Tag Archives: Child Development

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Evolution of Children’s Domestic Space from 1950′s-2000

“There can be no keener revelation of a society’s soul than the way in which it treats its children.”

- Nelson Mandela

Much like the kitchen, children’s domestic space and toy design was reevaluated after World War II.  Toys to encourage the child’s well-being and development were created, along with a new concept of the “playroom”.

“Good Toys”

“In Europe, the United States, and the Soviet bloc after World War II, a host of “good toys” that promised to stimulate imagination, develop the mind, and exercise the body offered a therapeutic, nonviolent image of children’s play… postwar educators and psychologists claimed that the opportunity for play was one of the most solemn rights of childhood around the world.”

(Amy F. Ogata, Century of the Child, pg. 171)

 These toys were mostly simple, yet contemplative by design, and made of natural (usually wooden) materials.  Such as the toy designer Antonio Vitali whose “… belief in the importance of tactile engagement led him to carve forms that molded to the child’s hand and, as a result, became bound to a child’s own imaginary world.”

Of course, these simple wood toys quickly (1960′s/70′s) changed into plastic/metal versions.  And on went the progression from basic postwar “good toys”, and more popularized toys made of mostly inorganic material – promoting cultural pop, space advances, etc.  But that would take a whole new article to discuss!

Playroom

With this postwar revolution of children’s play, development and imagination – the playroom became a new idea.  A room to let children’s creative power flow, giving them independence and space to just be and play!  Before playrooms existed the nursery, and the playroom is an addition to this.

“Experts Jean Piaget, Arnold Gesell, and Benjamin Spock argued that time alone playing with toys was essential for promoting autonomy and stimulating motor development.  Architects and designers, building on these theories, produced widely publicized model playrooms for children.  These spaces imagined an ideal child, an innocent, creative being who was the designer’s alter ego.”

(Ogata, pg. 175)

 Belief and Desire for a Better World

 Into the 60′s conventional ideas about domestic space were questioned, as a new generation began commune’s and co-housing, giving the community cooperative obligation to it’s children.  Toys and children’s design began to speak a message of hope for a better world.  Designers began being more inclusive of different needs in their designs, such as the catering to needs of those with disabilities.  Shows such as Sesame Street “transformed children’s programming (and viewing) with messages that encouraged creative growth, individuality, and self-expression.” (Aidan O’Connor, Pg. 215)

Yet, recently there has been an outcry of worry for today’s children.  O’Connor points this out by discussing an article that recently came out in the New York Times called “The Kids Are Not All Right” by Joel Bakan - ”Joel Bakan used this statement to underscore the severity of what he and many others see as childhood ‘in crisis’, characterized by relentless adversitising and commercialization, childhood obesity, withdrawal in to electronic media, increasing use of psychotropic medication, and exposure to toxic chemicals.” (O’Connor, pg. 215)

References:

Century of the Child, Growing By Design 1900-2000 by Juliet Kitchen and Aidan O’Connor

 

Toys to Encourage Imagination & Development

In my last article, Imagination & Creation, I talked about the importance of imagination in child development.  I will create a series of short articles talking about ways to encourage this development.  Today my focus is on a child’s toys.  I’ve been reading the book “You Are Your Child’s First Teacher” by Rahima Baldwin Dancy, and will be using it as a reference because of all the wonderful information within this reading.

Children naturally know how to play, first through movement (infants), then through imagination by mimicking the world around them (pretending to vacuum, cook, etc.), and then through conversational imaginative play.  These stages do not necessarily need to be directed, they will come naturally.  But, the following are some important things to consider when providing toys for your developing child.  The presentation of toys, messages from toys and complexity of toys all have an affect on the development and imagination.

Toys to Encourage Imaginative Play

Mainstream toys today tend to be complicated, brightly colored, high tech toys – which are not really necessary.  The problem with most of these toys is that they don’t require any imagination.  This explains why so many children stand in their room filled with toys and proclaim “I’M BORED!”.  They are overstimulating, and not in the right way – the imagination is not stimulated!

In the book You Are Your Child’s First Teacher Dancy encourages parents to go through their child’s room, and get rid of any toys that aren’t leaving any room for the imagination.  Dancy encourages simple wooden toys multiple times in this read – she encourages creating toys with wood found outdoors, with boxes, etc.  Obviously, wooden toys are not your only option – but try to think about whether or not the toy is filling in for the child’s imagination, or if it leaves room for the child to do the creating.

Toys can affect how children see the world

Another thing that Dancy outlines in her book is to think about the world message that toys are giving children.  Is their toy dark, violent, sexy, angry, upset?  All of these things affect the child and their perception of themselves and the world as a whole.  The best thing would be to have neutral toys, the child will fill in the toys emotion without being told visual specifics.  Dancy has an interesting section talking about dolls, and the importance of dolls to both young boys and girls.

Through play the child familiarizes himself with the world and assimilates it, making it his own.  His senses become sharpened and he is better able to control the instrument of his body and to realate to nature and his fellow human beings.  Play with dolls is important as one of the ways the child can externalize his own inner being. ‘Through the doll the child finds its own self,’ Brits-Crecelius states…in Children at Play. (Dancy, pg. 169)

Displaying & Organizing Toys

One of my favorite recommendations in this book (You Are Your Child’s First Teacher) is when Dancy discusses how to organize and display toys for children.  It is normal to buy tubs and baskets to dump toys into – this is easy for you and the child to put away.  But, according to Dancy this is not beneficial to encourage independent play (which is important for their development).  Dancy recommends displaying the toys neatly by ending each day neatly putting away their toys and setting up “scenes” – preferably on a shelf or table where they are visible.

Although it may seem like extra world to clean up with your child at the end of each day, arranging toys invitingly on shelves or tables will encourage your child to be self-motivating in his [or her] play.  Arranging little scenes on tables or shelves will invite the child to “live into” the scene and start to play with it the next day. (Dancy, pg. 174)

I love this idea of setting up scenes!  How fun for a child to do this with their parent, stimulate their imagination by having their toy dinosaur and doll sitting next to a campfire awaiting their next day of play.

 

Through being conscious of the effect that toys can have on children, parents can ensure that their children’s toys are encouraging the imagination, create more comfort and peace, while supporting independent play.  For more information on this I recommend reading “You Are Your Child’s First Teacher”, and also looking at my article on Children and Physical Space.

 

 

 

 

How Parents Encourage Children’s Development

In my article on Imagination & Creation, I talked about the importance of the imagination in children and it’s crucial role our ability to be a force for change.  I then talked about the role of toys in this development.  In this article I want to focus on the important role that parents play.

Imagination is a child’s way of practicing what they see and learn around them.  We are constantly picking up on individual behavior patterns, social structures, etc. And as the child is piecing all of these complex things together the imagination gives them a place to put themselves in different situations and guess how the world would respond accordingly.  Children are also getting a feel for the meaning of an hour, a day, week day, weekend, year, and so on.

Parents are often the child’s first example of human behavior, an example of routine in life and a source of security.  Dancy puts great emphasis on the importance of parents being active in the home, for the child to see, and also setting rhythms which I will talk about further.

Movement & Security

Have you ever seen a child run to get their toy vacuum with the desire to “vacuum” alongside Mom or Dad? Or the toy lawn mower? (or something that they pretend is a vacuum or lawn mower?).  This is a perfect example of a child imitating life.  Rahima Dancy expresses the following concern in You Are Your Child’s First Teacher:

“A second factor in the difficulty of being home with young children is our focus on the child instead of on the ‘work’ of homemaking, hich has largely disappeared through prepackaged foods and all our labor-saving devices.  Modern life simply doesn’t support what young children need, which is to see us doing work that involves movement.  What they actually see us doing isn’t satisfying to them.  As a result, they seem to demand more attention, when in fact they are asking to ovserve us doing ‘real work’ that involves movement and transformation of materials – something they can both share in and then imitate in their play.” (Dancy pg. 29)

According to Dancy, it is best to focus on movement and “work”, allowing the child to play while being present for the child when needed.  This creates a sense of security and trust without being overbearing and being too controlling on the parents or caretakers side.  Dancy gives the following advice:

“The first is that we’re doing these activities with awareness and with love.  I am reminded of Mother Teresa’s suggestion that we do little things with great love.  So, when we put a vase with flowers on the table or sweep the kitchen floor, we can try to do it with an awareness of the quality of our movements, with an awareness of their beneficial effect on the young child, and with care.” (Dancy, pg. 31)

Establishing Routine & Rhythm

Having a routine established not only helps children understand the concept of time (days, years, hours, seasons), but also let’s them know what to expect which results in less opposition.  There are many ways to establish routine and rhythm, and each home will have to decide which is best for their family.  Having a schedule takes persistence and discipline on the side of the parents, but can be great for children – consider having dinner at a certain time, or bedtime, etc.  Holidays are also a great way to introduce the seasons, and many traditions.  But incorporating small traditions in everyday life can be fun.  Dancy gives some fun ideas in her book such as lighting a candle while reading a bedtime story, then blowing it out.  You could also establish days of the week for household chores/projects such as doing the laundry every Monday, etc.  There is no right answer when it comes to establishing rhythm in your home, but finding what works for your individual family can create more peace and understanding for the children in it.

How Parents Encourage Children’s Development

In my article on Imagination & Creation, I talked about the importance of the imagination in children and it’s crucial role our ability to be a force for change.  I then talked about the role of toys in this development.  In this article I want to focus on the important role that parents play.

Imagination is a child’s way of practicing what they see and learn around them.  We are constantly picking up on individual behavior patterns, social structures, etc. And as the child is piecing all of these complex things together the imagination gives them a place to put themselves in different situations and guess how the world would respond accordingly.  Children are also getting a feel for the meaning of an hour, a day, week day, weekend, year, and so on.

Parents are often the child’s first example of human behavior, an example of routine in life and a source of security.  Dancy puts great emphasis on the importance of parents being active in the home, for the child to see, and also setting rhythms which I will talk about further.

Movement & Security

Have you ever seen a child run to get their toy vacuum with the desire to “vacuum” alongside Mom or Dad? Or the toy lawn mower? (or something that they pretend is a vacuum or lawn mower?).  This is a perfect example of a child imitating life.  Rahima Dancy expresses the following concern in You Are Your Child’s First Teacher:

“A second factor in the difficulty of being home with young children is our focus on the child instead of on the ‘work’ of homemaking, hich has largely disappeared through prepackaged foods and all our labor-saving devices.  Modern life simply doesn’t support what young children need, which is to see us doing work that involves movement.  What they actually see us doing isn’t satisfying to them.  As a result, they seem to demand more attention, when in fact they are asking to ovserve us doing ‘real work’ that involves movement and transformation of materials – something they can both share in and then imitate in their play.” (Dancy pg. 29)

According to Dancy, it is best to focus on movement and “work”, allowing the child to play while being present for the child when needed.  This creates a sense of security and trust without being overbearing and being too controlling on the parents or caretakers side.  Dancy gives the following advice:

“The first is that we’re doing these activities with awareness and with love.  I am reminded of Mother Teresa’s suggestion that we do little things with great love.  So, when we put a vase with flowers on the table or sweep the kitchen floor, we can try to do it with an awareness of the quality of our movements, with an awareness of their beneficial effect on the young child, and with care.” (Dancy, pg. 31)

Establishing Routine & Rhythm

Having a routine established not only helps children understand the concept of time (days, years, hours, seasons), but also let’s them know what to expect which results in less opposition.  There are many ways to establish routine and rhythm, and each home will have to decide which is best for their family.  Having a schedule takes persistence and discipline on the side of the parents, but can be great for children – consider having dinner at a certain time, or bedtime, etc.  Holidays are also a great way to introduce the seasons, and many traditions.  But incorporating small traditions in everyday life can be fun.  Dancy gives some fun ideas in her book such as lighting a candle while reading a bedtime story, then blowing it out.  You could also establish days of the week for household chores/projects such as doing the laundry every Monday, etc.  There is no right answer when it comes to establishing rhythm in your home, but finding what works for your individual family can create more peace and understanding for the children in it.

How Parents Encourage Children’s Development

In my article on Imagination & Creation, I talked about the importance of the imagination in children and it’s crucial role our ability to be a force for change.  I then talked about the role of toys in this development.  In this article I want to focus on the important role that parents play.

Imagination is a child’s way of practicing what they see and learn around them.  We are constantly picking up on individual behavior patterns, social structures, etc. And as the child is piecing all of these complex things together the imagination gives them a place to put themselves in different situations and guess how the world would respond accordingly.  Children are also getting a feel for the meaning of an hour, a day, week day, weekend, year, and so on.

Parents are often the child’s first example of human behavior, an example of routine in life and a source of security.  Dancy puts great emphasis on the importance of parents being active in the home, for the child to see, and also setting rhythms which I will talk about further.

Movement & Security

Have you ever seen a child run to get their toy vacuum with the desire to “vacuum” alongside Mom or Dad? Or the toy lawn mower? (or something that they pretend is a vacuum or lawn mower?).  This is a perfect example of a child imitating life.  Rahima Dancy expresses the following concern in You Are Your Child’s First Teacher:

“A second factor in the difficulty of being home with young children is our focus on the child instead of on the ‘work’ of homemaking, hich has largely disappeared through prepackaged foods and all our labor-saving devices.  Modern life simply doesn’t support what young children need, which is to see us doing work that involves movement.  What they actually see us doing isn’t satisfying to them.  As a result, they seem to demand more attention, when in fact they are asking to ovserve us doing ‘real work’ that involves movement and transformation of materials – something they can both share in and then imitate in their play.” (Dancy pg. 29)

According to Dancy, it is best to focus on movement and “work”, allowing the child to play while being present for the child when needed.  This creates a sense of security and trust without being overbearing and being too controlling on the parents or caretakers side.  Dancy gives the following advice:

“The first is that we’re doing these activities with awareness and with love.  I am reminded of Mother Teresa’s suggestion that we do little things with great love.  So, when we put a vase with flowers on the table or sweep the kitchen floor, we can try to do it with an awareness of the quality of our movements, with an awareness of their beneficial effect on the young child, and with care.” (Dancy, pg. 31)

Establishing Routine & Rhythm

Having a routine established not only helps children understand the concept of time (days, years, hours, seasons), but also let’s them know what to expect which results in less opposition.  There are many ways to establish routine and rhythm, and each home will have to decide which is best for their family.  Having a schedule takes persistence and discipline on the side of the parents, but can be great for children – consider having dinner at a certain time, or bedtime, etc.  Holidays are also a great way to introduce the seasons, and many traditions.  But incorporating small traditions in everyday life can be fun.  Dancy gives some fun ideas in her book such as lighting a candle while reading a bedtime story, then blowing it out.  You could also establish days of the week for household chores/projects such as doing the laundry every Monday, etc.  There is no right answer when it comes to establishing rhythm in your home, but finding what works for your individual family can create more peace and understanding for the children in it.