Art Skills for children

Art is significant for young children. Art is a creator through which children
can create their feeling and ideas. Art can teach children and helps to grow a
child's mind. Children learn about their universe by drawing, painting, and
making their collections. They can colour their new things by learning, painting
with new colours. When children mix colour, they know its amalgamation; they
feel colour changes. They learn to make changes in colour. It is not necessary that
children must finish their work. Through their involvement, they learn a lot; they
enjoy it through reflection and expressions on their face. Therefore, children
express their ideas through the exploration of art and crafts. Providers should be
the adult friend of every child for their cognitive development. They must help
children in making colourful journey day. Guide and model should be created
without academic activities. It is, therefore, a friendly relationship within a
social environment between teachers, providers, and children. Children should be
encouraged through their art and crafts. The best part for the children is to do their
dream activity by themselves. There should not be any dictation but an open-ended
scenario. Therefore, the best Art children's wishes, their mind concentration is an
essential skill in growing them. There are many ideas to make art and crafts. Art
can be done with poster papers with different colours; it can be tissue paper; Art
can be done with cardboard, wallpaper, bubble wrap, wax paper, aluminum foil
etc. painting should be changed by adding liquid soap, salt and sugar, corn syrup to
make paint shiny, sparkle, and slimy. Tools of the image should be changed
through sponges, pine tree branches, grass, cotton balls, combs, rubber balls,
feathers, plastic forks, paintbrushes, yarn, rocks etc.

Art, therefore, is essential for every child because of their involvement in it

and their ability to learn and interact with the world around them. Through art and
crafts, children can make their creations and develop their brains, many humanistic
styles, cultivate essential skills, and benefit. This is called child development
through art. It makes children self-expressive. Art develops child's skills through
access to art games. It helps children adapt communication skills, problem-solving
skills, special-emotional skills, and fine motor skills, such as written words on
paper. Etc. Therefore art is a process, not a product. It is a relaxation process; thus,
art helps children become complete social people for continual development.

Art activities in early education seems like unimportant activity. 1 Everyone

knows that children like to draw, paint, crush playdough, put their fingers on
1
colour etc. They want to create images for exploration, which is appreciated.
Children are happier with creativity with art and crafts. They do not need many
invitations for making art and crafts. It has been experimented with by early
childhood researchers that daycare and out-of-school care centres should be
decorated with materials of art and crafts. Children have the right to play
through access to art and crafts to innovate their surroundings. Parents and
educators of early childhood can realize the benefit to children from their initial
involvement in art activities, such as creative development 2 . Learning through
playing is a strategy of every early learning centre, or the centre's directors should
launch it. It has been realized that the definition of artistic development has
thoughtful faults in the context of its power to define development in the world of
art. According to Victor Lowenfeld (1934), creative development is unrestrained
writing that form a graphical representation that confirms the urgency of visual
realism. The theory has said about graphic development as visual art. Still, it has
kept its distance from the world of art and fails to explain the development of
artistic talent and abilities of the artists. Therefore, their theory is not good eld to
Victor Lowenfeld's. 3 Visual sensitivity and imaginary thinking are a theme
for the artist's responses and the development of art. It has been realized that
visual sensitivity creates creative activities in visual arts. It has also been discussed
that the development of sensitivity, empathy or compassion does not have to be
linked with drawing, painting etc. 4 Observing children's attention to visual
representation in this context is enough for the outcome and the development of
their visual curiosity. Games, photographs, and artworks are good examples of
visual art and its complexity. Proficiency in the use of art media is another theme
of child art. In this area, technicalities are the focus, and technical abilities should
nurture children. Some cognitive and sensory-motor limitations should be
recognized, such as physical classroom settings resources, safety concerns, etc.;
therefore, it is a concern that early childhood educators should be aware of the
theories' limitations and thus proceed with the cultivation of art in child mind.

When children paint something with / both hands, they feel happiness. They
are deeply involved in creating their images. It could be nothing but their creative
world. It is then a big thing. Through their creation, they interact with the world of
art, which is also an image of mimesis. Creating art provides the child with a new
set of skills 5 of self-expression and contact. Individualism and communication
are the two most important skills in child development created by art and crafts.
Fundamentally the expression makes us human. When children tie a picture, coat a
2
portrait, and use their mobile by touching buttons, they learn something. A child
may draw a text that can reflex a scenario, such as someone is playing in the park,
releasing feelings of joy by drawing, share the emotional experience through
the passing of a loved one through art. This communication skill creates by
showing emotion, feeling, expression, etc. Drawing something means working
on something challenging. It is an experiment through the art of problem-
solving. Just like a scientist who does many experiments to find out the
solution. Therefore, art is a theme through which children can find out how to
art? Which colour is appropriate? 6 These are the challenges they solve and find
new ways to manage unforeseen consequences. 7 Art teaches children to
share, touching, practicing, take turns, praising one another. This creates
positive mental health for an individual uniqueness, defined as social and
emotional skills. Through art, children can learn how to achieve in life and become
positive. It also teaches self-conception 8 . Artwork is an appearance of expression
and creativeness. A child can explore through their child mind's artistic skills. six-
year-old children are happily painting nature with or her arm movement
amalgamation, red and yellow, nine-year-old children are drawing their
grandpa who recently died etc. 9 Children draw their family pictures and their
surrounding nature to express an emotion or feeling they exist. They cannot
express it verbally or openly due to their unclear verbal expression, but virtually
they show through art and crafts. Therefore, through art, they know how to create?
10 Art is the knowledge that needs freethinking, research and investigation, and
examination. They are all characteristics of creativity 11 . A child can create
anything through their art mind. It does not need to be a masterpiece. 12 Art is a
process through which child can show their activities to prove that they are on
track. Children are curious and always ready to invent 13 . Art teaches them to
become better, observer, experimenter etc. Originality and imagination are
narratives of incredible creativity, but it also helps solve challenges during their
lifetime for many things in life. Ingenious thinkers are problems solvers, sensible
learners, and great explorers. 14 Art teacher's child's motor skills. When they
move their hands at different angles, operate objects such as taking paint brush
etc., they gain more control. Therefore, art is a way of opportunity for the practice
motor skills development, motivate them, and improve them. 15 Any brush with
many paints teaches children to know.

3
 AFRREV IJAH, Vol.2 (3) July, 2013

literature. It further clarifies differences between the art of drama,

theatre and the pedagogy of drama / theatre.
Introduction
What is Drama? What is Theatre? What is education? Simple
questions it may seem at first, but the majority of people; Theatre
practitioners, Drama / Theatre students and educationists alike would
not give a precise definition of the words without racking their brain.
That is because the words are used synonymously depending on the
context in which it is used.
Often time when people hear the word ―drama‖ they automatically
think about performance: a representation of an action before a group
of people for the purpose of entertainment and probably
enlightenment. Others will think towards Aristotle poetics and his
explication on the nature, elements and purpose of drama. The
layman thoughts will probably tilt towards the act of play-making,
acting a play or the act of make believe for the purpose of pleasure.
Similarly, when we talk about education, which centred on learning,
we often think about school. We view school in a traditional, formal
sense, with designed curriculum for each subject to be studied. Many
people believe that true learning can only take place in a formal
classroom setting, tailored to rigid school curriculum to be followed
strictly. Others feel education, learning occurs in many different
forms and environments. All these tentative answers are not wrong; it
only depends on the perspective through which we view it.
Though, there may not be a definitive answer to the question of
―what is education?‖ Or ―what is drama?‖ However, we can start
thinking about the purpose of education. Is it to educate youth to be
responsible citizens? Is it to develop individuals, as well as society, in
order to ensure a society‘s economic success?‖ Or is the purpose of
education to simply focus on developing individual talents and
intelligence? Perhaps, it is the balance of all three that defines
education? While our answers and perspective may differ we can
perhaps agree that education is important to our existence as humans.

Copyright © IAARR 2013: www.afrrevjo.net/ijah 229

 AFRREV
Idogho: Drama/Theatre inIJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

However, whichever perspective we view this answers, they are all

correct to a large extent because they encompasses the fundamental
philosophy of education for instance, as stated in the FRN National
policy on Education Section one; subsection four through nine:
Education is an instrument for national development
…. Education fosters the worth and development of
the individual for each individual‘s sake, and for the
general development of the society … the
development of the individual into a sound and
effective citizen and the full integration of the
individual into the community…
In other words education serves two main purposes, both to the
individual on one hand and the larger society on the other hand.
Perhaps, the individuals make up the society. The individuals
potentials if properly harnessed would engender rapid growth,
development in the society. Thus education for individual
development and individual development for society development is
an appropriate phrase for the above analogy.
Against this backdrop, this paper is set out to unfold, unravel, unveil
the nature; meaning and scope of drama as a concept, its various
applications (nomenclature) in our society and as an academic
discipline among; students, parents, guardians, literate and non-literate
member of the society who often time refer to the study of Theatre
Arts as ―clappology‖ and ―jumpology‖. Also to elucidate the
differences between, and the function of the different tags, label of
theatre; theatre-in-education, educational theatre – creative dramatics,
community theatre etcetera, within the Theatre Arts discipline.
Drama
Drama is an ancient Greek word meaning ―act‖ or ―deed‖, coined by
the Ancient Greek philosopher, Aristotle in his poetics where the term
drama culled from, classified different forms of poetry according to
basic features he thought could be commonly recognized in their
composition. He used the term ―drama‖ to describe poetic

Copyright © IAARR 2013: www.afrrevjo.net/ijah 230

 AFRREV IJAH, Vol.2 (3) July, 2013

compositions that were ―acted‖ in front of audiences in a theatron –

theatre.
While Aristotle offered drama as a general term to describe forms of
poetry – literature, that were acted. He identified different types of
compositions within this category, tragedy and comedy. He regarded
comedy as a form of drama because it represented acts that made
audiences laugh and he considered tragedy a form of drama because it
represented acts that made audience feel pity or fear. The Roman
Theorist Horace introduced another view of these poetic forms when
he suggested that their purpose was to either delight or instruct.
Although various definitions and developments in drama has come
after these classical theorists, but the point of departure is minute, that
the classical precepts, propositions still remained outstanding in drama
study over the Ages.
Drama as Imitation: Aristotle posits that drama is the act of
imitation, because they are written to be ―represented‖ – men acting,
thus the presentation of the composition required men to act as the
men represented in the texts. This system of classification therefore
contains a distinction between dramatic texts and performances that
often requires further clarification. Aristotle argued that dramatic texts
and performances imitated actions or deed performed by people in real
life. He called the process of imitation he identified in the dramas he
analyzed mimesis. This concept has sometimes been used to suggest
that written compositions that are ―acted‖ offer representations of
activities that copy reality in some way. However, Aristotle‘s
arguments can also suggest that dramas offer quite unique kinds of
poetry because they use real actions, ideas and texts to constructs
possible views of reality.
Drama as Action, Aristotle argued that actions in a drama aim to
mimic actions rather than perform real actions. While his view has
been influential, exploring how the concept of imitation relates to
drama is crucial, to our understanding of dramatic ―activity‖ which
involves more than simply copying actions that are described by
playwrights or performed by people in everyday life. For instance,

Copyright © IAARR 2013: www.afrrevjo.net/ijah 231

 AFRREV
Idogho: Drama/Theatre in IJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

someone who performs a murder in a drama is unlikely to produce an

exact replica of a murder that has really occurred. Thus, the concept of
representation becomes paramount in drama or theatre.
Theatre
The Encyclopedia Wikipedia (2013) defines Theatre as ―a
collaborative form of fine art that uses live performers to present the
experience of a real imagined event before a live audience in a
specific place.‖ The performer may present this experience through
the combinations of gesture, speech, song, music or dance while
elements of design and stagecraft are used to enhance the physicality,
presence and immediacy of the experience. Similarly, the specific
place of the performance is also named by the word ―theatre‖ as
derived from the ancient Greek theatron, ―a place of viewing‖ and
theaomai, ―to see‖, ―to watch‖, ―to observe.‖
Modern theatre derives in large measure from ancient Greek drama,
from which it borrows technical terminology, classification into
genres, and many of its themes, stock characters, and plot elements.
Theatre today includes performances of plays and musicals, although
this kind of theatre can be defined broadly to include opera and ballet,
which are not within the scope of this article. Theatre is the melting
point of all the arts. The phrase ―fine art‖ as used in the definition
implies paintings and decorations that is used to enhance the visual
aesthetics of the performance or presentation. It is the combinations of
all the other arts; music, dance, sound etcetera and drama inclusive.
By elements of design as used above, it implies the visual adornment
of the performance. Edwin and Alvin (1999:11) refers to elements of
design as ―visual aspects – costumes, lighting and some form of
scenic background – and a non-visual aspect, sound.‖
Drama in this sense implies the dramatic text that is performed; a
story, an incident, or an event that has been put into paragraph. It
might be a true story about other people; like Ngugi Wa Thiongo‘s
The Trials of Dedan Kimathi, Ola Rotimi‘s If…..Tragedy of the ruled
or Ahmed Yerima‘s‘s The Trial of Ovoranwen Nogbaisi. It might be

Copyright © IAARR 2013: www.afrrevjo.net/ijah 232

 AFRREV IJAH, Vol.2 (3) July, 2013

an autobiographical story, something that happened to the writer or

author. It might be a historical event like J.P. Clark-Bekeredemo‘s All
for Oil, Ola Rotimi‘s Ovoranwen Nogbaisi and Akassa You Mi. It
might be a fantasy, a made-up story with the quality of a dream, like
Ojo Bakare‘s Once upon a Tower or Femi Osofisan‘s Restless run of
the locust. It might be a myth, such as the legends on which Greek
dramatists of the fifth century B.C. based their plays. Whatever the
source of the dramatic story, it must be present for theatre to occur.
Thus, the drama text in itself could be referred to as drama, but when
performed before a group of audience with the combinations of all the
other arts, it becomes theatre. To this end, we shall surmise the
elements of drama and theatre with the view to establish their
relationship. Elements of drama as posited by Aristotle in his poetics
are:
(1) Plot
(2) Character
(3) Theme/Thought
(4) Diction/Language
(5) Music
(6) Spectacle
While Edwin and Alvin (1999:12) summarize the elements of theatre
as:
(1) Performers
(2) Audience
(3) Director
(4) Theatre space
(5) Design aspects: scenery, costume, lighting and sound.
(6) Text: This includes focus, purpose, point of view, dramatic
structure and dramatic character.
Thus, to answer the question, what is the difference between drama
and theatre? The simple response is that drama is the printed text of a
play, while theatre refers to the actual production of the play text on
stage with the support of all the elements of theatre mentioned earlier.

Copyright © IAARR 2013: www.afrrevjo.net/ijah 233

 AFRREV
Idogho: Drama/Theatre in IJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

To further strengthen our argument, we must bear in mind that drama

as a genre is never meant to be read. For instance, a painter speaks
directly to his audience and clients through the medium of paint on
canvass or frame. The composer however requires musicians to
interpret his or her work. A novel is written in order to be read. Much
like the painter, the novelist or poet speaks directly to the reader, in
this case, with words, not paint. A play, however, is not intended for a
reading audience. Similarly, the playwright knows that his or her work
will only be properly received by the audience in a theatre after it has
been interpreted by directors, actors and designers. Those are the
professional readers: the theatre artists who will transform the play-
text or written words into the theatrical event which will be seen and
heard in a theatre by an audience.
The actual text of the play is much less than the event of the play. It
contains only the dialogue (the words that the characters actually say),
and some stage directions (the actions performed by the characters).
The play as written by the playwright is merely a scenario which
guides the director, designers and actors. The phenomenon of theatre
is experienced in both sounds and visual images. It is alive and
ephemeral -- unlike the novel, it is of the moment -- here today, and
gone tomorrow.
We see and hear a play: The word theatre derives from the Greek
word theatron, or seeing place as mentioned earlier. In Shakespeare's
day people talked of going to "hear a play" -- Hamlet says of the
Players, "we'll hear a play tomorrow."
When reading we only take in one impression at a time. In the theatre,
however, we respond simultaneously to the words, the movement of
the actors, their expressions, their voices, the silences, the sound
effects, the lighting, the scenery, the costumes, the gestures, the
groupings of characters, the rhythms, the space, the atmosphere, and
so on. All of these elements and more have been carefully selected,
unified, and honed by the collaborative effort of actors, director,
playwright, designers, and technicians. When reading a play we
imagine as much as possible about a performance of that play -- to see

Copyright © IAARR 2013: www.afrrevjo.net/ijah 234

 AFRREV IJAH, Vol.2 (3) July, 2013

the play in the "mind's eye." The playwright's stage directions and the
description of the stage setting help us to begin the process of
imagining the performance, but they are severely limited. Compare
the experience of actually looking at a painting by Rembrandt to that
of merely reading a description of the same painting.
Elements of the Play and Interpretation
How does one begin to interpret a play? A play consists of many
elements including characters, action, language, plot, setting, costume,
lighting, gesture, and structure. When analyzing a play text, a theatre
artist seeks the answers to many questions. This quest leads to an
interpretation of the play -- an understanding of the intent of the
playwright coupled with a conceptual approach that makes any given
production of the play unique.
Among the questions asked by the theatre artists are the following:
(A) Who are the persons in the play? What does each character
want? What do they do? How do they appear to each other?
How do they feel? What does each character know? What is
the background of each character? With whom do you
identify? What conflicts are there? What values does each
character have? What are their relationships? What are their
personal traits? Who has power over whom?
(B) What is the world of the play? -- Where does it happen? When
does it happen? What are the circumstances affected by the
society, economics, culture and politics of the time? What do
we learn from the setting of the play?
(C) How is language used in the play? What is the nature of
dialogue? How are literary allusions and imagery used?
(D) What are the tempos and rhythms of the play?
(E) What is the style of the play?
(F) What happens in the play? What is the difference between
physical action and psychological action?

Copyright © IAARR 2013: www.afrrevjo.net/ijah 235

 AFRREV
Idogho: Drama/Theatre inIJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

totality, acting and reacting to forces around them and

within them, and by those in the audience who
experience with them the enigma that the common lot
of humanity.
Theatre-in-Education / Drama in Education
Theatre in education or Drama in education according to the
Wikipedia Encyclopedia (2013) is the use of drama techniques to
support learning in the classroom. Drama in education was at first
called creative dramatics by Winifred Ward. By creative dramatics
she meant a classroom teaching method that emphasizes self-
expression, training in spoken English and literature appreciation.
―Creative Drama, is an informal, improvisational, non- exhibitional,
process centered form of drama in which participants are guided by a
leader to imagine, enact, and reflect upon human experiences through
role play, improvisation, pantomime, movement, and sound.‖ (From
the website of the American Alliance for Theatre and Education:
www.aate.org)
Creative Dramatics is thus incorporating theatrical components and
dramatic exploration into educational settings to support the child‘s
natural tendency to learn through play. Creative Drama is a distinct
discipline, art form, teaching tool and educational process for teaching
and learning; it is a hybrid between theatre and education. However,
in recent time, the term covers a wide range of activities that applied
drama / theatre practices in the course of instructing, enlightening and
creating awareness about an idea or concept. Thus different
nomenclature of drama / theatre evolved: community theatre / theatre
for development-development drama, educational drama / educational
theatre, young peoples‘ theatre, informal drama, process drama, and
framed expertise.
Drama in education differs from theatre that is performed as scripted
dialogue on a set in front of an audience. The most distinctive
characteristic of creative dramatics is the lack of scripts. As part of
drama in education, the entire class often plays improvised roles

Copyright © IAARR 2013: www.afrrevjo.net/ijah 240

 AFRREV IJAH, Vol.2 (3) July, 2013

within an imagined context. As a result, there is no sharp distinction

between actor and audience, the learner is both participant and
observer.
Practitioners of drama in education often note their emphasis of
process over product to explain their approach. While in a stage
theater production the focus is more on rehearsal as a means to an end,
the ultimate performance, in drama education, the process is the end in
itself. Students learn as a result of the choices and decisions they make
during the development or improvisation. The classroom teacher
facilitates the drama by building on the actions and reactions of
students and changing the imagined context so as to create an episodic
sequence of dramatic action.
There are a number of benefits of drama in education. Creative
dramatics helps students develop interpersonal skills. Research has
shown that cooperation among students increases when creative
dramatics is used in classroom. In creative dramatics, students also
often enter into leadership roles while they plan activities, such as
scriptwriting and informal performances.
Creative dramatics helps students understand other cultures as they
play the roles of people in these cultures or create narratives about
these cultures. Through such activities students also develop empathy
because they see characters from different perspectives. Creative
dramatics promote tolerance.
Creative dramatics gives students an opportunity to understand other
disciplines such as history, social studies, citizenship education
language studies, literature etcetera from different perspectives as well
as to explore ideas from multiple angles. Thus, it fosters critical
thinking. In creative dramatics, students and educators have various
options such as role-playing, acting, movement, scriptwriting,
technical theater, and improvisation. Students who have engaged in
creative dramatics are willing to take more risks. While students tend
to feel anxious about creative activities initially, they gradually
become more self-confident.

Copyright © IAARR 2013: www.afrrevjo.net/ijah 241

 AFRREV
Idogho: Drama/Theatre in IJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

Creative dramatics helps improve students' attitude toward school and

the way they perceive themselves. Research shows a decrease in
absenteeism among students who engage in creative dramatics.
Creative dramatics can also improve student comprehension of the
material in class as it helps students learn content, writing, and drama
simultaneously. Teachers use creative dramatics to help students
develop a greater vocabulary and improved word recognition.
Students' listening skills, oral expression, and writing skills are also
improved thanks to creative dramatics.
Creative dramatics can facilitate learning of foreign languages.
Students can perform plays in the language they are learning in
school. By practicing their speaking skills in a foreign language in an
environment where the instructor can provide feedback, students
develop confidence in their foreign language abilities.
Educational Theatre: This could also implies Performances of plays
by professional actors in school or community settings aimed at young
people and with a specific educational aim, often supported by
Theatre in the institution of higher learning and resource material and
sometimes including a participatory workshop.
Young People’s Theatre: Plays designed for children of a specific
age-range, which do not aim to address a single issue. Often based on
traditional stories, these plays offer a much broader base of follow-up
opportunities in schools than traditional Theatre in the institution of
learning. They are often suitable as family shows in smaller theatre
venues, as well as for touring schools. Though, these are not very
common in Nigeria.
Children’s Theatre: Usually performances targeted at younger pupils
in schools or theatre buildings. The content is likely to be instructional
and entertaining in nature and the performance will seek some token
involvement from the audience.
Theatre-in-Health Education: Programmes of work that may use
performances, in-role participatory workshops and/or active learning
techniques to deliver precisely targeted Health Education objectives.

Copyright © IAARR 2013: www.afrrevjo.net/ijah 242

 AFRREV IJAH, Vol.2 (3) July, 2013

Often funded from outside the education system and sometimes

working with adults as well as school students and pupils.
Community Theatre/Theatre for Development
Community theatre is often defined as the theatre of the people, by the
people and for the people. This implies that the theatre originates or is
culled from the community concerned: every material needed for the
theatre: storyline, actors, place of performance inclusive. The theatre
is often time planned and executed by the people; though under the
supervision of an experienced theatre practitioner. The theatre is
originally, intentionally targeted towards every member of the
community in question, rather than a group of audience(s) like in the
traditional theatre. Perhaps the ways it is made, and the ways the
community have input, differ depending on the situation. Community
theatre of theatre for development might include:
(a) A play drawing on the heritage and memories of a particular
community area or region.
(b) Performances from the street culture of a young people.
(c) Performances drawn from the way of life/experiences of a
people.
(d) Drama workshops around particular issues in prisons.
(e) Performances exploring women‘s experiences from a feminist
perspective.
Perhaps different models and definitions have been offered in recent
years in an attempt to expatiate the distinctive nature of community
theatre. Some school of thought described it as an attempt ―to build
another way of life within modern culture‖ and another school of
thought refers to it as a theatre which ―asks for an audience that is
open to change‖ Kuppers and Robinson (2007). These schools of
thoughts claim that community theatre can challenge the values of
society. Perhaps this might be correct because by foregrounding the
importance of people and their experiences, community theatre/theatre
for development might be able to tell stories which the media usually
ignores, and demonstrates the value of those stories. However,
Identifying the different modes within which community theatre take

Copyright © IAARR 2013: www.afrrevjo.net/ijah 243

 AFRREV
Idogho: Drama/Theatre in IJAH, Vol.2&(3)
Education July, 2013
Theatre as an Academic Discipline

place can help us distinguish between the different kinds of input they
need from their participants, and the different ways we might think
about evaluating them.
Young people in urban areas might be given the chance to show
themselves as creative and worthwhile, or offenders have an
opportunity to explore their positive potential outside the label which
has been applied to them. Helen Nicholson (2005) however used the
phrase ―applied Theatre‖ to describe all forms of dramatic activity that
primarily exist outside conventional mainstream theatre institutions,
and which are specifically intended to benefit individuals,
communities and society. Helen Nicholson lists: ―drama education
and theatre-in-education, theatre in health education, theatre for
development, theatre in prisons, community theatre, heritage theatre
and reminisce theatre as falling under the ―applied‖ label – all of
which are clearly draw on different sources for different purpose, but
they are set out to affect humanity.
Theatre in prisons set out to look for new possibilities for offenders in
the way they see themselves and deal with problems. While Heritage
theatre sets out to help people celebrate the history and memories of
their areas building a narrative about the place and people. It explores
the conflicting forces at work in and upon the community. The
Kenyan people‘s theatre as described by Ngugi Wa Thiongo in his
book Detained: A Writer’s Prison Dairy is a good example of this
It is a well-established theory and practice that the work of Paolo
Freire, Augusto Boals and Ngugi Wa Thiongo gears towards
Community Theatre or Theatre for Development. In The Pedagogy of
the Opressed, Freire argued for the relevant and need for dialogic
education as an essential element of emancipating the oppressed.
While Boal, in Theatre for the Oppressed, says that theatre are the
first human invention and also the invention which paves the way for
all other inventions and discoveries. According to Boal, ―Theatre
enables us to observe ourselves and by so doing to discover what is
not and imagine what we could become.‖ Through theatre that

Copyright © IAARR 2013: www.afrrevjo.net/ijah 244

 Advances in Social Science, Education and Humanities Research, volume 538
Proceedings of the 5th International Conference on Early Childhood Education (ICECE 2020)

Teachers’ Understanding on Music for Early

Childhood
Siti Hodijah1,*, Leli Kurniawati2
1,2
Department of Early Childhood Education, School of Postgraduate, Universitas Pendidikan Indonesia
*Corresponding author. Email: [email protected]

ABSTRACT
Music learning is believed to have positive impact and influence on children’s development. Teachers’ understanding
of music advocates for music learning practices which are applied in early childhood education. Many literatures explain
that the teachers’ perceptions and knowledge of music are very important in the learning process. Teachers’ positive
attitude towards music is believed to be an important factor in the success of music learning for early childhood. This
paper aims to explore teachers’ understanding of music for early childhood. The varieties of teachers’ educational
backgrounds establish different attitudes and understanding. To collect information, the author conducts library research
by examining literatures that discuss the importance of music in early childhood education and teachers’ perceptions of
music for early childhood. The results presented in this paper strengthen the opinion that teachers’ perceptions and
knowledge of music affect the practice of music learning in early childhood education.

Keywords: Teachers’ understanding, music, early childhood education.

1. INTRODUCTION alternative way to be taken in an effort to support

children’s growth and development [5]. Music education
Early childhood education is the first step towards can be seen as one of the effective ways in developing
further education. It is the important time which serves as children’s potential and directing early childhood to grow
future investment of the children in all phases of their life. based on their talents and interests. Essentially, early
At this stage, educational stimulation is given to support childhood education is about learning through play,
physical and spiritual development. Experts said that the which means that the children learn in active and fun
development of early childhood at the age of 0-6 is the ways [4]. In line with the characteristics of the early
Golden Age of complete human development [1]. childhood who are active in carrying out various
Research suggests that at this time, there are no less than explorations of their environments, playing is part of the
100 billion brain cells ready to be stimulated so that one’s learning process. The learning itself must be designed in
intelligence can optimally develop. The first six years is many ways so that the children will not feel burdened in
the most important and decisive moment in developing achieving their developmental tasks. In order not to make
children’s intelligence compared to the time afterwards. the learning process burdensome and boring for the
This means if the children get maximum stimulation, children, the atmosphere needs to be made natural, warm,
their potential will be optimally developed [2]. and fun. The activities which provide opportunities for
This illustration shows that early childhood education children to interact with their friends and environment
is very important for every child to have for their future have to be prioritized. In addition, because children are
life [3]. One of the early childhood education to optimally unique and varied individuals, some elements such as
stimulate children’s intelligence development is music individual variety and children’s interests must also be
learning [4]. Music education is one of the areas of considered.
development that aims to improve children’s ability. The Speaking of music, it is not only about how music is
potential includes the materials of self-development, utilized as a learning medium or how children can play a
attitude, and skills which will be explored in every child. musical instrument, but there are also important issues in
Music learning in pre-school education can be presented music for children. For instance, they have rights in
in the form of singing and dancing as they learn beats and music through meaningful and varied learning [6]. More
rhythm through clapping or playing a simple musical specifically, children have musical rights as the result of
instrument. Music learning in early childhood is an social integration, identity construction, and cultural

Copyright © 2021 The Authors. Published by Atlantis Press SARL.

This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 159
 Advances in Social Science, Education and Humanities Research, volume 538

changes [7]. The pedagogical aspects of playing music in One of the early childhood’s characteristics is active and
the context of early childhood education are thoroughly they have high curiosity. Music can accommodate those
integrated in the curriculum [8]. Each educational unit matters. In early childhood education, music has its
has its own unique curriculum in which music is strategic role. The teachers use it as a fun learning
integrated. These findings strengthen the opinion that medium for children [14]. Music can be utilized as a
music is part of the children’s rights to be fulfilled in a learning medium in early childhood education. On the
process of education. other hand, it can also be used as means of
communication [15] to channel children’s talents and
2. THE ROLE OF MUSIC FOR expressions. Through music, children are given the
CHILDRENS’ DEVELOPMENT opportunity to express their feelings and ideas by moving
to the rhythm of the music.
Music has an important role in child development.
Music influences children’s growth and development
Music learning is believed to have positive influence and
from the cradle to adulthood. Previous research has
impact on children’s cognitive and behavioural
proven that music stimulates brain development rapidly,
development [9]. Therefore, it becomes a good means for
even since they are in their mother’s womb. The “Mozart
early childhood to learn in a fun way as the children will
Effect'' supports the idea that the children who are
listen and focus their attention and practice their thinking
listened to music frequently have better intellectual
skills. There is a strong correlation between learning
abilities which stick throughout their life. The increase in
music and art and improving literacy and mathematical
their intelligence is noticeable [16]. Although these
skills [10]. Musical activities which emphasize song
findings require much more concrete proofs [17], many
lyrics, rhymes, rhythmic patterns, constant beats, and
aspects of development can be stimulated through music.
dramatized stories through movement and musical
The use of musical elements in learning attracts
instruments can expand and strengthen children’s
children’s attention [18]. In addition to cognitive
memory to help develop their linguistic skills.
development, language stimulation can be developed
As a positive activity, music is able to hone children’s through memorizing song lyrics in the song which the
physical, mental, and emotional sensitivity in a balanced children listen to. There is a positive correlation between
manner [11]. In addition, music is also believed to be able playing music and reading skills in pre-schoolers [19].
to increase social and emotional competency [12]. Tones The strategy of playing music can be applied to the
and expressions which the children listen to are very children with linguistic disorder [20].
useful to train their emotional sensitivity. Singing and
Research [21] suggests that providing music practice
playing music altogether enable the children to interact
improves brain development in dyslexic children. Music
naturally and have fun. Therefore, the children will create
can develop children's creativity and imagination [22]
important aspects which are useful in their life skills.
Music also stimulates children's memory well as it has
Musical experiences will also provide motivation and
strong influence on the brain by stimulating intellectual
context for children’s skills in making interaction with
and emotional level [23] and changes in behaviour [9]
their environment. Because of its broad influence, music
including children’s social attitude [24]. Musical
is required to be a compulsory program in early
activities given by the family have an effect on their
childhood education [13]. This opinion means that music
children’s personalities [25] and hone their emotional
learning becomes a reference in early childhood
sensitivity [11] and enrich the development of children’s
education which is sustainable with various children’s
behaviour [26].
development as a whole.
Generally, the early childhood likes to play. Through
Music learning trains children motor nerves. Music
playing, they learn, move, and play music so that they
stimulated brain development rapidly and responsively.
develop both of their motoric skills. As children play a
It also expands and strengthens children’s memory to
musical instrument, it involves their limbs, such as their
support the development of their language skills.
fingers. This activity develops their soft motor skills,
Children’s skills in expressing feelings and listening to
while dancing develops their rough motoric skills and
information being conveyed are well honed. Playing
develops sensitivity to the other motor sensor, such as
music increases concentration level which is beneficial in
their eyes and hands. This will help the children
other areas of intelligence. Social skills are also
harmonize their movement, increase how their body
developed, enabling the children to interact with others
works and improve its coordination.
more easily.

3. THE IMPORTANCE OF MUSIC IN 4. TEACHERS’ UNDERSTANDING ON

EARLY CHILDHOOD EDUCATION MUSIC FOR EARLY CHILDHOOD
Music has an important role in children’s early life
Music has a special attraction for children. Through
and development. Teachers’ understanding of early
music, they learn to express their feelings and desires.

160
 Advances in Social Science, Education and Humanities Research, volume 538

childhood music advocates music learning practice kindergarten administrator by providing teachers who are
which will be applied in early childhood education. In competent in the field of music or at least have basic
general, teachers believe that music has an important role knowledge of music for children.
in children’s early learning and educational experience
As a matter of fact, preschool teachers who have
[27]. In addition to the teachers’ role in music learning,
music educational backgrounds are still lacking. This
their attitude has an important role in the process of
shortage has implications on the practice of music
learning as well [28]. The factors which influence
learning in early childhood education. Due to this reason,
teachers’ belief in the importance of music of early
it is necessary to conduct a more comprehensive study
childhood include internal factors, such as teachers’
about the characteristics of the pre-school teachers who
confidence in the learning process and external factors,
meet these criteria and provide special training for
such as teachers’ experience and education [29]. The
teachers to improve their understanding on music for
internal factor teachers have to possess is an optimistic
early childhood.
attitude and confidence in their ability, so that it results
in a more consistent teaching method. The external factor
comes from their teaching experience as well as their REFERENCES
educational backgrounds, either formal or non-formal. [1] Li H, Chen JJ. Evolution of the early childhood
These two factors have to be possessed by the teachers so curriculum in China: The impact of social and
that the goals of music learning in early childhood cultural factors on revolution and innovation. Early
education can be achieved. This opinion provides Child Development and Care [Internet].
important information to support the studies of the factors 2017;187(10):1471–83. Available from: http://dx.
which influence teachers’ belief in the importance of doi.org/10.1080/03004430.2016.1220373.
music for early childhood.
[2] McCoy DC, Yoshikawa H, Ziol-Guest KM, Duncan
Research on teachers in Australia suggests that they GJ, Schindler HS, Magnuson K, et al. Impacts of
have a positive attitude towards music despite having no early childhood education on medium- and long-
music educational backgrounds [30]. These findings term educational outcomes. Educational Researcher.
recommend further professional development to support 2017;46(8):474–87.
teachers which will have implications on improving [3] Tinanoff N, Baez RJ, Diaz Guillory C, Donly KJ,
learning outcomes. There is a correlation between Feldens CA, McGrath C, et al. Early childhood
teachers’ attitude and emotional leadership on the caries epidemiology, aetiology, risk assessment,
effectiveness of teaching in early childhood [31]. The societal burden, management, education, and policy:
knowledge and attitude of early childhood teachers Global perspective. International Journal of
towards music have an important role in education. The Paediatric Dentistry. 2019;29(3):238–48.
findings related to the influence of the role theory on
music learning for pre-schoolers in Malaysia [31]. These [4] Welch GF, Biasutti M, MacRitchie J, McPherson
findings bridge the expectations of parents and teachers GE, Himonides E. Editorial: The impact of music on
about teachers’ role in music learning for early human development and well-being. Frontiers in
childhood. Furthermore, teachers’ belief in musical Psychology. 2020;11:1–4.
abilities affects teaching activities and teachers’ [5] Rodríguez JR, Álvarez RMV. The music materials
interaction in the classroom which relates to the goals of in early childhood education: A descriptive study in
music education for the children. The implementation of Galicia (Spain). International Journal of Music
music in early childhood education can be applied during Education. 2017;35(2):139–53.
the learning time in the classroom or during the break
[6] Salvador K. Early childhood music making in
time [32] . This indicates that music can be utilized as a educational settings: A comprehensive analysis of
learning activity or an alternative to fill the spare time as peer-reviewed research, 2000–17. International
children play with their friends. Journal of Music in Early Childhood.
2019;14(1):35–69.
4. CONCLUSION
[7] Marsh K. Creating bridges: music, play and well-
It can be concluded that teachers’ understanding of being in the lives of refugee and immigrant children
music has an important role in the implementation of and young people. Music Education Research.
early childhood education. The importance of music in 2017;19(1):60–73.
children’s development is a priority so that the aspects of [8] Trinick R, Pohio L. The “Serious Business” of
development can be optimally stimulated. The aspects of musical play in the New Zealand early childhood
intelligence, mathematical logic, language development, curriculum. Music Educators Journal.
literacy skills, social, and affection develop very well 2018;104(4):20–4.
through stimulation of playing music. This urgency must
be acknowledged and fulfilled properly by the [9] Habibi A, Damasio A, Ilari B, Sachs ME, Damasio
H. Music training and child development: A review

161
Research Title

The Art of Storytelling

Presented By: Osama Issa

Grade: 11th
Date: 2015 - 2016
Supervised By: Ms. Hiba Abbood

-1-
 Contents:
Contents:............................................................................................................... - 2 -

Introduction: ......................................................................................................... - 3 -

Section 1: Storytelling And Its Evolution ................................................................ - 4 -

Chapter 1: The Definition Of Storytelling ............................................................ - 4 -
Chapter 2: The Evolution Of Storytelling ............................................................ - 4 -

Section 2: Kinds Of Stories .................................................................................... - 8 -

Chapter 1: Narrative Stories ............................................................................... - 8 -
Chapter 2: Ante Narrative Stories ....................................................................... - 8 -
Chapter 3: Living Stories .................................................................................... - 8 -

Section3: How To Be A Professional Storyteller ...................................................... - 9 -

Chapter 1: The Qualities Of A Professional Storyteller ........................................ - 9 -
Chapter 2: Tips For Being A Better Storyteller .................................................... - 9 -

Section 4: The Importance Of Storytelling .............................................................. - 9 -

Chapter 1: The Importance Of Storytelling For Children ..................................... - 9 -
Chapter 2: The Importance Of Storytelling In Marketing .................................. - 10 -
Chapter 3: The Importance Of Storytelling For Societies ................................... - 10 -

Conclusions ......................................................................................................... - 10 -

References ........................................................................................................... - 11 -

Photo Index ......................................................................................................... - 12 -

-2-
Introduction:

Everybody around the world knows different stories to tell, and many of these people can
memorize stories easily and they are used to tell them to others in a very interesting way.
Some people took storytelling as a job, and they became professionals at it, and many people
pay them to tell stories. Sometimes they pay them because they are very good, and
sometimes it's because they want to transfer a moral lesson to their children. So, the question
is (how) do storytellers attract people to listen to them so badly? Moreover, (why) do people
tend to transfer traditions through stories?

These questions lead us to a bigger question, which is the main question of this research:

Is storytelling good for societies?

And if so, How?

We will discover all of this in this research.

I hope you will have fun and some precious information.

-3-
Section 1: Storytelling And Its Evolution

Chapter 1: The Definition Of Storytelling

Too early in the past, people of all cultures have used stories to help them explain a
practice, a belief, or a natural phenomenon. It is a universal means of communicating
cultural traditions and values, as well as a vehicle for passing on information about history,
science, government, and politics. Some stories are new; others have been handed down
from the ancients. Regardless of the origin of stories, storytelling is unique and a dynamic
interaction between the teller and the listener.1

Chapter 2: The Evolution Of Storytelling

Telling stories has always been a way to express feelings and transfer information and
tradition. However, the ways of telling a story are many and they are increasing within time.
Storytelling methods:
1- Painting On Rocks
The first storytelling method was painting on rocks because there were no languages or
alphabets or other ways to communicate or express ideas. Storytellers by then used mud and
coal to paint on rocks and they used to draw symbols that are referring to humans or animals
or anything the storyteller wants to say.

Picture -1- (painted stories)

1http://www.echospace.org/articles/279/sections/683.html

-4-
2- Carving On Stones
Storytelling method has changed from painting on rocks to carving on them. They used to
carve on rocks using sharp tools they made by themselves. Before alphabets were invented
people carved shapes and symbols, and after the invention of the alphabet, they carved words
that explain stories.

Picture -2- (carved shapes) Picture -3- (carved words)

3- Oral Storytelling
After the invention of the
alphabets and languages storytell-
ers chose memorizing stories and
telling them orally as a way of
transferring them to others, and
became professionals at this art.
That is because the storyteller has
to tell the story in a way that outfits
the story theme. In fact, telling
stories orally was a way for
teaching lessons and improving the
listeners' literacy. It was the most
important method of transferring
information and teaching moral lessons. Picture -4- (oral storytelling)
Actually, it is a perfect way of keeping the
legacy and the culture of our ancestors.

-5-
Oral storytelling was used in too cases:
1) Long journeys between countries:
People used to listen to stories while traveling from one country to another to help
them overcome the toil of the long journey. For this, some travelers used to tell stories
at the end of the day when the caravan stops for relax at any point. They weren't
necessarily professional storytellers. Yet, they could make money of telling stories,
which helped them, continue their journey. Having passengers from different countries
in the same caravan made it more exciting to listen to stories from all over the world.
This actually helped the folklore of different civilizations to spread globally.
2) Between villagers:
Villagers enjoyed telling stories and listening to them as if they were rewarding
themselves in the evenings after a long day of work. They used to tell stories from the
folklore that were orally transmitted over successive generations.

Picture -5- (a travelling storyteller)

-6-
4- Writing On Papers
After the invention of paper, people started writing stories on paper; because it is an easy
way to keep stories from being forgotten or lost.

Picture -6-& Picture -7- (written stories)

5- Shadow Plays (Storytelling With The Use Of Paper Puppets)

This method originated in India and was very famous all over the country, because the
Indians used it to tell stories about their gods. Then, it spread around the world and became
very popular! This method depended on the shadows of objects. The storyteller makes paper
puppets that are similar to the story characters. Then he puts a curtain in front of them and
some lights behind them so their shadows appear on the curtain. Finally, the storyteller
moves the puppets and speaks in different voices that are suitable with the characters 2.

Picture -8- (a shadow play)

2
History of storytelling: from the basics of storytelling by Dr. Michael Lockett (2007) p.2

-7-
6- Videotaped Stories (Movies/Films)
After the technological advances, storytelling took a huge step forward in its methods;
because of the invention of movies and films. Like this, people can film stories and save
them. Then, anyone can go back and watch them whenever he wants. Actually, it is the most
popular method these days and the most reachable for today whether busy or free.

Picture -9- (movies)

Section 2: Kinds Of Stories

Chapter 1: Narrative Stories

A narrative is some kind of retelling, often in words (though it is possible to mime a
story), of something that happened3. Narrative stories talk about the past and its events, or
they mention some of the events or experiences indirectly. These stories are short and
monological, that means they try to touch the feelings of the reader or the listener and they
are seen as a well-structured story about an event or a set of connected events4. It provided us
with a capacity to project the concept of story about a particular subject even onto inanimate
objects5.

Chapter 2: Ante Narrative Stories

The word ante narrative refers to unsettled events and multiple choices for the future.
These stories talk about the future and predictions, like when we read a story about the
technological advancements and scientific fiction in the future. It actually improves the
imagination and motivate people to apply their theories6.
Chapter 3: Living Stories
When stories tend to mention events of the past, or the future, they become living stories.
The reason is when we memorize events or when we predict the future, we imagine them as
if we are living the moment we mention.

3
http://www.units.miamioh.edu/technologyandhumanities/nardef.htm
4
The dynamics of narrative and ante narrative and their relation to story, February 2007, P4
The dynamics of narrative and ante narrative and their relation to story, February 2007, P3 5
6
The dynamics of narrative and ante narrative and their relation to story, February 2007, P5

-8-
Section3: How To Be A Professional Storyteller

Chapter 1: The Qualities Of A Professional Storyteller

Professional storytellers have lots of qualities and experience that made them fluent and
imaginative at telling stories. So, if you are thinking of becoming a professional storyteller,
you must make sure you have the following qualities:
 Having a fertile and vivid imagination.
 Clever so you can deal with emergent conditions of any kind
 Being able to imitate the characters' voices.
 Having a good memory to keep the exact events of different stories and memorize
long stories.

Chapter 2: Tips For Being A Better Storyteller

Here are some tips to be better at storytelling:
 Know your audience, so you can choose the suitable story to tell.
 Listen to experts to get more experience from them.
 Try not to fumble when talking because when you do, listeners lose their attention.
 Practice your language, so you can talk fluently.
 The structure of the story is very important, because you should mention when and
where the events of the story happened, so it will be more convincing.

Section 4: The Importance Of Storytelling

Chapter 1: The Importance Of Storytelling For Children

Storytelling is very important and useful for children in many ways and we will talk about
these points:
1) Developing language and literacy skills:
When parents tell stories to their kids, they are actually enhancing their pronunciation,
dialogue, speech and increasing their vocabulary7, because storytelling is an informal
technique that gets children hooked on reading and writing8.

2) Transferring traditions and good manners:

When telling children a story about a hero, they will like him and try to imitate him.
Therefore, if the story hero had good manners, children will try to be like him9.
3) Gives information to children:
Stories give information to children in an interesting way, so they do not get bored.
7
http://aplaceofourown.org/question_detail.php?id=275
8
http://eric.ed.gov/?id=EJ462356
9
http://eric.ed.gov/?id=EJ462356

-9-
Chapter 2: The Importance Of Storytelling In Marketing
Storytelling is increasingly used in advertising today in order to build customer loyalty 10.
Stories are illustrative, easily memorable, and allow any firm to create stronger emotional
bonds with the customers11.A study shows consumers want a more personal connection in
the way they gather information. Our brains are far more engaged by storytelling than by
cold, hard facts. While reading straight data, only the language parts of our brains work to
decode the meaning. But when we read a story, not only the language parts of our brains
light up, but any other part of the brain that we would use becomes activated if we are
actually experiencing what we're reading about . This means it is far easier for us to
remember stories than hard facts12.

Chapter 3: The Importance Of Storytelling For Societies

Storytelling has earned its place as the most important tradition humans possess. The most
important reason for this is that every story contains a good lesson for the audience. Stories
teach us to love, to forgive others, to be all fair and to strive for being better than what we
are. The function of the greatest stories ever told is a reflection on the world we live in, and
of both the goodness and the evil existing in our world. That is why storytelling motivates
people to love each other, and unite their powers to build a better and stronger society13.

Conclusions

The society we live in today could not exist without the influence from past generations.
Human beings, as creatures of habits and traditions, hand down lessons and knowledge from
one generation to the next. We like to be proud of leaving a legacy of knowledge for our
descendants to utilize. Our ability to learn from our ancestors' past decisions and use that
knowledge to give ourselves an insight into our own problems gives us an advantage rarely
found in other species, that of a communal knowledge repertoire. Our tradition of
storytelling facilitates this transfer of knowledge. As a result, storytelling remains to this day
the most uniquely important tradition humans all over the world share and contribute to.

11
Lury, Giles (2004). Brand Strategy, Issue 182, p. 32
11
Plain Language at Work. "The best story wins." Mar 25, 2012. Retrieved Dec 19, 2012
12
By Rachel Gillett, Fast Company. “Why Our Brains Crave Storytelling in Marketing.” June 4, 2014. September 9, 2014
13
The importance of storytelling, P1 (https://www.hslda.org/Contests/Essay/2013/Cat3/Carpenter.pdf)

- 11 -