REFLECTIONS OF THE COVID-19 PANDEMIC ON CHILDREN'S DRAWINGS

In this study; it is aimed to determine the perceptions and approaches of the 4th and 5th grade students regarding the COVID-19 pandemic. The phenomenology study, which is one of the qualitative research designs, was planned as the most appropriate method for the research. The study group of the research consisted of a total of 100 students studying at the 4th and 5th-grade levels in the city center of Van in the fall semester of the 2020-2021 academic year. Fifty of the students are in the fourth grade and 50 are in the fifth grade. In order to determine the reflections of the COVID-19 pandemic on children's drawings, drawings of students and their own explanations of drawings were evaluated as research data. Data were collected from the students in the study group by complying with the pandemic conditions. In this process, students were asked to make a drawing explaining their experiences during the COVID-19 pandemic. The obtained qualitative data (drawings) were analyzed by the content analysis method. As a result of the research, it has been observed that the news in the media has its counterparts in the world of children, and that this news have effects on the way the pandemic is reflected on the pictures. It was observed that there were descriptions of masks and distance in the paintings of both student groups. It has been observed that the pandemic, which children encounter in the early stages of their relationship with the environment, is transferred to the pictures as a reflection of fear, and expressed as the fear of getting sick and infecting their environment. It has been determined that children have learned the "14 rules" created in the early stages of the pandemic. Keywords: COVID-19 Pandemic, children’s drawings, schematic stage children’s drawings, dawning realism children’s drawings

On the Ground, Documents on My (Pandemic) Walks

The pandemic has led us to a multitude of activities we have not done before. For me, this included hour-long walks around my new neighborhood every day, rain or shine. Before the pandemic, my “walks” were directed, as my goal was to get to work, not “have a walk.” Now, these walks are an integral part of my thinking—to both clear my mind and to learn. I listen to podcasts, audiobooks, and sometimes nothing at all. I have taken to very intentional looking on my walks, noticing the details on the houses, dreaming of what they might look like on the inside, watching the weather change and the plant life die and emerge again. I have also been noting the signs that pop up from my unknown neighbors in the form of yard signs, chalk drawings, flags with notes, unintended detritus, snowmen (and women) and artworks. I look down a lot now as well. I notice what is at my feet. I am endlessly fascinated with sidewalk documents. The obvious ones are wonderful, such as children’s drawings and little fairy (and dinosaur) scenes. But the cement stamps have really captured my attention. What stories do these sidewalks have to tell? What follows is a set of collages, documentation of documents I found on the ground during my pandemic walks—from the plant world, to the fairy world, to the seemingly mundane world of cement pouring. What emerged became a colorful and telling assortment of stories, both made up and real.

Teaching for Emergent Disciplinary Drawing in Science? Comparing Teachers’ and Children’s Ways of Representing Science Content in Early Childhood Classrooms

This classroom-based study aims to contribute knowledge about children’s opportunities to make use of drawing to make meaning in science. Employing a social semiotic approach to drawing, we examine what ways of representing science content that are (1) made available by the teacher and (2) adopted in children’s drawings. We analysed observation data from 11 science lessons in early childhood classrooms (children aged 3 to 8 years), including the drawings that children made during those lessons (129 drawings in total). Our findings suggest that the semiotic resources that teachers provide have a large impact on how children represent science content in their drawings. Moreover, we interpret that teachers strive to support children’s ‘emergent disciplinary drawing’ in science, since they predominantly provided semiotic resources where the science content was generalised and decontextualised. Finally, we propose that ‘emergent disciplinary drawing’ is incorporated as an element of science pedagogy in ECE practice and ECE teacher education.

Kindergarten children’s perceptions of the social unrest in Hong Kong

Hong Kong experienced a period of significant social unrest, marked by protests, from June 2019 to February 2020. Media coverage was pervasive. In July 2020, children aged from 5 to 6 years attending kindergartens in areas both directly and less directly impacted by the protests were asked to draw and talk about what had taken place during the social unrest. Thematic analysis of children’s drawings demonstrates the extent of their awareness and understanding and suggests that children perceived both protestors and police as angry and demonstrating aggression. Many children were critical of police conduct and saw protestors as needing protection from the police. Children around the world have been exposed to protest movements in recent times. The implications for parents, teachers and schools are discussed.

Drawing and Memory: What is the Content of Children’s Drawings and How Does it Differ From Their Verbal Reports?

This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews.

ANALISIS VISUAL GAMBAR ANAK PADA MASA PRA-SKEMATIK

<em>This article aims to read visual signs and verbal signs by utilizing the children's drawings during the pre-schematic stage. The reading of the signs will be used to describe the elements of fine arts in the children's drawing. Four works of kindergarten children were chosen and observed. The four works are entitled "Mother", "Brother", "Zoo" and "Tree". These have been selected as the subjects of the study. These four works were chosen because these works were created by using different media, such as pencil on paper, watercolors on paper, and digital media. The object of this study is focused on visual analysis of the children's drawings on the elements of art, such as points, lines, shape, spaces, and colors. The pre-schematic stage is characterized by the appearance of circular images with lines that seem to indicate human or animal figures. During this stage, the scheme (the visual idea) is developed. The drawing shows what the child considers most important about the subject. There is a little understanding of space - objects are placed randomly throughout the image. The use of color is more emotional than logical. The elements of fine art are shown in the drawings can be described as the result of the observation 1) The lines have been controlled so has formed the image. 2) The shape of the object described has been identified as representing the object that the child wants to describe. 3) The colors used to fill the shapes are based on the child's imagination and desires except the color used to fill the shape of the tree. The colors of nature are the same as in real life, such as green leaves, blue sky, and green grass. In general, the image or drawing presented by the child is an illustration</em>

Preschool Children’s Drawings: Frequency and Theme Analysis

The preschool age is called the golden age of drawing; drawing is a “golden” mediator of literacy development. In this article, we focus on the content the preschool children put into their drawings. The goal of study has been the comparison of preschool children’s drawings with respect to the thematic categories of drawn object, and to identify differences between boys and girls. There were analyzed pictures (N=61) drawn by preschool children, from 5 years and 9 months to 6 years and 11 months. Pictures were drawn following the content-neutral (indifferent) instruction: “Draw, what is on your mind now.” The obtained data were subjected to thematic and frequency analysis. Results: data shows that the average number of objects is higher in girls’ drawings: girls drew 4±5 objects on average, while boys drew only 2±2. The number of drawn objects increases with age. Objects drawn could be divided onto 14 thematic categories; most popular are natural objects (sun, mammal, flowers, clouds etc.). The most popular theme in the group of boys are Vehicles, in girls group themes vary more. Practical impact: if we know what children like to draw, we have a strong motivating element for the development of communication literacy, especially writing.