Reggio Emilia Approach

The purpose of this analysis is to examine enduring creative approaches of educational philosophers alongside key emerging digital resources that inform inclusive art education.  Froebelian education theory, like that of Montessori, Malaguzzi, and Steiner is very arts-rich in that Froebel defined learning itself as a learner-centered, exploratory creative process (Mullineaux, 1996). Teaching with a foundational knowledge of the influence of each of these philosophers on learning in visual art often empowers us to reclaim the diverse roles of the educator and artist in contemporary art rooms.  This chapter introduces selected mobile learning applications and digital resources related to these philosophies, with an analysis of their potential for students with disabilities and exceptionalities. The selected examples of Froebel’s Gifts and artifacts of pedagogy from Montessori, Waldorf, and Reggio Emilia practices is followed by discussion of practical uses of materials and approaches from these enduring philosophies in learning explorations emphasizing craft, nature, and play. Suggestions will be offered for future practice that mindfully utilizes such digital resources and communities alongside physical and haptic resources. Concerns about screen time and media saturation will also be addressed.

Introduction The younger we are the faster we learn new vocabulary and it is a known fact that our brain keeps expanding at a great speed until it reaches its almost fully formed shape at about 8 years old. Learning a second language as early as preschool age is a plus, should it be taught properly with the right amount of fun, interest and knowledge.

This report summarises my DigiLitEY-funded research visit to the University of Stockholm and Swedish preschools. It considers potentials and challenges within the concept of 'digital languages' through discussions with leading academics working in the field of digital technologies, multimodality and Reggio Emilia. Meetings and workshops with the Stockholm Reggio Emilia Institute highlighted the strong conceptual foundation for digital technologies within a 'hundred languages' approach and the ongoing support and training being offered to educators. These knowledge exchange activities were enhanced by visits to three Reggio-inspired Swedish preschool settings to observe and discuss their use of digital technologies in practice. The preschool visits revealed a multitude of ways in which educators are embedding digital technologies in their everyday practice and using the digital in combination with traditional forms. The teachers I encountered were enthusiastic about new possibilities of digital technologies, saw them as additional forms for exploration and meaning-making, used them in combination with non-digital materials and were thoughtful and articulate about their potentials and constraints. The Reggio Emilia concept of children's 'hundred languages' seemed to provide a rich foundation for using digital technologies to support young children's multimodal meaning-making. In Stockholm this was underpinned by a broad, Reggio-inspired, play-centred curriculum to the age of 6, teacher training which introduces the concept of 'multimodality', ongoing professional development opportunities, school networks and research collaborations focusing specifically on the digital.

The purpose of the research is to scrutinize learning opportunities, that is, preschool children’s opportunities of participation and possibilities of impacting the preschool activities within one Icelandic preschool whose
practice is inspired by the methodologies named after the Italian city of Reggio Emilia. According to the ideas of Reggio Emilia, an emphasis is placed on bolstering children’s abilities to influence preschool activities (Malaguzzi, 1998). The research is grounded on two theoretical perspectives; attributionism and critical theory. Moreover, the research draws on definitions
of the key-terms ‘self-efficacy’ and ‘empowerment’, as well as Judith Butler’s (2004) theories concerning gender. The PhD project is based on four articles:
1) Attitudes of two preschool teachers and methods of empowerment of preschool children. 2) Perceived self-efficacy amongst preschoolers: Some methodological variations on themes from Bandura’s theory. 3) Children and Democracy in Preschool: Children’s Participation in Preschool Decision-
Making Processes. 4) Gendering in one Icelandic preschool.
The findings of the research provide holistic ideas regarding interconnected determinants in relation to children’s educational environments;
children’s opportunities of learning depend largely on the teachers’ views, i.e. the teachers’ views govern their behaviour which in turn impact the children’s self-image and their ability to actively participate in their own learning and develop stronger beliefs concerning their own capabilities, which is an integral aspect of success and which generally facilitates the children’s capabilities. The research draws on several sources: psychology (Heider), political philosophy (Habermas), sociolog
(Ziehe), early childhood education (Malaguzzi), gender studies (Butler) and social psychology (Bandura).
The central findings of the research bring to light that the views of the
teachers who participated in the research were consistent with work methods and the children were frequently invited to participate in the decision-making processes. Ultimately, the teachers facilitated the children’s empowerment; however, the children’s gender limited the extent of their empowerment. One could claim that this aspect manifests most clearly the way in which teachers’ views impact the children. The research furthermore reveals that preschool children’s language
development does not undermine analyses of their beliefs in regard to their own abilities but it is nevertheless necessary to create alternative evaluation tools that focus on children, in contrast to commonly used evaluation tools used to analyse adult individuals’ beliefs in their own abilities. The research suggests pedagogical documentation as a possibly fruitful means of assessment.

This article addresses four intentions that make up a balanced curriculum approach: Guided Discovery, Following Children's Interests, Interactive Modeling, and Compelling Materials.  When teachers address these four intentions they commit to rich, interesting, engaging experiences for young children that build knowledge, skill, and relationship.

Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point of view gives power to formal knowledge as a way of controlling children. Relatedly, Foucault (1991) believes that the act in which teachers embrace the knowledge of regulating students can be seen as the basis of all governance. Extending those ideas in a similar direction, Eisner (1998; 2007) believes that the scientific determination to predict and control learning outcomes is historically linked to the need for effectual assessment.

Full chapter available online, see your institution's library or Rutledge for details.

Сажетак: Холистички приступи у васпитању и образовању деце представљају савремене и алтернативне приступе традиционалном васпитању и образовању. Један од таквих приступа јесте и Пројектни приступ који је у овом раду представљен као интегрисани и конститутивни део курикулума у Ређо концепцији. Пројектни приступ у васпитању и образовању предшколске деце подразумева широк спектар поучавања и учења и не везује се за одређене технике поучавања или непромењиве активности, рутине и стратегије. Као начин учења, Пројектни приступ наглашава активну партиципацију деце у планирању, развијању и процењивању њиховог сопственог рада. Знање не подразумева трансмисију, већ се оно конструише међусобном интеракцијом деце и одраслих. Када се говори о знању као конструкцији, у раду се истиче и то да Пројектни приступ у Ређу инсистира на целини, односно, на холистичком приступу, јер се и на дете и на сам курикулум гледа холистички. Пројектни приступ у Ређо концепцији представља средство обликовања искуства деце и васпитача, као и окосницу њиховог заједничког учења. Своје највеће упориште пројекат проналази управо у учењу кроз делање, као и у заједничким дискусијама и расправама између саме деце и васпитача о њиховим личним искуствима у учењу, при чему се користе различите технике, поткрепљене документацијом и рефлексијом.
Кључне речи: Пројектни приступ, Ређо концепција, холистички приступ, интегрисани курикулум, заједничко учење

Abstract: Holistic approaches to education of children represent contemporary and alternative approaches to education. One of such approaches is the Project approach itself, which is represented in this paper as an integrated and constitutive part of the Reggio concept curriculum. The Project approach to education of pre-school children implies a wide range of teaching and learning. It is not related to particular teaching techniques, or unchangable activities, routines and strategies. As a way of learning, the Project approach emphasises active participation of children in planning, developing and evaluating their own work. Knowledge does not mean transmission. Contrary to that, it is constructed through the interraction of both children and adults. When speaking about knowledge as a construction, and bearing in mind that both children and curriculum are looked upon holistically, this paper also stresses the fact that the Project approach in Reggio insists on the whole, i.e. on a holistic approach. The Project approach in the Reggio concept represents not only the means of forming experiences of children and pre-school teachers, but also the framework of their learning together. The project is primarily based on learning not only through doing, but also through discussions and discourses among children themselves and among children and pre-school teachers about their personal experiences in learning. All of this is done through the use of different techniques supported by documentation and reflexion.
Key words: Project approach, Reggio concept, holistic approach, integrated curriculum, learning together

In this article, we talk about a research and innovation project being carried out at the National University of Education (UNAE) in Ecuador, in collaboration with the Ministry of Education. We are developing a school for students from 3 to 18 years old, annexed to the University, guided by the parameters of a new pedagogical model promoted at the University. In this work we focus on the role of art in the school and its broader pedagogical system, on our own understanding of the ‘aesthetic dimension’ in this educational project, and of the importance of the ‘aesthetic dimension’ in learning environments. We suggest that art can catalyse human development, community, and divergent thinking in important ways. We also show how an interdisciplinary understanding of the ‘aesthetic dimension’ can be put to work in Ecuadorian schools, and perhaps in many others as well.

This paper describes the collective aesthetic practices of an early childhood art educator and teachers in a public school context, inspired by the principles of the Reggio Emilia approach. A related purpose here is to reflect on and re-examine the educators’ professional growth while developing these practices. This study begins with the author’s personal experiences as an early childhood art educator. The other educators in the study also reflect on their aesthetic approaches toward teaching and learning prior to the adoption of a district-wide, prescribed “boxed” early childhood curriculum. The purpose of this article is to make visible what was lost with the shift to a boxed curriculum, including the aesthetic practices and negotiated learning experiences co-constructed with the children. In contrast to the boxed, prescribed curriculum, an aesthetic approach toward teaching and learning brought a heightened awareness of everyday school experiences through an engagement of the se...

An increasing number of children today are disconnected from nature. It has been argued that a disconnection from nature diminishes human well-being and impairs the capacity to live as fully human. The purpose of this research is to consider what impact outdoor learning may have on child well-being. The central question of my research is: How does a particular approach to outdoor learning impact student well-being? While the benefits of nature-contact towards well-being have been well-documented, there is a need for research documenting the impact of nature-benefit on well-being in a school setting. This study applies a qualitative case study within an appreciative utilization-focused evaluation to explore the quality of the impact of outdoor learning on student well-being. Through the lens of a capabilities approach, the study highlights an outdoor learning practice that provides opportunities for students to develop capabilities necessary for well-being. These stakeholder-identified capabilities include (a) to make choices about what to create; (b) to appreciate and care for nature; (c) to experience a connection to nature; (d) to ask questions we have about the natural world; (e) to explore student-generated questions and ideas about nature; (f) to voice questions and ideas, and listen to others’ questions and ideas. The findings suggest that how the evaluated outdoor education approach provides opportunities for students to develop and enact the identified capabilities. My interpretation of the findings suggests that this capabilities approach to outdoor learning may provide a loose framework, in other contexts, for teachers concerned with the well-being of their students to consider. The study concludes with specific recommendations for a teaching practice that values child well-being.

This paper presents parts of some research I carried out between 1999 and 2002, arising from my long-standing interests in early childhood education practices in Reggio Emilia (Italy) and Matthew Lipman's Philosophy for Children (P4C) (USA). The research is based on my own integral concepts, vision and ideas, prompted my studies of pre-schools in Reggio Emilia since 1985 - I took courses in both the philosophy and methods, and spent six months there in 2002 - and my reading about P4C since 1996 - for three months in autumn 2001 I was at the Institute for the Advancement for Philosophy for Children (IACP) in Montclair, New Jersey, where Professor Lipman is the Director.

This study aims to examine objectives, content, learning experiences and
evaluation components of the curriculum for first grade elementary school implementations inspired by Reggio Emilia approach, and by doing so, to reveal how teacher roles change in such teaching processes and provide recommendations for the implementers. The study was carried out by using holistic single case design. Participant observation, document analysis and semi-structured interview tools were used in order to obtain in-depth information. 32 participants, including first grade elementary school students, class teachers, atelieristas and school psychologist, voluntarily took part in the study. The data of the study were analysed with descriptive analysis technique. The study found that the participants made use of the teacher observations and
the school philosophy as well as the official curriculum when setting the learning outcomes for the activities inspired by Reggio Emilia approach. As for the creation of the content, it was seen that the provocations to raise children’s curiosity, circle chats and the students’ demands were taken into consideration. The learning experiences in the implementations inspired by Reggio Emilia approach were examined for their features in five different aspects including activities, teacher roles, physical, social and emotional environment. In the physical environment, features similar to schools embracing Reggio Emilia approach came out both in the materials and the space. In respect to the emotional environment, it was seen that during the activities inspired by Reggio Emilia approach, the children experienced learning by doing with desire and excitement, learned from wondering, took pleasure and developed self-confidence throughout this process. For the social environment, it was found that the children and teachers were cooperating and helping each other, the forest practices contributed to this state and the course continued with codecision. As for the activities, it was concluded that in addition to the projects developing by the child’s curiosity, the activities which children can participate actively and individual differences were taken into consideration. The study concludedthat the teachers took various roles such as curiosity seeker, researcher, student in order to let students carry out their learning. It was discovered that these roles caused anxiety at the beginning but then they led to satisfaction and intrinsic motivation. It was revealed that in the implementations inspired by Reggio Emilia approach, teachers wrote documentation as evaluation tools and besides this; worksheets, multidisciplinary work and rating scales were used. In conclusion, it can be stated that the first grade elementary school implementations inspired by Reggio Emilia relate to the theoretical framework of the approach to a great extent, especially emergent curriculum insight is adopted by the participants and in addition to this, this approach leads to variance in teacher roles.

The Reggio Emilia approach to early childhood education has been globally recognized by educators and researchers as the most exceptional example of quality early education (Gardner, 1999; Kantrowitz & Wingert, 1991). However, within this approach there is a strong emphasis on the visual arts that in turn has diminished opportunities for children to participate in music activities. Andress (1998) was the first to expose the lack of music in this approach, and her concern was echoed by Matthews (2000), O’Hagin (2007), Vuckovic & Nyland (2010), and Smith (2011). As a result of this void, the present investigation explores the philosophies and practices of the Reggio Emilia approach within a kindergarten to grade seven elementary school music program. Specifically, I examine the role of the child, the role of the teacher, the environment as a third teacher, multiple forms of knowing, the role of documentation, and the Atelier.
I use an autoethnographic approach to implement, reflect, and document this experience. I not only discover that Reggio Emilia can be successful within a music classroom setting, but argue that these philosophies and practices are of great importance to understanding new ways in which music educators can benefit from this approach beyond the scope of traditional programs and approaches to music with children. By adapting this approach to a music setting in grades higher than the early childhood years, my research extends the current Reggio literature. I not only present my struggles during this experience, but also explain how to supersede challenges and draw from the strengths of this approach that were exposed within the scope of my music program.

The purpose of this study is to examine the teachers' attitudes working in preschool education institutions that implement the practices of Montessori, Reggio Emilia, and the Ministry of National Education (MoNE) program. This study was carried out in descriptive research (survey) method. The study group was composed of 81 teachers working at Montessori, Reggio Emiliainspired and MoNE preschools in Kadıköy, Maltepe and Ataşehir districts of İstanbul. "Attitude Scale for Family Participation Studies for Teachers" was used as a data collection tool. In the analysis of the data, Kruskal Wallis and Mann Whitney U tests were used. As a result of data analysis; the attitude scores of the teachers working in the Reggio Emilia-inspired preschools were higher than the Montessori-inspired and MoNE preschools. In this context, it was detected that the Reggio Emilia approach is determinative on the teachers' attitudes regarding the family participation practices in preshools included in the study. According to the findings of the research, it was concluded that family participation studies of different educational approaches should be considered and implemented as an integrated approach according to the needs in Turkey.

In this paper, I examine memory as it relates to origin stories of the Reggio Emilia approach – an internationally renewed Italian education program – and to the articulation of women’s experiences of gender and their narrative identity in this very particular context. My paper shows that a number of women who partook in the founding of the Reggio Emilia schools
suffer from what Ricoeur terms ‘wounded memory’, which occurs when public recognition and legitimization of one’s own narrative is actively marginalised, suppressed or erased in historical, official and institutional accounts.3 I describe this experience and feeling shared by
the Reggio Emilia women that I interviewed as a ‘wounded memory’, and argue that this ‘wounded memory’ can be linked to a wider concern with gender inequality.4 I conclude by presenting some of the missing accounts of leadership, creativity and initiative that I gathered among these women whose memory has been wounded.

In this research, two art educators discuss their understanding and applications of transformative learning theory (TL) and the Reggio Emilia approach (REA) as art practitioners by exchanging arts-based letters, which they see as a type of duoethnographic method for qualitative research. They share a teaching philosophy that stresses art as a transformative tool for learning through verbal and written dialogues, despite teaching different age groups of students. One is an art instructor in higher education; the other is an early childhood art teacher. The two art educators believe that art significantly trans- forms their teaching practices and their students’ learning. In the process of sharing the arts-based letters, they learn TL and REA from each other’s perspectives. They anticipate that their reflexive research can provide educators and qualitative researchers a different lens to reflect through which to view teaching and learning.

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It is astonishing to observe, listen, and co-learn with children as they engage with music to expand beyond the possible with their meaning-making abilities—immersing themselves in a hundred languages of music inspired by Loris Malaguzzi. In the current study, I examine how children in a split Grade 1/2 class explore and represent the sounds associated with city landmarks through soundscape composition. In particular, I focus on how students partake in the negotiation of identity. As a result of that, I have come to discover that by listening to children’s soundscapes we may be able to feel something new about particular landmarks, contemplate its value to citizens, and learn more about the meaning making of children.

This paper examines a well-thoughtful illustration of art education in the Reggio Emilia approach (REA). In the literature, REA art education implements mainly through the aspects of the aesthetic environment, the hundred languages of children, and progettazione (Rinaldi, 2006). This paper incorporates some data from my previous study employing a qualitative inquiry with a field study from October 2009 to September 2010. The investigation embraced REA practices, especially in art education, with the perspectives of eleven adult alumni. The purpose of my previous study was to uncover a fact of REA art education, which may not easily obtain from the existing publications. As such, this article aims to answer: (1) What is the Reggio Emilia approach? (2) What do the adult alumni remember their REA experiences, especially regarding art education? From the eleven adult Reggio alumni recounts, it unfolded REA as an open pedagogy running within an educational system with the inclusion of a whole society. Moreover, the adult Reggio alumni provided the working situation in ateliers in detail and further made the meanings of their aesthetic experiences in the afterward lives. The findings of the Reggio alumni accounts lead to a conclusion of reflection on challenges in 21st education both in a micro and macro dimension.

In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical marble structures by Grade 1 and Grade 4 students, we examine the strengths and challenges of the pedagogies and practices that scaffold the variety of learning that unfolds in our music atelier—including hands-on, collaborative, experimental, and experiential learning. In doing so we uncover the historical underpinnings of the atelier and come to understand how this unique studio space evokes student-centered experiences that fosters character, agency, and autonomy to take responsibility for one’s own learning. Moreover, we reveal how the elementary school music atelier can support a foundation for in-depth discovery and wonder that empowers children to develop sensitivities to design and artful ways of thinking and learning.

The present study investigates the effects of Reggio Emilia based projects on preschool children's creative thinking skills. The study was carried out with the participation of 18 six-year-olds attending a preschool in Kırklareli province of Turkey, in a period of 3 months, during which they were subjected to a Reggio Emilia based instruction project. As the data collection tool, we used Torrance Tests of Creative Thinking Form A, and conducted pre-and post-project testing in order to examine the differences in children's creative thinking skills. The results reveal differences in test scores in favor of the post-project test.

Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point of view gives power to formal knowledge as a way of controlling children. Relatedly, Foucault (1991) believes that the act in which teachers embrace the knowledge of regulating students can be seen as the basis of all governance. Extending those ideas in a similar direction, Eisner (1998; 2007) believes that the scientific determination to predict and control learning outcomes is historically linked to the need for effectual assessment. Full chapter available online, see your institution's library or Rutledge for details.

Os registros, quando usados de maneira cabível e criativa proporcionam aos educadores a potencialidade de crescer e alimentar a sua prática nos processos de aprendizagem e desenvolvimento de nossas crianças. E na sua própria prática enquanto professor das infâncias. Não temos memória o suficiente para lembrar de tudo o que acontece na jornada da educação infantil, 07 horas diárias, uma turma e cada criança com sua cultura e suas singularidades. Registrar esse percurso é poder conectar-se com o nosso entendimento sobre as crianças, com essas anotações em mãos o educador tem uma matéria prima valiosa e contribuinte para planejar as propostas pensadas nas crianças, nas práticas e a realidade das mesmas. Ao observar e fazer anotações do cotidiano de nossos meninos e meninas passamos a questionarmos sobre diversos fatos, entre eles: O que está chamando a atenção? O que eles estão descobrindo? Qual a sua interação com os pares e objetos? Suas habilidades e o seu percurso de desenvolvimento. Sendo assim, ao registrarmos devemos ter o entendimento de que esse material irá auxiliar em nossas práticas como professores, cumprindo uma função pedagógica libertadora, respeitando a individualidade de cada um. Ao registrar estamos "narravilhando-se" os acontecimentos dos momentos de nossas crianças, momentos de grande valia para o seu desenvolvimento e interação, o professor precisa ter um olhar afetivo sobre os momentos e uma partilha democrática com todos, partilhando com as crianças os seus momentos vividos. João Luiz Silva

In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical marble structures by Grade 1 and Grade 4 students, we examine the strengths and challenges of the pedagogies and practices that scaffold the variety of learning that unfolds in our music atelier—including hands-on, collaborative, experimental, and experiential learning. In doing so we uncover the historical underpinnings of the atelier and come to understand how this unique studio space evokes student-centered experiences that fosters character, agency, and autonomy to take responsibility for one’s own learning. Moreover, we reveal how the elementary school music atelier can support a foundation for in-depth discovery and wonder that empowers children to develop sensitivities to design and artful ways of thinking and learning.

ABSTRACT In this research, two art educators discuss their understanding and applications of transformative learning theory (TL) and the Reggio Emilia approach (REA) as art practitioners by exchanging arts-based letters, which they see as a type of duoethnographic method for qualitative research. They share a teaching philosophy that stresses art as a transformative tool for learning through verbal and written dialogues, despite teaching different age groups of students. One is an art instructor in higher education; the other is an early childhood art teacher. The two art educators believe that art significantly transforms their teaching practices and their students’ learning. In the process of sharing the arts-based letters, they learn TL and REA from each other’s perspectives. They anticipate that their reflexive research can provide educators and qualitative researchers a different lens to reflect through which to view teaching and learning.

I denna teksten kommer jag att beskriva en undersökning som å ena sidan handlar om en vision om barns lärande och undervisningssätt inom filosofi med barn (P4C) och å andra sidan om arbete inom förskolan i den italienska staden Reggio Emilia. Undersökningen har sitt ursprung i mitt intresse (från 1985) för förskoleverksamheten i Reggio Emilia och senare för filosofi med barn. Jag kom i kontakt med filosofi med barn för ungefär sex år sen och allt eftersom min kunskap blev bättre tyckte jag mig kunna se flera likheter med den och den vision som finns inom förskolan i Reggio. Det väckte mitt intresse att undersöka om det fanns likheter mellan dessa två metoder och i så fall vilka. Filosofi med barn 1 är ett ämne som har sin upphovsman hos filosofen Matthew Lipman (1993). Han började utforma sina idéer i slutet av 60-talet, han ansåg att den filosofiska bredden inom grundskolan var bristfällig. Lipman utgår ifrån att filosofiska funderingar är en del av varje barns naturliga läggning redan i ung ålder. Han har inte som målsättning att barn bör inpräglas vissa meningar eller påståenden om världen, utan att deras färdigheter i kritiskt och kreativt tänkande borde styrkas. Lipman (1988a) påpekar att vår nuvarande kunskap åldras fort och att det viktigaste är att lära barnen tänka klart. Phillips (2001) anser att Lipman har med filosofin med barn gett filosofin ett nytt liv. Man kan utan vidare påstå att filosofin med barn har väckt stor uppmärksamhet runt om i världen och i dag praktiseras den i grundskolor i ungefär 70 länder över hela världen (Gregory & Kennedy 2000). 1 Se artiklar om ämnet i %DUQ nr. 2 2002.

En este articulo vamos hablar de un proyecto de investigacion e innovacion que se esta realizando en la Universidad Nacional de Educacion (UNAE), en colaboracion con el Ministerio de Educacion, y en el cual se desarrolla y se interviene una Escuela del Siglo XXI bajo los parametros de un nuevo modelo pedagogico desarrollado desde la UNAE, para convertirse en una Unidad Educativa innovadora, anexa a la Universidad. Este proyecto de creacion de una escuela anexa a la UNAE consiste en el desarrollo de un proyecto pedagogico nuevo para estudiantes desde los 3 hasta los 18 anos. En particular, vamos a hablar de como hemos pensado el arte en la escuela a partir de nuestra comprension de la dimension estetica y de la organizacion de los ambientes de aprendizaje en dicha escuela. Nuestra propuesta aspira a constatar que el arte y la dimension estetica pueden ser catalizadores del desarrollo humano, del trabajo en grupo, el pensamiento divergente y el pensamiento creativo.

En este articulo vamos hablar de un proyecto de investigacion e innovacion que se esta realizando en la Universidad Nacional de Educacion (UNAE), en colaboracion con el Ministerio de Educacion, y en el cual se desarrolla y se interviene una Escuela del Siglo XXI bajo los parametros de un nuevo modelo pedagogico desarrollado desde la UNAE, para convertirse en una Unidad Educativa innovadora, anexa a la Universidad. Este proyecto de creacion de una escuela anexa a la UNAE consiste en el desarrollo de un proyecto pedagogico nuevo para estudiantes desde los 3 hasta los 18 anos. En particular, vamos a hablar de como hemos pensado el arte en la escuela a partir de nuestra comprension de la dimension estetica y de la organizacion de los ambientes de aprendizaje en dicha escuela. Nuestra propuesta aspira a constatar que el arte y la dimension estetica pueden ser catalizadores del desarrollo humano, del trabajo en grupo, el pensamiento divergente y el pensamiento creativo.

I seek to make explicit the social and historical context in which Gianni Rodari developed The Grammar of Fantasy and ideas that are now at the center of international innovation in preschools and early education. Rodari’s commitment to the imagination survives in the field of education as a treasure trove of methodological suggestions for today’s teachers who are looking for strategies to legitimate children’s thinking and the power of learning.

Neuroatelier is an educational programme created for the needs of global neuroscience promotion event Brain Awareness Week 2016 and developed through 2016 in many cultural centres, libraries and kindergartens in Belgrade in Serbia. As pedagogues we created this programme in consultation with students who study neuroscience related concepts in their faculties (biology, molecular biology, medicine, physical chemistry). The programme is based on STEAM (Science, Technology, Engineering, Arts, Mathematics) approach to education as well as interactive approach in planning activities with children and intended for preschool children age 4 to 6. The activities are structured so children could learn together with other children and students about basic neuroscience concepts through active engagement in different self-chosen semi-structured learning spaces through interaction with artistic materials which invite children to explore, discuss about and co-construct with them. There are five semi-structured spaces offering different provocative materials: I Neuro-colouring book, II Neuro-straws, III Neuro-mold, IV Neuro-tattoo, V Neuro-constellation. Within them participants of the programme developed their theories about neuroscience concepts through artistic engagement and on that basis science relevant discussion. Therefore, this programme was an opportunity for children to learn about neuroscience and for students to experience about how children learn and how the process of creating and developing the programme looks like form the insider’s perspective.

Keywords: neuroscience, preschool children, STEAM, educational programme, science students

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