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Sequence 16movement are some of the activities the child has the opportunity to do every day. A long and uninterrupted work period… |
Sequence 17Creative persons differ from one another in a variety of ways, but in one respect they are unanimous: They love what they do… |
Sequence 18Gardner, Howard. The U11schooled Mind. NY: Basic Books, 1991. Haines, Annette. Lecture. "Creativity: Our Challenge.… |
Sequence 1Olga Dantus I 04 The NAMTA Journal • Vol. 36. No. 3 • Summer 20 I I |
Sequence 2CHILDREN THE MAKERS OF CULTURE: THE ARTIST WITHIN by Olga Dantus Olgn Da11t11s writes 11 refreshing, impressionistic view of… |
Sequence 3Art is a talent special to human beings. It helps us understand and explore our world. It is an outlet, a way of expressing,… |
Sequence 4Art takes place in our daily life in many ways: • We express ourselves by talking, crying, moving, writing, drawing, etc. •… |
Sequence 5• Use no value j11dge111ent. Be objective and descriptive: "You used a lot of red." "I see a lot… |
Sequence 6II is oocoswy 10 have in mind lhat evaluating the payoft' and lbc bcnefil taken by lbc Sludcnl, lbc •laiC of dcvel- of… |
Sequence 7In the 1950s, scientists determined that there are two sides of the brain: The left side being intellectual and the right side… |
Sequence 8The special conditions for creativity to happen: • Emotional security /unconditional acceptance, and • No external judgment… |
Sequence 9Figure 3. Controlled scribble. a blanket, etc. The purpose is not the drawing but the pleasure of performing the movement.… |
Sequence 10human figure. In the first human figure the arms and legs come out of the head , sometime later the arms are omitted to make… |
Sequence 11xDDOo+ Figure 4 Realistic Close to twelve years of age, the child can perceive the differ- ence between what he sees and… |
Sequence 12world brings them a variety of designs, ways to solve problems, the opportunity to explore the similarities and differences in… |
Sequence 13BODY EXPRESSION, MOVEMENT, ANO DRAMA Our body is something like the house in which we live every day. It is the vehicle or… |
Sequence 14bubble) and common space (don't break anybody else's bubble). In this exercise, we can move our bodies in many… |
Sequence 1118 The NAMTA Journal • Vol. 36, No. 3 • Summer 20 I I |
Sequence 2DOWNPLAYING PLAY: WHAT WE Miss WHEN WE HESITATE TO SHAKE LOOSE AND FROLIC by Alyssa Conklin-Moore Alyssa Conk/ in-Moore en/… |
Sequence 3conference and later submit this article, T had the opportunity to spend considerable amounts of time researching play, day-… |
Sequence 4strong idea, I settled on the definition, created colJectively by Bob King and Frank Hughes, that seemed to be modestly… |
Sequence 5When we cons.ider the public-at-large, we also have to consider that play doesn't typically translate as particularly… |
Sequence 6will chaos reign? Many of us harbor the concern that if we actively invite play into our communities, somehow activity will… |
Sequence 7The Physical World In relation to the physical world, play gives us new ways of see- ing and understanding our surroundings.… |
Sequence 8The Social Domain Play pulls us into relationships where we can explore what it is to be social. Tt teaches us to cooperate… |
Sequence 9choose to do. Play can propel a child to discover his own unique passions and interests while supporting open-ended thinking.… |
Sequence 10get ourselves on the path of fun and excitement, to share ourselves honestly, and to feel competent in the things that we do.… |
Sequence 11builds our ability to negotiate rules and to overcome obstacles. Free play allows children to evaluate, pretend, analyze,… |
Sequence 12children than most Montessorians care to support but never fails to emphasize the fact that hands-on exploration, time in the… |
Sequence 13Summarizing the key findings of Stuart Brown's research forces us to take a close look at the following realities: 1.… |
Sequence 14require batteries to operate as designed, we can offer parents so much more guidance and good information. Helping parents to… |
Sequence 15There are several keys that I have gathered over the years. First and foremost, in order to really play we must allow ample… |
Sequence 16In every regard, play is good for the brain and intensely plea- surable. So take an extra helping of play as it barrels toward… |
Sequence 17• When they can reveal themselves, their joys, suf- ferings, and concerns, without fear of ridicule, and when mystery and… |
Sequence 182007. Dec. 2010 <http:/ /www.aap.org/pressroom/ playfinal.pdf>. Jenkinson, Sally. Tlte Genius of Piny:… |
Sequence 1Robin Renshaw 136 The NAMTA Journal • Vol. 36, No. 3 • Summer 2011 |
Sequence 2CREATING AN OUTDOOR EXTENSION TO THE PRIMARY CLASSROOM AND A NATURAL PLAYSCAPE BEYOND THE GATE by Robin Renshaw Robin… |
Sequence 3During the last few years of this technological revolution it has been my observation that children in the primary class are… |
Sequence 4als that remain outside. A waterproof cabinet with drawers holds rhythm instruments, clipboards for documenting observations… |
Sequence 5and browns and grays and colors of the flowers and herbs. They can turn over the stones and observe insects and worms. They… |
Sequence 6Renshaw• Creating an Outdoor Extension to the Prima,y Classroom 141 |
Sequence 7Children can touch and feel and compare the hard/soft, rough/ smooth, warm/cool aspects of the natural world. As children… |
Sequence 8in the courtyard, and with the edible herbs always available, the children have an opportunity to enjoy a gustatory… |
Sequence 9books is set on the deck shelves when weather permits. Comparing sizes, measuring distances, counting objects, and documenting… |
Sequence 10and dancing to the music of the instruments. A wooden marimba- like xylophone and mallet hangs on the fence, and a child can… |
Sequence 11metal,plastic,or wood-like play structure dominating our big outside area we have created areas of mostly natural materials… |
Sequence 12red wooden boat. The "pond" is surrounded by large smooth rocks and short redwood logs that are perfect for… |
Sequence 13fall, and sunflowers grow around the whole area. Gophers are a big challenge as we are located near a field and so we plant… |
Sequence 14Renshaw • Creating an Outdoor Extension to the Primal)' Classroom 149 |
Sequence 15with natural materials but mostly the children are engaged in large motor activities like pulling each other in the wagon or… |
Sequence 16document as being one of the first advocates for a child's need to connect with the natural world. The introduction to… |
Sequence 17themselves and the world around them. Providing opportunities for the growth and development of the whole child, opportunities… |
Sequence 18solving skills and the development of interest and appreciation in the world around us. These goals acknowledge that learning… |
Sequence 1SECTION II THE MONTESSORI SYLLABUS: DEFINING THE ADOLESCENT'S ROLE by David Kahn The Montessori ed uca tiona l… |
Sequence 2summary of the syllabus derived precisely from Montessori's book, From Childhood to Adolescence. Perhaps you think that… |
Sequence 3REFERENCE Montessori, Maria. From Childhood to Adolescence. 1948. Trans. The Montessori Educational Resource Center. New… |
Sequence 1Mihaly Csikszentmihalyi 158 The NAMTA Journal • Vol. 36. No. 3 • S11111111er 201 l |
Sequence 2BECOMING AN ADULT: p ATHWAYS TO MATURITY by Mihaly Csikszentmihalyi Dr. Csiksze11t111i1Iayli begins with Mo11tessori's… |
Sequence 3mammals tend to rely on genetic instructions for how to behave or what to do. But for humans, we have to learn how to become… |
Sequence 4even in a socialist country without being able to learn at least the rudiments of civility through loving and supportive… |
Sequence 5how to get along with others, how to respect people who knew more than what they did, was the normal way for all humans to… |
Sequence 6did this with grammar school students, workers, adults, and with old people. We give them a pager, or now a programmable watch… |
Sequence 7In a typical study we would have two hundred children doing this questionnaire eight times a day for a week, four or five… |
Sequence 8One important thing to notice is that teachers help the students about twenty percent of the time. Actually, most of the… |
Sequence 9there. These black bars simply show the limits of what is possible by chance. The fact that the bar of responses in school for… |
Sequence 10Figure 5 [In figure 5] we are comparing three dimensions of experience. How happy they are, how bored or excited they are,… |
Sequence 11it? The experiences we have in life are what accumulate to make us who we are throughout our life. The more we feel bored when… |
Sequence 12Six Universal Conditions For Wellbeing In Adulthood (and Beyond) 1. Physical Health and Fitness 2. A Vital Mind 3. A… |
Sequence 13A continuous vocation is desirable. It is a project or a goal that keeps you focused and working and it may be something… |
Sequence 14If you don't allow these things to grow because there are no oppor- tunities for it, there are no rewards for doing it in… |
Sequence 15point [in figure 7] is to be healthy and fit. There is a real problem in America with both children and adults being quite… |
Sequence 16Again, instead of close relationships there are children left alone at home, without siblings and no extended families.… |
Sequence 17The Three Main Tasks of Preparing Adolescents for The Future 1. Allowing for AUTONOMY AND INITIATIVE That leads to… |
Sequence 18are prepared for in a sense but we can't use our abilities, courage, determination, choice, and decision-making powers… |
Sequence 19of the group, to be united, to put your life in their hands, and to protect them with your hands. This experience of… |
Sequence 20you learn by yourself. Obviously, you have to learn [independently] too. But the extent that schools or the educational system… |
Sequence 1Laurie Ewert-Kroeker 178 The NAMTA Journal • Vol. 36, No. 3 • Summer 20/ I |
Sequence 2EDUCATION AS THE PREPARATION FOR ADULT LIFE: AN OVERVIEW by Laurie Ewert-Kroeker Laurie Ewert-Kroeker portrays the syllabus… |
Sequence 3My first response to these overviews is to note the emphasis on the present: the goal of what Montessori calls "… |
Sequence 4veloped, the interaction of that individual with the world, and ulti- mately their effect on the world, depends a great deal… |
Sequence 52. "Supranature," the ways in which human beings have interacted with, changed, or built on top of the… |
Sequence 6Despite the passing of time since Montessori's work and writing, it is hard to disagree that what we share with our… |
Sequence 73. Come to understand how human beings have created this culture-which we all now share-and how hu- mans have interacted,… |
Sequence 8the present. What Montessori offers here is a fundamental approach: allow the human personality to freely develop, cultivate… |
Sequence 1l'! ffl (/) 0 ~ (I) t: ::, 0 0 ~ .c a.. 186 The NAMTA .loumal • Vol. 36, No. 3 • S11111111er 2011 |
Sequence 2PERSONAL EXPRESSION by Laurie Ewert-Kroeker fll view of the creative expressions of 1n11sic, the arts, and /a11g11age, La11… |
Sequence 3heightened experiences and seek heightened experiences in response to external stimuli and in response to their own physical… |
Sequence 4creating a self, an increasingly conscious self, acts of creation would seem natural, productive, and satisfying. Montessori… |
Sequence 5importance of this particular sensitivity in the adolescents we work with or, on the other hand, how often, out of genuine… |
Sequence 6How do art, language, and music accomplish the task of "developing the in- terior personality" in all of… |
Sequence 7a poem. Self-expression is an essential step in the development of humanity toward human solidarity and understanding. Art,… |
Sequence 8To cultivate the art of speaking logically, to expose one's ideas, to reason and discuss. Reading aloud so as to hold… |
Sequence 9• The introduction to forms and structures that can help adolescents unlock and shape their ideas, feel- ings, and… |
Sequence 10so emotional and confused at the time is an oversimplification of a deficiency we are all contributing to. Why did we stop… |
Sequence 1Michael Waski Pat Ludick 196 The NAMTA Jou ma/ • Vol. 36, No. J • S11111111er 2011 |
Sequence 2FORMATIVE EDUCATION: FOUNDATIONS FOR CHARACTER DEVELOPMENT by Pat Ludick and Michael Waski A meditation on the inner life of… |
Sequence 3parents, Montessori-trained guides, practitioners in training, and those who have studied through the NAMTA summer… |
Sequence 4making and then the courage to act on that vision. On some level, this section is an example of the concept of a hidden… |
Sequence 5Her understanding, and therefore our own basis of understand- ing the complexity and nobility of our approach, is determined… |
Sequence 6place. Remember that the role of the adult guide is an integral part of this prepared environment. This guide and teacher must… |