MOVEMENT & MUSIC

Development and creativity. Areas of movement and music support motor development and emotional development through sociable play and opportunities. These areas foster development in creativity as they provide an avenue for creative expression in sound and rhythm, as well as spatial and body awareness through movement. Children become aware of what their bodies can do to express themselves creatively while simultaneously increasing their abilities in an imaginative world. Devoting hours to understanding through the body and sound supports concepts by acknowledging physical and sensory efforts. By clapping, dancing, and creating music, children learn to become better listeners, physically coordinated, and more in touch with their abilities to express themselves. Ultimately, this creates a firm foundation for learning and understanding through cognitive means in other domains of learning (Isbell & Yoshizawa, 2016).

Theories & Perspectives

Multiple Intelligence theory by Howard Gardner blended with personality/life developments; Movement and music harness bodily/kinesthetic intelligence and musical intelligence that are supportive of creative outlets. Gardner observes that creative expression comes from the perspective of those who know it's overdeveloped (e.g., aesthetic) ; In Vygotsky's theories there's a big note about the sociocultural aspect of learning creativity as supportive activities music being one of them helps foster learner engagement. Thus, areas like movement and music help create pathways for leaders to take creative risks in a safe space with engaged opportunities for sensorial development supported by arts. Gardner supports these endeavors by noting studies that report attention to these details foster the elements needed for creativity to flourish (Howard & Mayesky, 2022).

Resources and Technologies

Multiple Intelligence theory by Howard Gardner blended with personality/life developments; Movement and music harness bodily/kinesthetic intelligence and musical intelligence that are supportive of creative outlets. Gardner observes that creative expression comes from the perspective of those who know it's overdeveloped (e.g., aesthetic) ; In Vygotsky's theories there's a big note about the sociocultural aspect of learning creativity as supportive activities music being one of them helps foster learner engagement. Thus, areas like movement and music help create pathways for leaders to take creative risks in a safe space with engaged opportunities for sensorial development supported by arts. Gardner supports these endeavors by noting studies that report attention to these details foster the elements needed for creativity to flourish (Howard & Mayesky, 2022).

Learning Experiences

0–2 Years:

  • Tummy Time Dance- Soft music is playing, and scarves are positioned in front of those on their tummy time. They can reach for it and engage with it or look at it. Caregivers may choose to sway their bodies to the music as well.
  • Clap & Tap Songs. Songs that encourage clapping and tapping such as "Pat-a-Cake" can be used. This promotes rhythm and motor skills (Howard & Mayesky, 2022).

    • 2-3 years:

  • Animal Movement Game- Various songs can encourage animal movement, and children can be encouraged to flap like birds or hop like frogs. This supports imaginative movement.
  • Drum Circle– Children will be given hand drums to explore and emulate rhythms demonstrated by the teacher.

    • 3-5 years:

  • Freeze Dance- Children will dance to music, and when the music stops, they must freeze. This fosters listening skills as well as independent movement.
  • Musical Storytelling– Songs like "We're Going on a Bear Hunt" for storytime encourage group movement and music in the background.

    • 6-8 years:

  • Rhythm Composers-Children will create their own rhythm patterns on percussion instruments or using Chrome Music Lab.
  • Cultural Dance Exploration– Simple dances can be learned and presented from different cultures, which increases inclusivity and diverse exposure.

    • Critical Reflection

    The children were engaged, happy, and collaborative during two of my enacted experiences, “Freeze Dance” and “Rhythm Composers.” These learnings supported musical skills development through body awareness and appreciation of others' work. The best part about my experience was witnessing how well children took creative risks! They confidently developed dance sequences and rhythm patterns! The only downfall I noticed was the lack of universal participation; some children struggled with control and movement while some had sensory aversions. I'd make sure next time there's an option for quieter movement for children who want to participate but cannot tolerate volume. I could also give them jobs like “music dealer” or permit them to make rhythms without expectations. I'd also recommend providing them with an experience beforehand to choose songs which could help personalize their experiences more. I'd document my students' intentions if I could recreate my experiences. ("How did that movement feel?" or "What did your rhythm say?") Isbell and Yoshizawa (2016) suggest that creativity must be fostered deliberately, so facilitating an experience with sound and movement must be more than fun; it must be a safely accessed opportunity for children to learn, grow, express themselves, and connect. Educators can teach what it means to be creative through the body and sound through responsive, meaningful, joyful experiences.