Art in Early Childhood Education

The child has a mentality similar to that of the artist, for both enter easily into the universe of the account, applying the gift of fantasizing to everything and pretending that something is, in fact, something quite different. Thus a mere trace can become the roof of a house.

Both infants and artificers see things around them in a special way, according to site here, for their keen and sensitive perception allows them to signify the world through unique configurations. They use their powers, more penetrating than those of mere mortals, to devise, create, and symbolize.

This creative outbreak remains in the child until about 6 or 7 years of age, due to innumerable psychic factors, and from this moment most individuals leave this potential tendency aside and follow other paths. Unfortunately, dominant pedagogical movements, instead of encouraging future adults to develop their artistic gifts, choose to curb the creative impulses and free expression of learners.

Thus, education, which should privilege the freedom of expression of pupils, ends up repressing the perceptive side of children, before it can be fully improved. Teachers take their views on art to the classrooms, which mirrors the prevailing discourse in the social sphere. Thus, they reinforce certain ideas, such as, for example, that artistic production is something that emanates from nothing, from the mind of a creative genius.

Recent research indicates that art education in early childhood education is still part of the old concept of 'fine art', which gives works a general and unalterable meaning; in the same way the pedagogical methods, in this field, are based on empirical and / or innate approaches, that is, referring to what is already born with the Man.

Thus, the idea that these teachers have about the teaching of art is reflected in their planning, in the application of methods to pedagogical practice, in the selection of the instruments with which students will work, and in the student's own interaction with this discipline . No wonder, therefore, that they offer students activities involving the painting of mimeographed images, copies of different lines, collages on formats previously elaborated by the masters, as well as the learning of various artistic techniques.

Most educators do not take into account that such methodologies are completely out of step with the modern mechanisms of interaction with the visual field, they do not fit the relation that children maintain with the imaginary universe from an early age. In addition, the supply of models that must be reproduced implies the imposition of the art vision of the teacher and, by extension, of the society, which definitely stops the creative impulse of the children's public, differentiated in each one.

The criterion of excellence, in these cases, is how close the student can get his artistic production to the mold he was given. It does not matter, therefore, the freedom of interpretation of each child or the touch of quality of his work, independent of the fidelity to the model imposed by the pedagogical practice. Thus art teaching aims, in praxis, to prepare the student so that he can write with proper motor coordination, or conquer the gift of delineating letters and numbers.