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Birth to three matters - Communities and Local Government

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young children <strong>and</strong> the affective nature ofthe world of babies <strong>and</strong> young children insafe, shared contexts. What artists do is <strong>to</strong>take what we know or see, feel or hear, <strong>and</strong>actively experiment (Gopnik et al 1999),transforming that knowledge throughtheir creations – <strong>and</strong> babies <strong>and</strong> childrendo this <strong>to</strong>o. As Bruce (2001:4) suggests:-The imagination makes images in themind. Creativity is the process by whichchildren turn these images in<strong>to</strong> creations.They try out ideas, feelings <strong>and</strong>relationships in their role play or pretendplay or find things <strong>to</strong> be used as playprops…In the context of play, creativityis more of a process than a product.’REPRESENTING THROUGH MARK MAKING‘Children want <strong>to</strong> write… They mark upwalls, pavements newspapers withcrayons, chalk, pens or pencils…Anythingthat makes a mark. The child’s marks say,“I am”.‘ (Graves 1983:3)Babies’ fingers <strong>and</strong> h<strong>and</strong>s, as we have seen,are used <strong>to</strong> feel, <strong>to</strong> <strong>to</strong>uch, <strong>to</strong> explore,<strong>to</strong> point, <strong>to</strong> reach <strong>and</strong> then <strong>to</strong> wave orgesture. In their movements, cruising <strong>and</strong>explorations, materials with which <strong>to</strong> makemarks are often accidentally found, tested<strong>and</strong> enjoyed. For example, as soon as solidfood <strong>and</strong> drink is introduced ,babies canbe seen <strong>to</strong> pour drinks on<strong>to</strong> surfaces <strong>and</strong>trail their fingers through it <strong>and</strong> dip fingersin<strong>to</strong> food, not only <strong>to</strong> use their fingers as<strong>to</strong>ols for feeding but also <strong>to</strong> tracepathways <strong>and</strong> investigate trails <strong>and</strong> tracks.Physical traces of babies <strong>and</strong> youngchildren are often <strong>to</strong> be found, before theuse of pens, pencils, crayon <strong>and</strong> paint, onsurfaces, walls <strong>and</strong> fabrics <strong>and</strong> before thesymbolic nature of mark making that weknow as literacy is discovered. What ishappening, however, is that very youngchildren soon discover ‘internationality’,that is the desire <strong>to</strong> make a mark, <strong>to</strong>‘signify’ <strong>and</strong> <strong>to</strong> produce an effect. Thepleasurable effect of such tactile events isalso felt by adults, as they <strong>to</strong>o trail fingersin s<strong>and</strong>, tracing patterns or shapes orindeed doodle or idle with pens or pencils,letting minds w<strong>and</strong>er <strong>and</strong> allowing oftennon representational shapes <strong>to</strong> develop.Making marks, ‘leaving my mark’, has oftenbeen described as a basic human desire<strong>and</strong> function,leaving signposts orsignifiers of our existence.Parents <strong>and</strong> carers are often quick <strong>to</strong> seizeon such marks made by infants <strong>and</strong>interpret them as having significancealthough,while such marks are clearlyimportant, imposing representationalsignificance at this stage would beincorrect. However, in western societies,children are growing <strong>and</strong> learning in printrich <strong>and</strong> print significant cultures <strong>and</strong> veryquickly young children becomeencultured in<strong>to</strong> sign making activities.Also, as children begin <strong>to</strong> develop anability <strong>to</strong> conceptualise the abstract natureof language, the next stage, Vygotsky’s‘second order symbolism’ (1978) begins <strong>to</strong>take shape. As Kress explains, ‘alphabeticcultures dem<strong>and</strong> that children change tackfrom their route which relates voice withimage, which is plausible <strong>to</strong> them, <strong>to</strong> theroute of the alphabet, which relates sound96 EDUCATIONAND SKILLS B I RT H T O T H R E E M AT T E R S

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