. Die terapeut speel egter net vir ‘n paar maande ‘n aktiewe rol in die kind se lewe, daarna moet die kind sonder die terapie sessies kan
Terapie is suksesvol wanneer daar positiewe verandering in die kind se gedrag voorkom.
TEN MEMOS FROM CHILDREN DON’T BE AFRAID TO BE FIRM
– I prefer it. It makes me feel more secure . DON’T LET ME FORM BAD HABITS
– I have to rely on you to detect them in the early stages. DON’T CORRECT ME IN FRONT OF OTHER PEOPLE IF YOU CAN HELP IT
– I’ll take much more notice if you talk quietly with me in private . DON’T PROTECT ME FROM CONSEQUENCES
– I need to learn the painful way sometimes. DON’T MAKE RASH PROMISES
– I feel let down when they are broken . DON’T BE INCONSISTENT
– It confuses me and makes me lose faith in you. DON’T PUT ME OFF IF I ASK QUESTIONS
– If you do, I’ll seek the information elsewhere . DON’T THINK IT’S BENEATH YOUR DIGNITY TO APOLOGISE
– An honest apology makes me feel surprisingly warm towards you. DON’T FORGET I LOVE EXPERIMENTING
– I couldn’t get on without it, so please put up with me . DON’T FORGET I CAN’T THRIVE WITHOUT
– Lots of love and understanding, but I don’t need to tell you, do I? Dr M Mendel
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Movement is the best medicine for tricky behaviour! Carina Taylor
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Movement against gravity – jumping up and down in one spot 10 to 20 times – will calm or activate their stilldeveloping and sometimes unpredictable central nervous systems and help them to learn optimally. Did you know that movement against gravity i.e. heavy work patterns – jumping up and down in one spot 10 to 20 times – will calm or activate their still-developing and sometimes unpredictable central nervous systems, and help them to learn optimally? If you watch your colleagues during your next meeting, After qualifying as an occupational therapist, Carina Taylor specialised in Sensory Integration Dysfunction and has 20 years experience in the treatment of sensory integrative disorders. In 2006 she became a lecturer on the Treatment Course for the South African Institute for Sensory Integration (SAISI) and was part of the team who standardised the South African training with international standards in 2011. She currently coaches teachers, parents and corporate clients in the value of sensory regulation in the workplace. carina@cleverfish.co.za
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id you know that most pre-schoolers get difficult when they feel out of control, do not know what is expected, feel anxious about sudden change, etc? Did you know that physically mastering their own bodies and their environment is what they are designed to do? Mastering their bodies and the world around them builds confidence, the ability to adapt to change, the skill of focusing on the task at hand and intellectual growth, leading to effective learning.
note that they are all moving. One might wiggle her toes, one might write furiously, another might play with her pen, and another might be chewing gum. As adults we have learnt to give our bodies subtle movement in order to stay focused and alert. Some of us need to go for a run or physically clean a room to help us feel better when we get upset or overwhelmed by life. Some of us need the movement to activate us during meetings as we become too zoomed-out, and others to calm us if we get anxious about a project or have to make sudden decisions. In children it is more exaggerated and disruptive. They still need to move to learn. When we understand this, it is evident that young children need to move, and move enough, in order to stay in a calm-alert state for learning, underlying the effective development of refined gross- and fine-motor skills. Sensory integration occupational therapy is based on that premise. It was researched and proven in the 1960’s by Jean Ayres, and current researchers like Suzanne SmithRoley and Winnie Dunn are confirming the findings. How do we apply this knowledge in the school and in the classroom? The short answer: multi-sensory input with movement components on a regular basis.
On the Playground Gross motor and sensory free-play outside are crucial for optimal neuro-development. When they explore and play by themselves, children access the calm-alert space, where they can optimally learn. They need between 200 and 2000 repetitions of one action/movement for it to be accessible without having to think about it. That is why a two-year-old’s consistent jumping can drive you up the wall! It is appropriate and necessary at that age for the neural pathways for jumping to be built. I once saw the most beautiful analogy on Discovery Channel: children were running a specific path in a field of wheat never run in before. The wheat jumps back the first few times but as they repeat it, a path is laid down in the wheat field and becomes easy to see and to access. The outdoor area should be rich in textures (real grass, astro-turf, sand, gravel, cement, etc), heights, equipment to move on (for instance swings, jungle gyms, different kinds of bikes, wheelbarrows and wagons), sand-play, water-play, balls, imaginary play, hiding spaces like barrels on a jungle gym, nooks and crannies with spaces to sit quietly, plants that smell (herbs) or make a sound when touched or the wind blows (bamboo) etc. It should be a place where they can explore their physicality in a safe environment appropriate for their age. Structured physical exploration sessions
Using movement during transition times is the best way to include movement in your classroom schedule without disrupting your class. etc. These structured sessions also enable the teacher to pinpoint areas of concern regarding individual children. Ample opportunity is also provided for evaluation of the children’s emerging skills. In the Classroom The aim: Accessing the calm-alert zone for optimal focus, learning and adaptation through sensory experiences. Movement breaks are the key. How to: Using movement during transition times is the best way to include movement in your classroom schedule without disrupting your class. Also remember, it takes time to get a movement break system into place. Start off by doing the first movement break between two activities, before the first free play time when everyone is still well rested. Practise this one movement break for a
Photo: www.photoxpress.com
Having a daily structured obstacle course or ball skill session or even a dancing session is extremely important. It gives the children an opportunity to explore beyond their comfort zone. They can see modelling of new and unfamiliar movement patterns. You can structure your weekly programme to involve specific skills: Balance session: balance beam, walking on a rope, one leg standing, one foot hopping, walking with a ball held in front of them on a balance beam, jumping from small heights, two-leg jump followed by a oneleg jump, jumping into and out of hoops. Bilateral integration (two sides of the body moving together in a rhythmic, sequential pattern) session: a dancing session copying simple dance moves involving legs and arms. Break it down: first teach legs, then arms, then together. Postural control session: Animal walks session (heavy work against gravity). Slither like a snake to an end point, jump like a frog, walk like a crab, kick like a donkey, crawl and pretend you are kittens, walk like a bear (hands and feet flat on floor), etc. These activities also tap into bilateral integration and
planning. Eye-hand coordination session: with aiming games – beanbags, balloons, different sizes of balls and goals. Goals can be two-litre plastic bottles filled with water, buckets, old tyres, baskets, etc. Motor planning session: I call this the “Hoola-hoopwhat else can you do with it?” session. Children play "follow the leader" and each child shows what the group must do with their hoola-hoop. They see new options, try them out and initiate new ideas. You can do the same with balls, beanbags or a piece of rope,
May 2012 Learning Years
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week or until it runs smoothly. Then introduce one in the session after free play time, practise for a week or until it runs smoothly and introduce another one. Perseverance and practice are needed for the teacher and children to adapt to a new structure. Once it is in place everyone will be calm and alert on a more frequent basis.
look at me!” Many children need a warning for transitions/change to be effortless. Be clear and specific when giving instructions: “We are going to our tables to do animal puzzles, let’s stomp like elephants to our tables and then go and sit as quietly as mice on our chairs”. Use your voice in a low and loud fashion and show them how to stomp for the elephant Example 1: Story-time just after playtime on the carpet. instruction. Use a quiet voice and a quiet posture when Usually the children are saying “quietly as mice”. excited and excitable and Young children need to move Obviously a two-to-three the change from free-play component instruction will enough in order to stay in a to structured play can be be too much for a twocalm-alert state for learning. chaotic. Let them line up year-old and one will stick outside while singing a song to “stomp like elephants with a clapping rhythm. Let to your chairs”. Then the them jump to their designated places like kangaroos, still teacher waits for everyone to get to their chair, before singing a very rhythmic song. Make sure they have little giving the second instruction. mats or stickers on the carpet to sit on. Designated places give a sense of boundaries and a sense of control. The power of movement is thus twofold: Then start singing softer and softer until you end the song 1. It helps children to access the calm-alert zone for in a whisper. concentration and learning. Do a listening activity or sequence, still in a low, soft 2. It helps children to develop the gross and finevoice: Get your body comfortable on your mat, open your motor skills needed for optimal learning. eyes wide so you can see, get your ears ready to listen, see if you can wiggle them and get your brain ready to learn. Let’s use this basic design of the human race – movement Then start your story using words and pictures and lots of helps us to develop optimally – as our starting point for voice intonations and, if at all possible, get them involved teaching our children and empowering them to become with a chant e.g. everybody says and imitates “I’ll huff comfortable in the power of their physicality in order to and I’ll puff and I’ll blow your house down”. learn intellectually. Example 2: Moving from ring-time to the tables for a visual perceptual activity. Prepare them by saying: “Listen carefully!” or “Everyone
Photo: www.photoxpress.com
26 Kleuterklanke
May 2012
Fussy Eaters Ida Bester
rom one to three years, your child will make the big transition from infancy to childhood. During this phase it is very important to create a foundation of
Photo: www.photoxpress.com
Sister Ida Bester is co-founder and co-director of The Baby Whisperers, an infant wellness clinic in Pretoria. www.babywhisperers.co.za
F
solid nutrition for healthy later years. The biggest problem now is that they will be choosy about what and how much they eat. The way they think, act and eat can lead to frustration in parents. They don’t eat what you want them to eat or they play with their food and expect you to play, too. They take ages to swallow one mouthful. They throw a tantrum when they are denied a sweet. They will go on hunger strikes. They want to eat at the most awkward times in the most inconvenient places. Good news moms! A healthy child has never died of hunger! Your child is still in a phase of rapid development and the time between one and three years covers a major learning stage in which his brain almost doubles in size. Physiological and nutritional needs are fairly specific and it is essential that small children eat a good variety of healthy foods to satisfy their highly specialised needs. Although toddlers grow at a slower rate than babies, they still need enough energy and nutrients from food to fuel this active play and growth phase. A car cannot operate on water – it needs petrol! Common reasons why toddlers refuse to eat Teething. Remember at this stage they are cutting their molars and eye teeth. This can be extremely painful and usually goes hand-in-hand with cold symptoms and irritability. Sore throat. Remember, we all have appetite fluctuations from day
to day or even from meal to meal. Never be tempted to force-feed because this can result in a lifelong aversion to certain foods. Toddler years are the ideal time to help children to form a
Toddler years are the ideal time to help children to form a positive attitude towards food and to develop sound eating habits. positive attitude towards food and to develop sound eating habits. It is well documented that early teaching of healthy eating habits reduces the risk of obesity and heart disease May 2012 Learning Years
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as well as metabolic syndrome in later years. Tips on feeding: Offer small portions, several times a day. Remember the toddler’s stomach is only the size of her little fist. They have small tummies but unique energy needs. Frequency is much more important than quantity. Listen and trust your child’s hunger cues. If they have had enough, respect it; they will eat when they are hungry. But remember not to become an “obedient slave” parent who prepares one dish after another when they don’t want to eat. Take away the food that you have offered when they don’t want it, and when they come back after an hour to say they are hungry, offer the same food. Avoid clean plate practice and overeating. This will either cause obesity or an aversion to certain food as they grow up. Offer at least one food that you know they will eat at every meal. Try to keep to an eating routine. This will certainly lead to a happier mealtime and snack time approach. Let them eat after a favourite activity. They are usually relaxed and undistracted. Eat with your toddler; if they never see you eating they won’t eat. After all, a family that eats and prays together, stays together. Encourage them to feed themselves. Although this can result in mess, remember it is an important part of a child’s development.
Photo: www.photoxpress.com
C het g hristo e omd val en hu at sy il v leis uitko m.
28 Kleuterklanke
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SCENES FROM OUR SEMINARS
30 Kleuterklanke
May 2012
Guest Speakers August 2011 Prof Marike de Witt. UNISA. Is my kind gereed vir formele leer? Cherry Stephen. Make a meal of music. Preparing and presenting music lessons in the pre-primary school May 2012 Learning Years 31 Hanlie Visagie. “Mind Moves� in die kleuterskool klaskamer
Guest Speakers March 2012 Carina Taylor. Learning styles –The right start to intellectual development Ansju Blackbeard. Babies and toddlers: Windows of opportunity Dr Zenda Nel. Integration of the arts in the pre-primary school Kleuterklanke May 2012 32 Christa Snyman. 3 – 6 jaar: Dagprogram, taal en wiskunde
078 803 3755 072 056 6646
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Karen Ogilvie
Day by Day Early Childhood Development Janine Randall Leon Erasmus Marlese Nel Joan Gerntholtz Henriette Minnaar Ronelle Booyens Andre Ferreira Bridget Hill Janet Joy Ananta Moolman Merinda Viljoen Ria Hyman Yvonne Stoker Deidre Foster Sandra Bothma
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Dankie aan ons uitstallers by die seminaar:
May 2012 Learning Years
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E
onderwysers en s er ou r vi d ei th en le ge ‘n
lke ouer het seker al meer as een keer hulle oë toe gemaak en gesê: “Ek wens my kind is met ‘n handleiding gebore.” Ons wonder baie of ons op die “regte” pad is en of ons ons kinders reg dissiplineer en opvoed. Hoeveel van ons as ouers was regtig voorbereid op die bondeltjie vreugde wat in ons sorg geplaas is? Die Immergroen Ouerskap kursus word landswyd aangebied deur sowat 114
geakkrediteerde ouerleidingsfasiliteerders wat self deur Hettie Brittz (bekende openbare spreker en outeur van die boeke Kweek Kinders Met Karakter en Kweek Gesonde Gesag) opgelei is. Die seminare en boeke is ook al beskryf as “Die handleiding waarmee jou kind gebore moet word” en word vir meer as vier jaar reeds in lande soos Suid-Afrika, Dubai en Australië aangebied. Die Immergroen Ouerskap kursus bestaan uit die volgende beginsels, wat ons ook die Sewe Wortelwaarhede noem: 1. 2. 3. 4. 5. 6.
7.
Immergroen Ouerskap is ‘n dissipelskap-proses waarvan die vrug soms jare later eers sigbaar is. Daar is geen kortpad na volwassenheid nie. Immergroen Ouerskap neem die temperament van elke lid van die gesin in ag. Ons glo kinders en ouers se temperament is ‘n baie belangrike Godgegewe ontwerp. Immergroen gesag bestaan uit twaalf gesagsboustene wat deur al die fases van baba-dae tot volwassenheid noodsaaklik bly. Immergroen Ouerskap vereis ‘n begrip van die groter prentjie. Ons moet al die unieke oomblikke van ouerskap leer identifiseer en dan die regte optrede kies. Ons moet die groeiseisoene van ‘n kind se lewe verstaan en ons ouerskapfokus moet daarby aanpas. Immergroen dissipline het as basis die oortuiging van Hebreërs 12:11-13, dat selfs pynlike dissipline wat op die regte manier en met liefde toegepas word, onontbeerlik is vir volwassewording. Wanneer ons die verskillende soorte gedrag verstaan, weet ons dat ons met onderrig en liefdevolle ondersteuning die meeste van die tyd baie verder kan kom as met ‘n lat. Alle worteldiep veranderinge in gesinne is gebaseer op worteldiep veranderinge in ons eie harte en op doelgerigte praktiese planne. Ons het nodig dat die Here ons aanraak, heelmaak, vergewe, met Sy Gees van Wysheid vul en Sy liefde in ons harte uitstort.
Immergroen Ouerskap besef dat ouers wat reeds die beginsels verstaan, toepas en die vrug daarvan geniet, 34 Kleuterklanke
Mei 2012
dit met ander deel en graag wil voortsit in die skool en klaskamer. Die Immergroen Ouerskap kursus gee vir ouers en onderwysers die geleentheid om dieselfde kennis en praktiese raad te ontvang en saam as ‘n span te werk. Immergroen Ouerskap gee daarom dieselfde opleiding aanbieding aan onderwysers en doen maandelikse opvolg-sessies om seker te maak dat onderwysers gemaklik is met die implementering, toepassing en volharding van die beginsels. Onderwysers verwelkom hierdie ondersteuning. Immergroen Ouerskap is tans besig om ‘n databasis lys saam te stel van Immergroen ge-akkrediteerde skole wat ons ook op Immergroen Ouerskap se webtuiste gaan plaas vir ouers wat op soek is na ‘n skool met dieselfde beginsels wat hulle tuis toepas. Tesame met die Immergroen Ouerskap kursus is daar ouerskap boeke, CD’s, DVD’s en kreatiewe dissipline gereedskap. Immergroen Ouerskap wil graag saam met elke ouer/onderwyser hierdie opwindende pad stap.
Besoek gerus ons webtuiste www.immergroenouerskap.co.za Kontak Chrizanda du Preez, Streeksbestuurder – Pretoria by 082 562 1598. E-pos: chrizanda@immergroenouerskap.co.za
: “Ek ltyd n a v a Xe ig en ly. My w e vir db gaan Engelan atjie kry b ie ‘n ba kan net by d l i w tjie ma mam die baba itkom.” u r maa ngeland in E
May 2012 Learning Years
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Tuna Spaghetti
Photo: www.wizardsofdraws.com
Hierdie resepte is ekonomies en baie gewild by Kabouterland Kleuterskool (Rustenburg) se kinders en personeel!
(Genoeg vir 40 kinders. Porsie grootte 200ml.)
Bestanddele
Metode
3 pakke (750g) spaghetti 3,5 ℓ melk 2 pakkies sampioenroomsop 6 blikkies tuna 4 koppies gerasperde kaas.
1. Kook die spaghetti. 2. Berei die sous voor: kook die melk en soppoeier oor matige hitte, roer aanhoudend totdat dit kook. 3. Dreineer die tuna en voeg by die sous. 4. Gooi die helfte van die kaas by. 5. Strooi so knypie kaas op elke porsie vir garnering. 6. Bedien met ‘n groen slaai.
(Genoeg vir 40 kinders)
Bestanddele
Metode
4 koppies gaar rys 4 koppies mayonnaise 12 eiers 4 blikkies tuna in olie (dreineer 2) 2 groot uie gerasper 1 koppie gerasperde kaas
36 Kleuterklanke
May 2012
Photo: www.photoxpress.com
1. 2. 3. 4. 5. 6.
Meng die rys, mayonnaise, uie en eiers saam. Vlok die tuna en meng by. Gooi in ‘n oondpan. Strooi die kaas bo-oor. Bak by 180º tot bestanddele gestol het. Bedien met groente of slaai.
Photo: www.photoxpress.com
Tuna en rys gereg
Two economical recipes for large numbers of children
Pork Stew
(40 portions, approximately 150 mℓ per child)
Ingredients
Method
80 g lentils 400 mℓ water
1. Soak for an hour and cook until tender.
3.2 kg pork with bone
2. Fry for a few minutes on both sides. Cook until tender, debone and cut into pieces.
80 mℓ oil 640 g onions 10 mℓ salt 80 mℓ vinegar 560 g mixed vegetables 500 g pineapple pieces, drained
3. Sauté the onions. Add the rest of the ingredients, the meat and the lentils. Cook until the vegetables are tender.
40 g cake flour 80 g gravy powder 1.1 ℓ drained pineapple juice and water
4. Mix to a paste.
100 mℓ tomato sauce 100 mℓ apricot jam
5. Add to the paste and mix with the meat. Cook until thickened.
Photo: www.photoxpress.com
Beetroot Mould (40 portions, 95 mℓ per child)
Ingredients
Method
2.8 kg beetroot without tops
1. Wash and cook until tender. Peel and grate.
2 packets jelly, (160 g) e.g. strawberry or black current 500 mℓ boiling water 250 mℓ cold water
2. Dissolve the jelly in the boiling water and add the cold water. Put in fridge until as thick as egg white. Add to the cold beetroot and pour into a mould. Serve when set.
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Baking / Bak & Brou
Recipe: Groentesop Apparaat
Soplepel
Getande messie
Kastrol
Kookplaat
Bestanddele
Aartappels
Sopbeen Water Wortels
Tamaties Seldery 38 Kleuterklanke
Mei 2012
Noedels
Sout
Metode
1
Kerf Groente
+ 2
Plaas groente en sopbeen in kastrol. Vul die pot met water en kook vir een uur.
+ 3
+
+
+
Voeg noedels en sout by in kastrol. Kook 10 minute.
+ 4
Skep sop in bakkies
May 2012 Learning Years
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Lok die kleuters ..... met die uitplasing en aanbied van aktiwiteite Dr Elsie Calitz Ontwikkelings-opvoedkundige Photo: www.photoxpress.com
D
ie estetiese ontwikkeling van jong kinders hang baie nou saam met wat hulle in hulle omgewing beleef. Hoe die speellokaal uitgeplaas word, kleur wat gebruik word en die algemene voorkoms van die lokaal speel alles ‘n rol in hierdie ontwikkeling van Dr Elsie Calitz het in ‘n estetiese waardes. kleuterskool haar onderwys Op watter wyse kan loopbaan begin en later ons die speellokaal die akademiese wêreld of klaskamer inrig betree, waar sy studente as ‘n plek wat opgelei het in bewegings- en esteties bevredigend omgewingsopvoedkunde. is? Sy is tans direkteur van ‘n Die lokaal kleuter- en laerskool wat op moet netjies en die Reggio Emelia filosofie gebaseer is. georden lyk Dr Calitz ontwerp, Ek weet baie organiseer en fasiliteer ook goed dat kinders kursusse vir voorskoolse wat eksploreer en en laerskool onderwysers. ontdek dit nie op As gemeenskapsdiens is ‘n geordende of sy aktief betrokke by die netjiese manier opleiding van onopgeleide doen nie. Ons moet werkers in kleuterskole in egter onthou dat plattelandse gebiede. die meeste van Na jare se omvangryke studie ons kinders nooit van breinontwikkeling, is Dr hierdie vaardighede Calitz gefasineer deur die sal bemeester of veranderinge in die onderwys sinvolle beheer oor wat die nuwe ontdekkings hulle omgewing sal in breinontwikkeling Mei 2012 40 Kleuterklanke meegebring het.
hê as ons nie geleentheid skep in die roetine en daaglikse herhaling van die skep van ‘n esteties-bevredigende omgewing nie. Vir die onderwyseres beteken dit dat die lokaal netjies aan die kant moet wees (met die aktiewe medewerking van die leerders) wanneer die leerders na buite beweeg tydens buitespel.
Skep van ruimte vir portfolios
Daar moet ruimte geskep word om elke dag se kunswerke netjies te bêre en dit gereeld eenmaal in twee weke met behulp van die leerders uit te sorteer en te besluit wat huistoe gaan en wat in die portfolio gebêre word. ‘n Portfolio moet stewig en groot genoeg wees om ‘n A3 folio te hanteer. Die leerder se naam moet duidelik op die portfolio wees en dit moet so gebêre word dat dit sigbaar vir ‘n ouer moet wees wat daarna wil kyk. Die inhoud van die portfolio moet die aktiwiteite reflekteer en moet ook die verskeidenheid wat aangebied word duidelik wys. ‘n Portfolio speel ‘n baie belangrike rol in assessering, veral in assessering wat vergelykend oor ‘n tydperk geskied. Indien jy jou portfolio-bewyse het vir die standpunte wat jy in die termynverslag inneem, staan jy stewig in die lig van ouers wat krities is oor jou uitsprake.
Daaglikse uitleg van aktiwiteite
Hoe tafels en aktiwiteitsentra gerangskik word moet fyn beplan word. Dit is nie nodig dat al die leerders byvoorbeeld aan skeppend moet deelneem nie. Selfs al wil almal daaraan deelneem moet die groep op ‘n natuurlike manier verdeel word sodat daar in ‘n groep van bv 14 leerders minstens vier verskillende aktiwiteite is
waaruit gekies kan word. Verdeling by die aanvanklike deelname geskied volgens bv. “Almal met blou oë, of bruin skoene of iets roois aan, kan kies waar julle wil speel”. Die plasing van aktiwiteite moet ook aan die leerders ‘n aanduiding gee van hoeveel leerders by ‘n spesifieke plek mag deelneem. By die ouer leerders kan hulle al self die afleiding maak deur bv te kyk na die aantal stoele, of daar kan kolkaarte uitgeplaas word. Vir die jonger leerders moet die onderwyseres eksplisiet aandui hoeveel daar by ‘n spesifieke plek mag speel. Hierdie proses speel ‘n belangrike rol in die ontwikkeling van selfdissipline. Dit bemagtig ook leerders, selfs die heel jongstes om beheer oor hulle
Photo: www.photoxpress.com
Die brein reageer positief op natuurlike lig. eie lewe en die leeromgewing te ervaar. Die uitleg van die speellokaal is ‘n belangrike aspek van die estetiese voorkoms van die lokaal. In die algemeen moet ons onthou dat die brein nie daarvan hou om verveeld te wees nie. As ‘n speellokaal elke dag dieselfde lyk, word daar op die ou einde nie meer aandag gegee aan die uitplasing nie. Speelgoed, aktiwiteite en die voorkoms van die lokaal moet dus
minstens elke week en soms selfs elke dag wissel. Hoe leerders reageer op verandering moet fyn
Plante is egter ‘n manier om tekstuur in die lokaal in te bring. waargeneem word deur die onderwyseres. Dit is terselfdertyd assesseringsinligting oor individuele kinders maar ook assessering van die speellokaal vir haar eie groei en ontwikkeling. Die aspekte waaraan aandag gegee word is onder andere kleur, tekstuur, vorm, lyn en ook reuk en klassieke musiek. Kleur Kleur kan beide aandag behou en aandag aflei. Dit is altyd beter om te kyk na neutrale agtergronde. In die Reggio Emilia-skole van Italië word daar bv van ‘n peperment groen teen die mure gebruik gemaak omdat hulle voel dat dit ‘n kleur is wat mense rustig maak. Bly weg van donkerder kleure en ‘n aggressiewe mengsel van primêre kleure. Te veel helder, kontrasterende kleure is steurend. Lig is belangrik. Die brein reageer positief op natuurlike lig. Baie onderwyseresse maak hulle mure vol met allerhande kommersiële prente. Leerders identifiseer met en kyk liewer na prente wat hulleself gemaak het. Hulle gee aandag aan dinge waarmee hulle emosioneel kan bind. Moet nie die fout maak om net “mooi” produkte op die mure te sit nie. Elke kind se skepping is die moeite werd en moet so hanteer word. Dikwels plaas ons goed teen die muur om ouers en ons kollegas te beïndruk. In die eerste plek is dit ‘n omgewing ter wille van kinders en hulle moet die sentrale fokus van die uitstalling wees. Plaas prente teen die muur op ‘n vlak waar die leerders dit gemaklik kan sien. Leerders moet dus op ooghoogte na uitstallings kan kyk. Hierdie prente moet funksioneel wees maw deel van die ontdekkingstafel of prente van geboue en strukture by die konstruksiehoek of interessante prente van diere wat gereeld verwissel word. Maak bv ‘n “bring en vertel”area waar leerders prente en voorwerpe waarin hulle belangstel van die huis kan bring en vir die klasmaats daarvan kan vertel. Tekstuur In Suid-Afrika word daar nie dikwels van plante gebruik gemaak in speellokale nie. Plante is egter ‘n manier om tekstuur in die lokaal in te bring. Dit werk goed om twee of drie plante te hê wat dan gereeld May 2012 Learning Years
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omgeruil kan word om hulle vars en gesond te hou. Tekstuur word ook in die lokaal gebring deur apparaat wat uitgeplaas word. Vorm Ons is so gewoond daaraan om aan vorms as leermateriaal te dink dat ons selde daaraan dink dat dit ‘n organiserende beginsel in kuns is. Plaas verskillende vorms uit in dieselfde area. Jy hoef niks daaroor te sê nie. Leerders let sulke dinge op. Lyn Lyne is ook ‘n baie sterk estetiese organiseerder. Dit is een van die redes hoekom deurmekaar papiere en bokse wat nie reghoekig vertoon word nie ‘n onnette voorkoms aan die lokaal gee. Maak gebruik van die lyne van mure en ingange om hierdie estetiese aspek te beklemtoon. Reuk Reuk speel ‘n baie belangrike rol in leer en veral in geheue. ‘n Mens kry masjientjies wat in die rondte draai en ‘n reuk in die lokaal versprei. John Medina beweer dat die teenwoordigheid van ‘n aangename reuk die motivering en ook die emosionele atmosfeer van die leerlokaal positief beïnvloed. Klassieke musiek Onlangse navorsing beweer dat sagte, agtergrond, klassieke musiek gesondheid bevorder. Kies musiek met oorleg. Hierdie navorsing beweer dat hulle bewys het dat ander soorte musiek nie hierdie effek op die gesondheid het nie. Probeer dit gerus!
Die verskil tussen kuns en kunsvlyt
Hierdie twee dinge is nie dieselfde nie. Baie van die sogenaamde kunsaktiwiteite in die voorskoolse fase val ongelukkig onder kunsvlyt. Kuns is ‘n aktiwiteit wat deur die kind waargeneem, beplan en dan skeppend uitgevoer word. Kunsvlyt is wanneer die onderwyser beplan, voorberei en die kind help om ‘n produk te lewer wat weinig van die ander kinders s’n verskil en waar al die klem op die eindproduk geplaas word. Ja, natuurlik is dit nodig om kaartjies vir Moeders- en Vadersdag en ook vir Kersfees te maak. En daar moet plek ingeruim word – af en toe – vir kunsvlyt, maar dit moet regtig net af en toe wees!
Temas is ‘n seën en ‘n straf in die voorskoolse fase.
Aktiwiteite kan gekies word uit die volgende: Die kunskurrikulum
Die kunskurrikulum verwys na die aktiwiteite wat by kuns ingesluit moet word. Dikwels voel ‘n onderwyser dat die kinders moeg is vir dieselfde soort aktiwiteit en dan probeer hulle nuwe media en tegnieke, soos om verf deur strooitjies te blaas of albasters in verf te rol. Hierdie aktiwiteite kan wel gebruik word om materiaal te produseer wat gebruik kan word om kunswerke op te monteer, maar dit kan hoogstens as interessante tegnieke beskou word – definitief nie as kuns nie! As die kinders met nuwe media kennis maak, wil hulle eers ondersoek instel om die potensiaal van die media te ontdek. ‘n Aantal navorsers, soos Carol Seefeldt en Dighe et al. (1998) glo dat kinders wat werklike kuns skep, so bekend moet wees met hulle kryte, oliepastelle en verfkwaste dat dit vir hulle soos ‘n verlenging van hulle hande voel. Die basiese media van teken en verf is steeds die belangrikste deel van die kunskurrikulum. 42 Kleuterklanke
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Temas en kuns
Temas is ‘n seën en ‘n straf in die voorskoolse fase. Dis ‘n seën wanneer dit gebruik word om vas te stel watter vaardighede die kinders moet verkry, en ook as ‘n riglyn om leeruitkomste te beplan. Die algemene praktyk is dat kinders gevra word om iets te maak wat verband met die tema het. Dit moet egter altyd die kleuter se keuse wees en jy as onderwyseres moet dit duidelik stel. Dit is veral belangrik by die 4 tot 6-jarige ouderdomsgroep omdat ‘n groot groep van hulle, veral aan die begin van die jaar, nog besig is om te krabbel of koppotige figure te teken. Om vir kleuters in hierdie fase te vra om spesifieke dinge te maak is tydmors en ‘n groot frustrasie vir die kleuters en hulle onderwyser. Dit is dus ‘n straf vir almal in die proses as temas in ‘n knellende dwangbuis ontwikkel en jy alles in die vorm van ‘n tema wil giet. Daar is hope aktiwiteite in die daaglikse programme wat nie volgens temas gedoen hoef te word nie, en kuns is een daarvan. As dit moontlik is om die aspekte van ‘n tema waar te neem en te ervaar wat in kuns gebruik kan word, moet jy dit doen. Maar so ver moontlik moet jy altyd vryekeuseervarings en waarnemings voorsien waarin die kinders skeppend kan wees sonder dat hulle gedwing word om op ‘n spesifieke tema te werk.
Verf
Verf moet altyd deel van die kunskurrikulum wees. Om dit aan te bied, benodig jy: • Minstens 8 mediumgrootte en 4 dik kwaste (almal verf nie altyd op dieselfde tyd nie – slegs genoeg kwaste vir die verfarea). • 12 klein botteltjies of joghurthouers om die verf in te meng. As jy dit in die hande kan kry, is die botteltjies waarin babakos kom die beste – hulle
Teken • • •
•
•
Dik, voorskoolkryte van ‘n goeie gehalte. Kryte van ‘n swak gehalte is hard, en die kleure is te lig. Oliepastelle – ‘n sagte, olierige kryt met helder, lewendige kleure. Word vir spesiale geleenthede gebruik. Houtskool – ‘n medium met baie potensiaal op wit papier. Houtskool kan gekombineer word met verf. Dit lyk werklik fantasties! Laat hulle teken met houtskool en dan met verf “inkleur”. Bordkryt – om op donker papier te teken. Maak suikerwater aan waarin die kleuters die kryt kan doop om op papier te teken. Dit verdiep die kleure van die kryt en verhoed dat dit afskuur. Sit ‘n lang stuk papier teen ‘n muur op en laat die
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deksels pas styf om die houertjies agterna toe te maak. • Twee staanders om te verhoed dat die verfhouers omval. • Twee blikke om papier vir die verftafel in te bêre. • ‘n Esel. • ‘n Plastiek bedekking vir die tafel/vloer. Tipes verfaktiwiteite • Vingerverf – veral waardevol vir kinders wat nog in die ontdekkingsfase is. ‘n Resep wat verhoed dat die papier opkrul as die vingerverf droog word is as volg: Meng 1 koppie meel en 1 koppie suiker. Meng met ‘n bietjie koue water en gooi dan 4 koppies kookwater by die mengsel en bring tot kookpunt. Roer tot glad en laat afkoel. Voeg kleursel of verf by. • Tafelverf – begin met A3-grootte papier. Teen die einde van die jaar kan hulle al A4-grootte gebruik. • Vloerverf – gebruik groot stukke papier of ongedrukte koerantpapier. • Meng die verf volgens die vervaardigers se instruksies. Dun, waterige verf lei net tot frustrasie vir die kinders. • Verfafdrukke van voorwerpe soos sponsvorms, blare, hande, ens. • Tekstuur, soos bv. sand, kan by verf gevoeg word, om ‘n ander tekstuur aan die skildery te verleen. Plak borrelverpakking op die tafel en laat die kleuters hulle papier bo-oor sit en verf. • Drukwerk is ‘n belangrike aktiwiteit in kuns. Afdrukke kan gemaak word van vingerverf wat op ‘n tafel gedoen is. Die kinders kan van enige verfstukke afdrukke maak, maar daar is spesiale afdrukverf en druktegnieke wat gebruik kan word. Gebruik dieselfde borrelverpakking. Laat die kleuters nou op die borrelplastiek verf en dan met ‘n papier bo-oor druk.
Die basiese media van teken en verf is steeds die belangrikste deel van die kunskurrikulum.
• •
kleuters na hartelus daarop teken. Moenie inmeng nie. Neem waar hoe hulle begin om individueel te werk en dan al hoe meer begin om saam te werk. Doen dit elke dag vir ‘n week of twee. Verf ‘n muur op die stoep met swartbordverf en gee bordkryt en bordveërs op ‘n gereelde basis. Wit kerse of wit waskryt waarmee op wit papier geteken word en dan met dun verf of groentekleursel “gewas” word.
Collage
Dit is ‘n kollektiewe naam in kuns vir kunswerke wat geskep word deur materiale op ‘n agtergrond vas te plak. Collage word dikwels vir die maak van kunsvlytartikels gebruik. In kunsprojekte word collage die beste gebruik in kombinasie met ander media, soos verf en collage, of teken en collage. Moenie deurentyd jou kinders voorsien van vorms wat reeds uitgeknip is nie. Gee eerder vir hulle die geleentheid om hulle eie vorms te knip soos hulle dit sien – dit is ‘n positiewe bydrae tot hulle betrokkenheid by die kunsproses. Op dié manier verkry hulle ook knipvaardighede wat vir hulle van meer waarde is as om May 2012 Learning Years
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vorms uit te knip wat deur die onderwyser bepaal is. Skêre moet vryelik beskikbaar wees sodat die kinders self die knipvaardigheid kan ondersoek en ontdek. Kinders wat sukkel om te knip en nie tuis die geleentheid daarvoor gehad het nie, kan ingelyf word in die kuns deur skêre op die tafel met deegklei te voorsien. Dis baie makliker om klei te knip as om papier te knip.
Modelleer met klei en papier maché
Modelleerwerk is ‘n belangrike deel van die kunskurrikulum. Om klei of speeldeeg te bewerk, het ‘n kalmerende invloed op jong kinders. Daarby is dit uitstekende oefening om die hand- en vingerspiere te versterk. Modelleerwerk met klei verskaf ook driedimensionele kwaliteite aan die kunsproses. Jy moet soveel moontlik verskillende modelleerervarings by hierdie area van kuns voorsien. Natuurlike klei is ‘n bekostigbare en belangrike medium wat oor en oor gebruik kan word. Jy kan dit by kunswinkels koop of ook in die natuur kry. As julle met natuurlike klei werk, kan jy vroue uitnooi wat potte maak om vir die kinders die tradisionele vaardigheid van kleipotte maak, te wys. Onthou om die natuurlike klei in balle te rol, met jou duim ‘n gat in elke bal te druk en ‘n bietjie water in die holte te gooi. Bêre dit in ‘n plastieksak of lugdigte houer.
Vinnige sp e
eldeeg
1 kg koekm eel 250 ml sou t 375 ml wa ter 30 ml kook olie Jy kan ‘n d ruppeltjie g roentekleu vanillageu rsel e rsel byvoe g . Meng al die n ‘n teelepel genoeg wa ter by om m droë bestan ddele. Voe et die deeg van die wa g te kan werk ter en olie by en knie . Meng die deeglik. res
ramiek
Soutdeeg vir ke
werpe soos rmanente voor pe om d or w k rf word. eeg kan gebrui g is en kan geve oo dr t di Hierdie speeld as rd Dit word klipha krale te maak. 1 kg koekmeel 1 kg sout 30 ml aluin jy water by terwyl e di 300 ml water eg vo en e nde vassit bestanddel deeg aan jou ha r ee m Meng die droë ks ni ar er. Knie tot da aanhoudend ro nie.
Gekookte speeldeeg
44 Kleuterklanke
Meng saam: 500 ml koekmeel 30 ml wynsteensuur 200 ml sout 500 ml water 30 ml olie 2,5 ml vanillageursel Groentekleursel. Plaas al die bestanddele in ‘n kastrol op hoë hitte. Roer aanhoudend met ‘n houtlepel tot ‘n kompakte bal gevorm word. Skakel af na baie lae hitte en roer tot al die vog geabsorbeer is. Laat afkoel en knie vir ongeveer twee minute lank. Hou in ‘n koel plek in ‘n lugdigte houer. Hierdie speeldeeg is sag en het ‘n baie gladde tekstuur.
May 2012
Konstruksie van driedimensionele bokse Dit is ‘n belangrike aktiwiteit wat saam met modelleerwerk die potensiaal het om vir kinders driedimensionele vaardighede te ontwikkel.
Maskeerband sal ‘n hele omwenteling in bokskonstruksie in die skool bring. Bokskonstruksie kan dikwels as ‘n groepaktiwiteit beplan word. Bokse kan saam met ander collage-materiaal soos skaafsels, groot vorms, botteldoppies, plastiekbakke, ens. gebruik word. Voorsien die volgende: • Tou kan gebruik word om bokse aanmekaar vas te maak. Gom is dikwels frustrerend omdat dit veral van gladde bokse afgly. • Gom: gebruik sterk wit houtlym. Help kinders egter om stutte te maak deur groot konstruksies teen mure of kaste te stut totdat die gom droog geword het. • Gebruik maskeerband – dit kan al die bostaande opsies vervang. Maskeerband maak bokskonstruksie net eenvoudig baie makliker en bevredigender vir die kleuters. Dit sal ‘n hele omwenteling in bokskonstruksie in die skool bring. Baie goeie oog-hand koördinasie oefening. • Wag totdat die bokse heeltemal droog is voordat dit geverf word. Meng verf met skottelgoedseep om te keer dat dit alles van gladde bokse afloop. • Maak kleiner boksies bymekaar vir montering (montage) op stewige papier. Kombineer met klein collage, tekenmateriaal of verf.
Gebruik weereens die sterk houtlym vir hierdie aktiwiteite. Ander aktiwiteite in die speellokaal tydens binne Vryspel (onthou, die kenmerk van vryspel is dat die leerder die reg het om te kies en die plig om op te ruim!) Die apparaat en aktiwiteite wat gekies word hang af van die aantal leerders in die groep. Gewoonlik beplan ons aktiwiteite vir tussen vier en ses leerders. Apparaat moet uitgeplaas word omdat daar ‘n spesifieke rede is hoekom sekere vaardighede ontwikkel moet word. Waarneming van die leerders se deelname gee aan die onderwyseres belangrike assesseringsinligting. Dit gee egter ook belangrike riglyne vir die beplanning van die lokaal. Onthou egter dat Prof. Sugata Mitra twee dinge gesê het wat direk betrekking het op ons rol in kinders se leer. Die eerste is: “Education is an emerging phenomenon not dependent on the adult”. Die tweede ding wat hy gesê het is dat kinders se breine dit uit ‘n ervaring haal wat die leerder op daardie stadium nodig het. Dr Montessori het ook gesê dat jong kinders baie meer by ander kinders leer as by volwassenes. Die belangrikste ding wat Maria Montessori egter gesê het was: “Follow the child”. Hiermee het sy dit wat sy in haar skole gedoen het naamlik om nie in te meng in kinders se spel nie maar om terug te staan en te kyk wat doen hulle met die apparaat wat uitgeplaas is, as ‘n sentrale waarheid vir elke kleuteronderwyseres gegee.
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Ontwikkeling van perseptuele vaardighede Daar is reeds genoem dat die tydperk tussen vier en ses jaar belangrik vir die integrasie van perseptuele
Die kenmerk van vryspel is dat die leerder die reg het om te kies en die plig om op te ruim!
inligting en die verfyning van hierdie vaardighede is. As ‘n voorbeeld kan oog-hand koördinasie genoem word. Hierdie vaardigheid begin wanneer die baba uitreik na voorwerpe. Verfynde, doeltreffende oog-hand koördinasie is egter die resultaat van ongeveer vyf jaar se ontwikkeling wat ‘n fyn samehang tussen grootspieren fynspierbeheer, visuele vaardigheid en konsentrasie is. Kom ons kyk na die perseptuele aspekte wat in die tydperk 4-6 jaar verfyn word: Luistervaardighede / Diskriminasie / Ouditiewe geheue: Apparaat / Aktiwiteite wat dit bevorder: Musiek, bandopnames, gebruik van instrumente, liedjies, gediggies, klem op foneme. Visuele diskriminasie / perifiêre visie / om te volg / ooreenkomste en verskille: Apparaat / Aktiwiteite: Balspeletjies, trap en vang, lotto, vorm- en kleursortering, syfer- en letterherkenning, slangetjies en leertjies. Voorgrond / agtergrond: Apparaat / Aktiwiteite: Blokkespel, grootspieraktiwiteite, balspeletjies, legkaarte, oorsaak- en gevolgkaarte, “What’s in the square?”. Grootspierontwikkeling / balans / basiese bewegings / manipulering van voorwerpe: Apparaat / Aktiwiteite: Bewegingsaktiwiteite wat al hierdie aspekte kombineer in probleemoplossing. Sintese / geheelbeeld diskriminasie / visuele voltooiing: Apparaat / Aktiwiteite: Legkaarte, lottospeletjies, domino’s, voltooi die storie-
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prentkaarte, voltooi die figuur, groot blokkespel. Kleinspierontwikkeling / manipulering: Apparaat / Aktiwiteite: Knip, teken, verf, ryg, sorteer (pennetjiesbord), kleispel. Tyd en ruimtelike konsepte: Apparaat / Aktiwiteite: Stories, verloop van roetines, wetenskapaktiwiteite, sandloper, temas van horlosies, vier van verjaardae, blaaibord met datums en weer, ens. Wiskunde: Eintlik kan Wiskunde nie losgemaak en buite konteks beskou word nie. Die meeste bostaande aktiwiteite en apparaat kan seker ook net so vir Wiskunde gebruik word. Kom ons kyk na spesifieke Wiskunde-vaardighede en die aktiwiteite en apparaat wat daarvoor nodig is. Getallebegrip: Apparaat / aktiwiteite: Voorwerpe wat vir tellers gebruik kan word soos wasgoedpennetjies, knope, boontjies, ronde klippies, proppies en ander afvalmateriaal. Diamond et al. (1999) vertel van ‘n baie interessante tuisgemaakte stukkie apparaat; ‘n strook papier met blokke waarop die syfers 1 tot 10 geskryf is. Vyf kinders kan met dobbelsteentjies gooi en aanskuif. Die een wat eerste 10 bereik is natuurlik die wenner. Dit is ‘n goeie voorloper vir ‘n speletjie soos Slangetjies en Leertjies. Saam met getallebegrip kan die materiaal ook vir sortering gebruik word. Driedimensionele en tweedimensionele vaardighede: Apparaat / aktiwiteite: Groot boublokke is by uitstek die apparaat vir hierdie vaardigheid. In die 4- tot 5-jarige groep behoort daar ook figure, diere, speelgoedmotorjies en ander apparaat saam met die blokke uitgeplaas te word. Aanvullend tot blokke is daar ook kleiner Duploblokke gekombineer met klein Lego-blokke, vormstelle soos Logi-blokke of iets soortgelyks. Kunsaktiwiteite met vorm-collage en bewegingsaktiwiteite met groot kartonvorms is almal aktiwiteite wat dit maklik maak vir kleuters om vorms te integreer. Patrone: Apparaat / aktiwiteite: Hierdie groep is nog nie werklik reg om eie patrone te vorm nie. Die fondament vir toekomstige begrip vir die konsep van patrone kan egter gelê word deur spel met vormstelle, vormcollage, drukwerk in kuns en blootstelling aan patrone op kunsvoorwerpe soos kleipotte. Een tot een verhoudings: Apparaat / aktiwiteite: Voorwerpe wat vir tellers gebruik kan word soos
wasgoedpennetjies, knope, boontjies, ronde klippies, proppies en ander afvalmateriaal. Hierdie groep kan al, deur met konkrete materiaal te speel. aandui wat is dieselfde, watter hopie is meer en watter is minder. Meting: Apparaat / aktiwiteite: Badkamerskaal, kombuisskaal, muurhorlosie, speelhorlosie, maatband teen die muur, verskillende houers vir inhoudsmaat. Meting moet vir hierdie groep deel wees van spel.
Ontwikkeling en stimulering van verbeeldingspel
Verbeeldingspel is ongetwyfeld een van die mees onderskatte aktiwiteite in kinderspel. Verbeelding is volgens Prof. Barbara Clarke (Montessori-kongres, 1985, WITS) een van die min aktiwiteite wat die totale breinkrag van die brein gebruik. Sonder verbeelding is probleemoplossing nie moontlik nie. Verbeelding is ook uiters noodsaaklik vir sosio-emosionele vaardighede soos empatie. Daar moet dus geleentheid beplan word vir verbeeldingspel. Aktiwiteite soos om stories te dramatiseer, musiek en beweging, en verbalisering van verbeeldingsvlugte (gesels oor – sê nou maar: al die krane verdwyn, al die wiele van die motors is vierkantig, mossies is so groot soos volstruise, ens.).
assessering gebruik word. Daar is egter apparaat wat by uitstek vir assessering geskik is. ‘n Voorbeeld van hierdie soort apparaat is “What’s in the square?” wat ongeveer 30 jaar gelede deur die Universiteit van Tel Aviv ontwikkel is. Hierdie apparaat moet deur die ouer en onderwyseres saam met ‘n groep van 5 kleuters of met een kind individueel, gespeel word. Dit bied geleentheid vir aspekte soos vormherkenning, verskille, voorgrond/ agtergrond-persepsie en die waarneming van meer as een veranderlike, getallebegrip, sortering, wat is dieselfde, wat verskil en nog veel meer.
Afsluiting
Daar is geen geheime stuk apparaat wat sal sorg dat kleuters emosioneel en sosiaal goed aangepas sal wees nie. Perseptuele ontwikkeling gaan ook slegs optimaal ontwikkel as die program in die kleuterskool gebalanseerd is. Die regte dinge waaruit ‘n kwaliteit voorskoolse program bestaan, naamlik goeie verhoudings, minder as 25 kleuters in ‘n groep en ‘n opgeleide onderwyseres wat in staat is om goeie positiewe dissipline te handhaaf, is die dinge wat sorg dat al die aspekte van kleuters se ontwikkeling in harmonie met mekaar is.
Apparaat vir assessering
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Al die aktiwiteite wat hierbo genoem is kan vir Bibliografie: 1. Berk, L & Winsler, A. 1995. Scaffolding children’s learning: Vygotsky and Early Childhood Development. National Association for the Education of Young Children. Washington DC 2. Copple, C & Bredekamp, S. 2006. Basics of developmentally appropriate practice. National Association for the Education of Young Children. Washington DC 3. Jalongo M R. 2008. Learning to listen, Listening to learn. National Association for the Education of Young Children. Washington DC 4. Medina John. 2010. Brain rules: 12 principles for surviving and thriving at work, home and school. Pear press 5. Ratey J J. 2008. Spark: The revolutionary new science of exercise and the brain. Little, Brown and Co. New York 6. Schickedanz, J A 2008. Increasing the power of instruction; integration of language, literacy and Math across the preschool day. National Association for the Education of Young Children. Washington DC 7. Thompson, Donna. 1999. Matching children and play equipment: A developmental approach. Earlychildhood.com. 8. Webwerf: nothingbutgenius.com (Hierdie webwerf word deur Dr Elsie Calitz en Catharina de Beer bedryf. Gaan kyk gerus vir allerhande interessante inligting.)
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Types of books • • • • • • • • • • • • •
Where can we find books?
Stories: Realistic, fantasy/fiction Picture books Dictionaries Books with empty pages to draw in Colouring books Cook books Music books Books with facts about …. Special books – Braille Magazines E-books Hard cover Soft cover
• Shops : Bookshops (CNA, Exclusive Books) Spar, Toy shops etc • Library • Internet – E-books • Bookshelves • Reading corner • Receptions – waiting for doctor/dentist
Caring • Bookshelves • Looking after books: not on floor, clean hands, don’t bend, no scribbling, page slowly, no pulling • Cover • Sort • Treasure books
How are books made? • • • •
Value of books • • • •
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Photo: www.photoxpress.com
Books
Knowledge Reading skills develop Make you feel…. Enjoyment
Written – author Pictures – illustrator Printing – publishers Distributing – shops
Rhyme: Roly-Poly Caterpillar Roly-Poly caterpillar (walk finger across left palm) Into a corner crept, (fold up fingers of left hand over caterpillar) Spun around himself a blanket (make winding motions around hand) Then for a long time slept (pretend to sleep – close eyes) Roly-Poly caterpillar (pretend to wake; open eyes) Wakening by and by Found himself with beautiful wings (put thumbs together; flutter fingers like wings) Changed to a butterfly (fly the butterfly away)
Photo: www.photoxpress.com
Song: This is the way This is the way I hold a book, hold a book, hold a book This is the way I hold a book When I read a story This is the way I page a book, page a book, page a book This is the way I page a book When I read a story Photo: www.photoxpress.com
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Movement: Appendix A
Area 1 - Obstacle course
Area 2 – Eye-hand-foot co-ordination
Balancing beam Tyres
Carpet Starting point
Table Trampoline
Bean bags
Somersault on carpet- balance over bean – walk on tyres – crawl under table – jump 4x – jump over poles on chairs
Area 4 - Stilts
Flip-’n-catch
Area 3 – Eye-hand co-ordination
Stuffed plastic bags on rope
Hit them with bats
Walk on arrows drawn with chalk
Area 5 - Exploration Boxes and table cloths
50 Kleuterklanke
May 2012
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Mathematics • Count books in book corner • Sort books: big and small - hard covers / soft covers • Ask each group leader to collect enough magazines for the group • Bake pancakes – “read” recipe • Make a graph using books in class – soft/hard covers, big/small books, stories about people/animals • Very Hungry Caterpillar – maths story
Language • • • • • •
Read Story using different media The Very Hungry Caterpillar Eric Carle Pictures Flannel board with pictures Story CD's Flashcards of characters, labelled
curriculum web
Rhyme • Roly-Poly Caterpillar • Song: • This is the way…
Photo: www.photoxpress.com
Books
Nature corner (Life skills) • Find caterpillars • Look for butterflies • Care for silkworms
Art • Children draw 10 objects in big (A5) blocks on paper • Cut objects out – make own number book 1 - 4 • Paint picture of self at school – make a Big Book for class, combining all the paintings. Teacher writes down their story • Make box puppets • Salt clay – motivate to make characters or food in story May 2012 Learning Years
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Health / Gesondheid
Die Belangrikheid van Griepinspuitings Riandi Nieman – The Baby Whisperers Baba Kliniek
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ie wintermaande en dus ons tipiese griepmaande is om die draai. Ons moet alles in ons vermoë doen om te voorkom dat ons deel van die griepstatistieke word tydens hierdie tydperk. In die verlede was daar nie veel te doen aan die risiko om griep te kry nie, maar te danke aan al ons mediese vorderings kan ons nou die kans om griep te kry, amper heeltemal ontspring. Dit is absoluut noodsaaklik dat elke persoon griep voorkom deur ‘n griepinspuiting te kry, veral ons kindertjies in kleuterskole en dagsorgsentrums. Die griepinspuiting bestaan uit drie hooftipes virusse wat elke jaar siekte veroorsaak, naamlik H1N1, H3N2 en Tipe B. Baie mense is wel bekommerd oor die veiligheid van griepinspuitings vir ons kinders, maar die inspuiting is veilig getoets in kinders en babas vanaf ses maande. Die griepinspuiting was aanvanklik bedoel vir hoë risiko groepe soos kinders onder vyf jaar, bejaardes oor 65 jaar, gesondheidswerkers en sekere siekte groepe. Vandag besef ons dat almal wel daarby baat om die griepinspuiting te kry. Kinders, en soos reeds genoem,veral ons kinders in skole, moet ekstra beskerming kry en daarom is dit belangrik dat ons hulle teen griep inspuit. Die probleem is nie noodwendig die griep nie, maar die sekondêre infeksies soos brongitis, longontsteking, oorinfeksies en mangelontsteking wat die geleentheid neem om ons kinders siek te maak as hulle immuunsisteme reeds laag is a.g.v. die griepvirus. Deur die immuunsisteem te versterk en griep van die begin af te voorkom, kan die kans van meer ernstige siektes ook voorkom word.
dat mens sewe tot 10 dae voor die tyd al blootgestel was aan griep. Net soos wat die masels of klem-in-die-kaak inspuitings nie masels of klem-in-die-kaak veroorsaak nie, so ook kan griepinspuitings nie griep veroorsaak nie. Griepinspuitings word op dieselfde manier as enige ander immunisering gemaak en is dus getoets as veilig voordat dit aanbeveel word. Voor jy besluit of jy jou familie teen griep gaan immuniseer, neem asseblief die bogenoemde informasie in ag.
Baie mense glo dat die griepinspuiting hulle siek maak.
Baie mense glo dat die griepinspuiting hulle siek maak. Dit is fisies onmoontlik. As mens siek word na die ontvangs van ‘n griepinspuiting, beteken dit
http://www.cdc.gov/flu/protect/children.htm http://www.caringforkids.cps.ca/handouts/influenza_vaccine 52 Kleuterklanke
Mei 2012
Photo: www.photoxpress.com
Lees gerus die volgende webblaaie vir meer inligting:
Adele Jacobs
cobs Adele Ja
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k het die Nagraadse Sertifikaat in Onderwys met spesialisering in Vroeë Kinderonderwys en Grondslagfase (NGSO) in 2009 gedoen. Ek het nie die geweldige voordeel besef wat dit vir my sou gee bo my portuurgroep nie. Ek het na Suid-Korea gegaan en het Engelse onderrig in ‘n klein skooltjie gegee. Terug in Suid-Afrika het ek aansoek gedoen by ‘n wonderlike skool in Midrand, die een wat ek nou my werkplek noem. Ek het in die 4de kwartaal daar begin werk en moes dus al die assesserings doen vir die termyn se rapport. Dit het vir my na ‘n verskriklike taak gelyk maar ek het ondersteuning van my kollegas gevra en het al die leiding gekry wat ek nodig gehad het. Ek het gou besef dat die tyd my gaan inhaal om al die assessering gedoen te kry. Die werkskaarte wat die kinders moes doen het net een ding op ‘n keer geassesseer. Ek het ‘n leerprogram
Leerders in Adele se klas in Suid-Korea. gefasiliteer en die kinders het baie beter presteer en die leeruitkoms was gouer bereik. Die leerders het al die waardes wat ek wou bereik hulle eie gemaak.
Tydens my NGSO jaar was ek toegerus met die nodige gereedskap om my in enige klaskamer te ondersteun. Einde verlede jaar het al die Graad 1 fasiliteerders bymekaar gekom om die beplanning vir die volgende jaar te bespreek. Ek het my inset gelewer en was met ope arms ontvang. Tydens my NGSO jaar was ek toegerus met die nodige gereedskap om my in enige klaskamer te ondersteun. Hierdie gereedskap word nou in my eie klas sowel as die Graad 1 Departement geimplementeer. Ek is
dankbaar vir die leiding en idees wat ek tydens my NGSO jaar geleer het. Die kinders kom skool toe met ‘n hongerte na kennis en wysheid. Die een ding wat ek onthou van die NGSO kursus was ‘n lesing wat ons gehad het oor dissipline in die klaskamer. Die lesing het gefokus op die feit dat as die kinders in die skool die reëls self maak, sal hulle daarby hou. Ek het dit probeer en ek kan nou sê dat my klas een van die Graad 1 klasse is met die beter gedrag in die skool. Gedurende my NGSO jaar is ek toegerus met genoeg gereedskap om enigiets wat na my kant toe kom in enige situasie te kan hanteer. Die ervaring wat ek opgedoen het tydens dié jaar het nou vrugte afgewerp en dit is iets wat ek graag met my kollegas deel. May 2012 Learning Years
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Photo: www.photoxpress.com
Mathematics is not a sit-at-yourdesk-with-paper-and-pencil and workbook activity, but an active, hands-on part of life, rooted in concrete experiences that children have on a daily basis. 54 Kleuterklanke
Mei 2012
Faber & van Staden: The Year Before School
By watter kind sien u die opvoeder? ‘n Kind wat gedurig kritiek hoor leer om self ander te veroordeel. ‘n Kind wat met vyandigheid saamleef leer om rusie te maak. ‘n Kind wat gedurig met bespotting saamleef word skaam. ‘n Kind wat met verdraagsaamheid grootword leer om geduldig te wees. ‘n Kind wat met aanmoediging grootword verkry vertroue in homself en in ander. ‘n Kind wat met woordjies van lof grootword leer om te waardeer. ‘n Kind wat in veiligheid en rustigheid grootword leer geloof en vertroue. ‘n Kind wat met goedkeuring grootword leer om selfrespek te hê. ‘n Kind wat met aanvaarding en vriendskap grootword leer om liefde te vind en te gee. May 2012 Learning Years
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Sunshine Corner
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Loopy Leap Year
t comes around only once every four years, so on 29 February 2012 we celebrated Leap Year at Sunshine Corner. We called it Loopy Leap Year and tried to do everything back to front and a little differently! The children were encouraged to come to school wearing odd socks and shoes, wearing their clothes inside out and back-to-front and some even wore their pyjamas to school! The teachers also dressed differently to join in the fun. Organised activities were outside in the garden instead of indoors and we reversed the programme, starting with story time and ending with morning ring. It was a lot of fun and the children enjoyed the “loopiness� of it all! Jeannine Johl Principal
56 Kleuterklanke
May 2012
Herberg Kleuterskool
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Dubbele Troue
ie Herberg Kleuterskool, Thaba Tshwane het op 10 Augustus 2011 in die staats-teater opgetree en ‘n revue-item opgevoer. Dit was ‘n Dubbele Troue met ‘n kombinasie van ‘n tikkie Afrika en die traditionele wit troue. Alles soos ‘n regte egte troue met gaste, strooimeisies en strooijonkers, asook ‘n pastoor. Die kersie op die koek was natuurlik die trou-belofte waarop die een bruidjie spontaan geantwoord het, “Yes, I do, I do, I do”. By die “onthaal” het die pastoor ook een van die dames gevra en ‘n paar danspassies uitgevoer tot groot vermaak van die gehoor. Dit was voorwaar ‘n feestelike geleentheid en ons is trots op al die “Bergies” wat deelgeneem het!
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Diep, diep in ’n donker bos Skrywer(s): Martie Preller Uitgewer: Lapa Ouderdomsgroep: 5+, 3+ Formaat: Hardeband 210 x 270mm 48pp ISBN: 978 0 7993 4282 6 Prys: R 90 Toekenning(s): Tienie Hollowaymedalje vir kleuterliteratuur 2006 Diep, diep in ’n donker bos is die langverwagte opvolg op die topverkoper prenteboek, Babalela, wat reeds duisende jong lesers bekoor het. “Wie woon nog in die diep en donker bos?” wou almal weet, en sommer daar en dan is besluit om die Babalela se aanhangers bekend te stel aan die ander bosbewoners. Daar is Wrrrumpie, die haastige en lastige wurm; die humeurige Knortand wat na almal hap met sy skerp tande; Potifant met sy reuse pote, wat kyk waar hy trap, maar nie altyd trap waar hy kyk nie; die nuuskierige Meermoskat; die agt Fripperwakkies wat nie vir ’n oomblik ophou kwetter nie en natuurlik die Babalela, die enigste een wat al ooit ’n avontuur buite die bos beleef het. Maar nie vir lank nie… Die ander bosbewoners is vasbeslote om ook die wye wêreld buite die bos te gaan verken. Hulle hou egter nie rekening met al die gevare wat in die stad op hulle wag nie, en kort voor lank is al die bosdiere toegespyker in bokse. Sal die Babalela hulle uit hierdie verknorsing kan red?
Mister King’s Incredible Journey Author: David du Plessis Publisher: Random House Struik ISBN: 9781770079397 Format: Softcover, 48 pages Price: R80 David du Plessis, who was born in Port Elizabeth, completed a B.Sc degree at Stellenbosch University and has since worked as a graphic artist, multi-media designer, illustrator and animator. As an illustrator he has a particular interest in Natural History, especially Palaeontology and Biology. His story is based on reminiscences and fantasies from his own childhood. The story follows the travels of a King Penguin captured by fishermen who visit its remote South Atlantic island. Through various adventures and misadventures, both below and above the waves, the penguin eventually lands up on a beach on the mainland, and seems to be destined for the local museum – until Mother Nature intervenes. The story is brightly illustrated by Du Plessis, using wide sea- and landscapes that evoke the vastness in which Mr King finds himself stranded. In each frame the reader’s eye is drawn to the penguin, with its bright orange eye, beak and cheek coloration. The story introduces a range of creatures, including whales, sharks, and other seabirds, including three other varieties of penguin. 58 Kleuterklanke
Mei 2012
Danie Dreyer se dinosouruseier Skrywer(s): Jaco Jacobs Uitgewer: Lapa Ouderdomsgroep: 5+ Formaat: Hardeband 210 x 280mm 32pp ISBN: 978 0 7993 3997 0 Prys: R90 Toekenning(s): ATKV-Kinderboektoekenning 2009 Danie Dreyer koop ’n dinosouruseier – die ding is baie duur! Kort voor lank broei dit uit en nou het hy ’n reusagtige troeteldier! Ontmoet Hermien Human met haar hoed vol horlosies. Kom ry saam op Fanie Fourie se fantastiese fiets. En vind uit waarom Zuraida Zeelie deesdae Zoem! Heerlike humor, vreemde versies en prettige prente – hierdie alfabetboek is voortreflike vermaak.
The Play’s the Thing – Teachers’ Roles in Children’s Play Author(s): Elizabeth Jones, Gretchen Reynolds Publisher: Teachers College Press ISBN: 978-0-8077-5241-8 Format: Paperback, 152 pages Price: R334 Responding to current debates on the place of play in schools, the authors have extensively revised their groundbreaking book. They explain how and why play is a critical part of children’s development, as well as the central role adults have to promote it. This classic textbook and popular practitioner resource offers systematic descriptions and analyses of the different roles a teacher adopts to support play, including those of stage manager, mediator, player, scribe, assessor, communicator, and planner. This new edition has been expanded to include significant developments in the broadening landscape of early learning and care, such as assessment, diversity and culture, intentional teaching, inquiry, and the construction of knowledge. http://www.loot.co.za/shop/main.jsp?page=gifts Too Much, Too Soon? Author: Richard House Publisher: Hawthorn Press ISBN: 978-1-907359-02-6 Format: Paperback, 368 pages Price: R281 Too Much, Too Soon? tackles the burning question of how to nurture young children’s well-being and learning to reverse the erosion of childhood. Children have been speeded up by commercialisation, “adultification”, and the government’s “nappy curriculum” (EYFS –Early Years Foundation Stage framework, UK) which pushes formal learning too soon. 23 hard hitting articles by educators, researchers, policy makers and parents advocate alternative ways ahead for slowing childhood, better policy making and above all the “right learning at the right time” in children’s growth – when they are ready. http://www.loot.co.za/shop/main.jsp?page=gifts May 2012 Learning Years
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AECYC - AFFILIATION FORM 2012 Affiliation fee R450.00 per school Student fee R150.00 Staff members and parents of an affiliated school: R120.00 for 2 Kleuterklanke for 2012. Please post your affiliation cheque, made out to AECYC (VVOS) to the above address, or pay via internet transfer or a bank deposit.
Name of account holder: Die Vereniging vir Voorskoolse Opvoeding en Sorg (AECYC) Bank: ABSA Centurion. Branch Code: 630 445. Account number: 405 3351 955 Name of individual or contact person Name of school Postal address Tel Fax
Cell E-mail
Postal Code
VVOS - AFFILIASIEVORM 2012 Affiliasie fooi R450.00 per skool Studente fooi R150.00 Personeel en ouers by ‘n geaffilieerde skool R120.00 vir 2 Kleuterklanke vir 2012 Pos asseblief u tjek, uitgemaak aan die VVOS aan die bostaande adres of betaal per internet of bankdeposito.
Naam van rekeninghouer: Die Vereniging vir Voorskoolse Opvoeding en Sorg (VVOS) Bank: ABSA Centurion. Takkode: 630 445. Rekeningnommer: 405 3351 955 Naam van idividu of kontak persoon Naam van skool Posadres Tel Faks
Sel E-pos
Poskode