Among
what I consider the remarkable contributions of the Reggio pedagogy and
practice is documentation. A strategy developed over the course of this 60-year
educational project, documentation gives visibility to children’s thinking and
discoveries. Both a way of working and researching, documentation is a
well-integrated layer on the walls of the infant-toddler centers and preschools.
It is a beautiful visual text that follows children and looks at what they do
and how they think and learn. For parents documentation provides insights into
their children, how they spend time at school, their interests and discoveries;
it is an example of how the children are learning. Not intended strictly as
assessment, documentation does serve to show what children of this age
are able to do in this context, through this approach to learning and teaching.
Museums have
been increasingly interested in deepening their understandings and sharing ways
in which they make a distinct and valued contribution to children, families,
and communities. They have, however, lacked a method with the equivalent
capacity of documentation to make visible the learner’s thinking and learning—with an orientation to process and bringing the social and physical
context forward.
A shared,
iterative, reflective process of following
children and looking at what they do, and how they think and learn, documentation
involves gathering information and interpreting traces of children’s work and
words to give visibility to their thinking and discoveries that are present but
we are not yet seeing. The process involves stepping back, making mental (and
written) notes, taking pictures, and exploring children’s own work for evidence
of their processes of learning. Documentation takes time, engages
colleagues, and relies on multiple reinforcing practices being deployed. It places both children and adults in the position of learning.
Drawn to and being inspired by this remarkable process is one thing. Adapting it from preschools in Italy to museums in the US is quite another. Yet, the possibility of harnessing this powerful strategy in some varied form for museums is both intriguing and important. Not surprisingly, documentation in museums was one of the three main themes of the Museums Group Study Tour in November 2013. Three aspects were highlighted: its role in creating experiences and environments, making children’s thinking and learning processes visible, and in advocating for children.
In the Reggio Context
The
week-long study tour afforded members of the Museums Group opportunities to
explore documentation from various perspectives and contexts. As part of the initial
overview of the main features of the Reggio educational project, Pedagogista
Tiziana Filippini talked about documentation as a process that helps look at
the most significant elements that allow us to understand what the children did
(and their process) and to keep track of what we did (and our process.)
While there is no single approach or strict process for documentation, it is significant that documentation occurs during the course of a project, not at its conclusion. Tiziana outlined 4 steps that guide this iterative process, one that relies on an understanding of the protagonists, the children, and begins with a provocation, an activity intended to engage children’s interest, invite questions, and prompt their exploration and thinking.
Documentation is like a second skin on the walls |
Observation...relies on determining what to
observe and how. It takes many forms depending on different ages: the adult’s written
and mental notes; transcriptions of children’s remarks and conversations; photos
and video; children’s drawings, and their material explorations.
Interpretation...reviews and reflects on the
collected record of children’s thinking. This takes place by oneself and sharing
with colleagues (what did you see that I didn’t?) thinking together in a
generative way.
Relaunch... considers the most significant elements that advanced the
learning process and where children's explorations can go next. Using the evidence, adults
might think about how to extend the exploration; and materials the children can
work with that are likely to enrich their elaboration of their knowledge.
In the Everyday
Life of the School
Visits to
infant toddler centers and preschools provided different opportunities for observing
the focus on and focus of documentation. At Allende Infant
Toddler Centre for babies 3 to 36 months, A
Waiting Unexpected City documentation panel occupies a prominent position in
the building’s piazza. Immediately inside the front doors where parents pass
daily, the panels’ photos and text distill and interpret children’s exploration
of the town gardens, their search of the garden’s borders, and special dialogue
with the great Cedar of Lebanon.
Inside
the classrooms evidence of documentation as an on-going process was apparent. Teacher
observation sheets from that day were laid out; photos of 3-4 children engaging
with materials were accompanied by teacher notes about they oriented the paper, used colors, and
made marks and signs. Notebooks gathered daily observation sheets for the week,
month, and school year evidence of the duration and thoroughness of the
process.
At the
Michelangelo School, we saw another aspect of documentation played out in the
everyday life of a school with 3-5 year olds. In the school’s piazza, a small
group of 4-year olds, a teacher, and a dancer engaged in activities related to an on-going research project on movement and dance. The children,
observed by the dancer as they moved across the space, were experimenting with
“light” and “heavy” movements, part of developing an alphabet
of the body. Outside the 3-year olds' room, a teacher
facilitated (as well as photographed and took notes of) strategies that a small
group of 3-year olds used in drawing together, cooperating and not cooperating,
as part of a project to create a group. Every aspect of children's exploration and learning is important to document.
In Museums
Midweek in the Study Tour, the
Museums Group formed 5 mini-study groups around topics of on-going and emerging
interest. Eight of us gathered to explore our question: How can documentation
be a starting point for planning exhibits to understand children’s interests,
questions, and ideas about a topic?
Limiting
discussion to exhibit planning proved to be challenging since documentation
appears to be a valuable strategy applicable far beyond exhibit planning, holding
promise for facilitating the museum experience and communicating with parents
and stakeholders. As in the Reggio schools, documentation needs to become part
of the museum culture and daily life, integrated into practices and procedures,
supported as a starting point for planning, and considered as basic to
professional development.
Six significant ideas emerged from our discussion. They made connections
between a documentation process that focuses on the child and features of experience
(exhibit and program) planning in museums; and they often included examples of museum efforts.
The genesis of an exhibit experience idea is from children, their questions, interests,
ideas, or what fascinates them. This is a significant departure from the current
practice of sourcing ideas for exhibits and programs that typically emerge from
exhibit planners, school curriculum, funder interest, or exhibits that are
popular at other museums. Based on the rich content of projects and ateliers
(studio explorations) throughout the Reggio schools, exhibit experiences are very
likely to cover valued content with the bonus that topics and approaches interest
and engage children.
- Documentation from Opal School at Portland Children's Museum offers a source of information about children's interests in classroom projects that might point to possible exhibits.
Opal School children investigate, "What happens when you work together to help these colors meet? |
Starting points to engage children come from many sources. Open-ended experiences on the
exhibit floor lasting only a few days can be planned around a variety of
provocations related to the hypotheses. We can activate children’s meaning
making with— a framing question: what are children’s ideas about light (or
community, or…)?; materials: paper viewed through the lens of a material rather
than of a tool; a prompt: “Imagine a bicycle that…”; a video of children involved
in an activity; or changing the physical context by adding or taking away a prop,
material, or object from an exhibit.
- Minnesota Children's Museum invited children to explore fort building with different materials as part of rethinking its galleries.
A starting point: a temporary fort building activity with varied materials |
The question we ask for the exhibit is also capable of
telling us something we didn’t know about children’s thinking and learning. An exhibit or program is more
than a set of activities for children to engage in and our intention that they will thereby learn
content. Developing an exhibit is an opportunity to learn about the
meaning-making capabilities of children. While we do develop goals for
exhibits, typically the true questions we have about children’s learning are
not framed until the end of exhibit planning or as part of constructing an evaluation
plan. Every exhibit, program, or
initiative is an opportunity to understand more about how children understand real vs. fake; or how they understand the city; or how they understand seeds, air, or
language; or what it feels like to be in a story.
- Louisiana Children's Museum's master planning for its Early Learning Village started with children. Two visitor panels made up of children and their parents explored children's ideas and interests in several topics, including food and the importance of water in their lives.
The children's interests in food crystallized around family, healthy eating, and favorite foods |
Experience planners must be both observers of children
(and adults) and explorers themselves. An openness to where the children’s exploration might
lead–even if unexpected–is critical for experience planners: developers,
designers, educators, and evaluators. At the same time, adults
creating experiences for children must be aware of concepts which children could explore since children’s exploration
might lead to unanticipated places. Adults must be updating their understanding
of concepts on relevant topics in nature, light, cities, water, or paper. Inhabiting both these stances places museum
staff in the position of being learners themselves–sometimes a new and uncomfortable position.
Adults as researchers and learners: as both observers and explorers |
Everyone has a role to play in documenting and making
children’s thinking and learning visible. Documentation benefits from the additional and valued
perspectives of floor staff, parents, and caregivers; new points of view enhance understanding. For staff documentation
is an opportunity for professional development, building capacity as observers
and listeners. Involving them in forming hypotheses, framing questions, and
interpreting incorporates a necessary familiarity with the daily museum experience of
children and adults.
Parents can also be observers of children with prompts from staff such as, “ask
your child about …” or “share observations of how your child uses materials,
space, or her body to explore.” For staff, parents, and caregivers, involvement
as researchers and learners offers a more meaningful and authentic role.
- Providence Children’s Museum staff capture, write up, and share observations on PlayWatch.
PlayWatch shares staff observations on children's explorations |
Thanks to our group: Ruth Shelly, Portland Children’s Museum; Debbie McCoy, Woodbury Preschool at The Strong Museum; Olivia Isenberg, Children’s Museum of South Dakota; Caroline Wolf, The Opal School at Portland Children’s Museum; Alyssa Tongue, Children’s Museum of Tacoma; and Maeryta Medrano, Gyroscope, Inc.
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