Jamie is a rummager. He's not quite two but he likes to nose about in our drawers. He pulls everything out; examines what is of interest, shakes his head at what isn't exciting to him (not the blue bottle of nail polish, nor the silver! Yes! That's right. The red!).
He can't speak much yet, but he knows how to show me what it is he wants. He pulls my hand to bring me over to where his uncle's bike stands so that we can closely examine the lights, the bell, the wheels and the brakes. He wants to know how it works; does it move? What happens when I touch this? What if I shake it, bang it, prod and push it? Let me look at it. Let me press the switch!
Sitting at the piano, he lifts my hand so that I can play along with him on the piano keys. James watches me closely to see what I'm doing and he wants to do it too (it's fun of course—no point in doing it if it is not!). Outside, there is still snow but he remembers that flowers grow out here, so we need to go look for them in the garden. You will see him stop to pick up stones or leaves; whatever is on the path—until another intriguing path draws him away. Back inside, you can watch him experiment with his own balance as he bounces up and down on the bed or runs after a moving object.
We say he is playing. And in his play, he is learning about the world around him.
He's also learning other skills: how to judge weight, distance, how to speak, sing. He learns how to assess danger. He learns how to be self assertiveness and self-knowledgeable.
James is learning all this at an unbelievably rapid rate and he is learning this, not seated at a desk—which would be ridiculous—but by playing.
This brings me to Peter Gray's exciting new book Free to Learn: Why Unleashing the Instinct to Play Will Make Our Children Happier, More Self-Reliant, and Better Students for Life.
Gray is an evolutionary psychologist and popular blogger at Psychology Today. He has spent many decades studying how children learn and has come to conclude as have many before him- that children come into this world, "burning to learn and are genetically programmed with extraordinary capacities for learning."(x).
Gray research is backed by a fresh perspective to the discourse: his work has focused on studying hunter-gather societies (old and new) and how the children in these groups learn. Not surprisingly, those children are allowed to continue to teach themselves in the same way very young children like my nephew James does—before we interrupt their self-education with our vision of what they need to know; what curriculum they need to cover; what tests they must pass in order to prove they know what we say they must know. They learn by playing freely.
Gray is not by any means, the first person to ask "What have we done to Childhood?" Nor is he the first to state that we have imprisoned children on all fronts—so that they can no longer play (and learn) the way even we were still able to do, just a few generations back. Today, we go out on the street and wonder where all the kids are? The answer? Safe inside away from predators, strangers and drug-pushers.Gray documents the rise in anxiety and depression in kids as free play declines.
No wonder, later, that when they are older so many of them have never known self-autonomy or developing 'an external or internal locus of control.'(17). They are helpless—where they should feel strong and powerful, because they have not had the opportunity to develop these latter traits through Nature's way of 'free play'(not the overly supervised, adult directed kind).
"Play," Gray says,"is Nature's way of helping children discover what they love." From love comes true learning. Children, Gray continues, "have an intense drive to play with other children." And the best play, as observed within hunter gather societies is where the child learns cooperation with other kids of differing ages.
In Free to Learn, Gray takes us through the history of education, beginning with that original democratic society—the hunter-gathers—whose existence depended on co-operative and good will and sharing. The advent of agriculture was the game changer that impacted from there on, how we raise children. Even the word 'raise' comes from the metaphor of farming, Gray notes.
Once we settled down to till the land, we had to work hard. While before, as documented in modern hunter-gather societies, people worked very little and had more time to play, relax, make art and music etc, a farming family needed to work long hours on the farm and had less time for other pursuits. They needed more children to help do the menial repetitive tasks and thus, the roots of child labour. Now there is less time for play.
And where before a hunter-gather society meant individuals had to be more creative, more adaptive and in tune with Nature in order to develop the high skills of hunting, foraging etc individuals in farming societies tend towards being more conservative and obedient. "Agriculture is a continuous lesson in controlling Nature," quips Gray and this of course extends to controlling children.
Feudalism, monarchism, then the industrial revolution followed, where business ownership became more powerful than landownership, and children where needed to work the factories. With the 'Protestant work ethic' hot on the heels of the Industrial Revolution, schools were set up to develop God-fearing, obedient workers (J.T. Gatto writes extensively on the purpose of schooling). Gray explains the origins of compulsory schooling (Prussia) when the state took over the educating the young (beginning of the 19th century) and that remains the cornerstone of our education system up until the present day: the belief that children are incapable of making their own decisions.
Democratic Schools, Unschooling and more.
With Joesph Pearce, Jerome Bruner, Maria Montessori, John Holt or any other regular adult with eyes in their head, Gray remarks that "children come into this world with an instinctive drive to educate themselves." 113. What is more, "the enormous educative power of play lies in its triviality." (154). And when it comes to the social and emotional development of children the role of free play in can not be rivaled.
Gray devotes entire chapters to explaining what exactly play is and how the playful state of mind is the ideal state for learning new skills, solving new problems, and engaging in all sorts of creative activities. We (both children and adults alike) are at our best frame of mind to be creative when we play.
There are still those opportunities to allow kids to be responsible for their own education. Gray gives us a famous example in the Sudbury Valley School, Massachusetts that has been around for 40 years (Gray's own son attended the school years ago). Here, each and every child is responsible for his or her own education. "Sudbury is the functional equivalent for our time and place of a hunter-gather band," Gray writes (p.100). As a parent of kids that were unschooled (now in high school), I would say that unschooling (self-directed, interest-led, playful learning), is an equal model of this type of hunter-gather scenario: kids are exposed to the world and learning opportunities that are the direct result of this exposure-the exposure being facilitated by the adults.
-----
Free to Learn is a book written in clear, accessible language that uses an engaging writing style so that I think you will find it both informative as well as entertaining. A very insightful and helpful read!
Thursday, March 28, 2013
Wednesday, March 27, 2013
And the winning title for the Radio Free School Reader is........................
It was a tie between:
Natural Born Learners.
Unschooling and autonomy in education; a Radio Free School reader
Sunday, March 17, 2013
Balancing opportunity and commitment
What happens when your child has a commitment to something and then an opportunity comes up that is too good to pass up, but will take her away from her commitment?
What do you do?
This happened to my daughter. She is in an 'elite' chamber ensemble and they rehearse every Friday from 4 to 7.30pm. Sometimes, things come up that she would like to attend but she doesn't because the expectation is chamber comes first; "Friday is sacred to Chamber," quips the chamber director.
Once in a while though, as in the case of having the chance to play with Amanda Fucking Palmer-in a cabaret rock band, the decision as far as daughter is concerned is to ditch Chamber.
She plays and has one of the most memorial times of her life. She is completely inspired. Her instructor/chamber mistress gives her grief: "You are letting down the group," guilting her out with words such as, "you are being selfish. If you were playing rep in a hockey team, would you do that?"
Another occasion where opportunity knocked and daughter answered was just the other week when she was asked to help out with a prestigious orchestra (they were lacking a player) and she decided to leave chamber a half hour earlier. She worked really hard to learn in four days time, musical pieces that took the orchestra entire months to learn. She had a great experience and again learned lots- especially what it feels like to play in another orchestra setting. Again, the director was unhappy. She claimed that my daughter would not have been able to take advantage of these opportunities if it had not been for having weekly chamber rehearsals and learning to play in an ensemble. Who is in the right? The director or my daughter?
I say both. Commitment to the group is crucial if the group is to remain elite. And yes, playing with this elite ensemble has helped daughter develop her skills and get good. Of course it has. But I think that within reasonable limits, chamber should not hinder her wider experiences playing in the community.
Why won't the teacher see this as a launching pad to other experiences and adventures- that will inspire and broaden the students love and commitment to violin? If she were more reasonable she would see that going out and garnering more experiences enhances the learning daughter is doing in chamber-by bringing those other experiences to the group. An understanding teacher would be proud of her student's achievement instead of being angry and offended. A supportive instructor would applaud the student; encourage her. Instead, my daughter is met with hostility. But commitment to the chamber should not mean enslavement.
In the long run, an inflexible hold on the members of the group ends up creating an uninspiring environment that drives the best students away.
What do you think? How do you balance commitment with opportunity?
What do you do?
This happened to my daughter. She is in an 'elite' chamber ensemble and they rehearse every Friday from 4 to 7.30pm. Sometimes, things come up that she would like to attend but she doesn't because the expectation is chamber comes first; "Friday is sacred to Chamber," quips the chamber director.
Once in a while though, as in the case of having the chance to play with Amanda Fucking Palmer-in a cabaret rock band, the decision as far as daughter is concerned is to ditch Chamber.
![]() |
| Maddie playing with Amanda Palmer and the Grand Theft Orchestra, Phoenix, Toronto Nov 2012 |
Another occasion where opportunity knocked and daughter answered was just the other week when she was asked to help out with a prestigious orchestra (they were lacking a player) and she decided to leave chamber a half hour earlier. She worked really hard to learn in four days time, musical pieces that took the orchestra entire months to learn. She had a great experience and again learned lots- especially what it feels like to play in another orchestra setting. Again, the director was unhappy. She claimed that my daughter would not have been able to take advantage of these opportunities if it had not been for having weekly chamber rehearsals and learning to play in an ensemble. Who is in the right? The director or my daughter?
I say both. Commitment to the group is crucial if the group is to remain elite. And yes, playing with this elite ensemble has helped daughter develop her skills and get good. Of course it has. But I think that within reasonable limits, chamber should not hinder her wider experiences playing in the community.
Why won't the teacher see this as a launching pad to other experiences and adventures- that will inspire and broaden the students love and commitment to violin? If she were more reasonable she would see that going out and garnering more experiences enhances the learning daughter is doing in chamber-by bringing those other experiences to the group. An understanding teacher would be proud of her student's achievement instead of being angry and offended. A supportive instructor would applaud the student; encourage her. Instead, my daughter is met with hostility. But commitment to the chamber should not mean enslavement.
In the long run, an inflexible hold on the members of the group ends up creating an uninspiring environment that drives the best students away.
What do you think? How do you balance commitment with opportunity?
Tuesday, March 12, 2013
Nurturing your budding writer
A reader of this blog contacted me asking for tips on where young people can publish their writing.
I thought of the piece I wrote back in 2011 for Home Education Magazine called 'Nurturing your budding writer,' that relates to her request (still have not been paid for it!!).
Here it is below:
Since my 15-year-old daughter Eva is a young writer, I'm always on the lookout for mentoring and writing opportunities for her. Because for years we had a weekly radio show (Radio Free School was our family's radio program--by, for and about home based learners), she had the chance to interview some of her then favorite authors such as Gordon Korman and Kit Pearson. She's even met J.K. Rowling and received an autographed book (this as a result of a draw we won).
I thought of the piece I wrote back in 2011 for Home Education Magazine called 'Nurturing your budding writer,' that relates to her request (still have not been paid for it!!).
Here it is below:
Eva has had her work published in various local papers such as the Hamilton Spectator and its Power of the Pen competition and many on-line websites. Her most recent poem has been published in Teen Voices.http://teenvoices.com/2010/11/28/poem-eternity-and-the-art-of-falling/#comment-532
Eva has written two novels (not yet published), a collection of poems, and is currently working on another poetry collection. In turn, she has encouraged her youngest sister to complete a short novel too. Eva and her two sisters all keep blogs of their own where they share their ideas and thoughts on topics they are interested in.
My experience supporting my children's writing interests continues to be so rewarding that I'd like to share tips on how to go about nurturing the young writer in your care.
Read
If you want to be a writer, you have to read. Make sure that your young charge has plenty of time to read, read, and read some more.
Read to your child
When my children were very small, in fact when they were no older than six months, I started reading to them (to be honest, because I love reading).
It was always a favorite time for us, and going to the library almost every day was a routine of ours. The bottom of my stroller fell through because of the number of books we carted back and forth.
My oldest had memorized every rhyme in My Very First Mother Goose by Rosemary Wells well before she was two. By the age of six, she was already a fan of the Lord of the Rings--the book that defined her life for the next seven years.
Amusingly enough, despite her love of literature (she had memorized reams of Shakespeare by age six) she didn't actually learn to read by herself until she was eight.
As for reading to kids, I still read to my youngest who is twelve, simply because she enjoys it so much. Browse reading lists such as Hoagies' Gifted Education Page for general exposure to good writing http://hoagiesgifted.org/hoagies_kids.htm
But remember, don't be too quick to denigrate writing that is considered "bad." Writers can learn from poorly written novels what makes a poorly written novel!
Seek exposure to other writers
Get to know the local writers in your community. My daughter has recently been taken under the wing of a well respected local poet who offers her constructive feedback. Although my daughter doesn't always use the advice, she appreciates an experienced pair of eyes on her work. Take your young writer to reading events where published authors share their work with the public. Libraries often host writers' events and so do local book stores.
Small press fairs are some of the best events that you can plan to attend. And they are so much fun! On a few occasions, we, as a family have rented (for a very affordable price) a table at the fair and have all enjoyed selling our wares--usually poetry collections or handmade zines. Zines are do-it-yourself home made publications written in a variety of formats from hand-written to computerized, to comics and combinations of these.
My youngest daughter started a zine called Kitty Corner when she was seven and has just recently moved on to other projects. The zine was about all things "cats"--cat jokes, cat facts, cat stories, cat drawings. We would photocopy the original pages, and she would hand color all her drawings so that each copy was unique. Over the years she earned quite a bit selling Kitty Corner.
Attend workshops
These are low cost ways to learn more about the craft of writing, to actually write, and to meet other writers. Local colleges offer day-long courses.
For more regular support, getting involved in a book club or a writers' group to discuss books and receive ideas on work in progress can be both helpful and inspiring to the young writer. The library and community center often advertise meetings in their bulletins or websites.
Find writing opportunities
Young writers with something to say will often be met with encouragement from editors of local papers; a simple letter to the editor expressing concern or support in a topic of interest is a good place to start.
Starting a blog is a very accessible and easy way to maintain a writing project. My daughters all have their own blogs where they express their views and opinions pertaining to their current interests.
My oldest also writes on deviantart, an online community of peer writers--an excellent way to get her work out there and to learn from others as well as support other writers. The website is http://www.deviantart.com/ .
Develop writing buddies and use NaNoWriMo
Eva has a friend who shares the same passion for writing, and they've collaborated on many projects. For the past two years, they've participated in the National Writers Novel Month challenge (NaNoWriMo). A fun, seat-of-your-pants approach to novel writing, participants begin writing on November 1. The goal is to write a 50,000 word novel by 11:59:59, November 30 (approximately 175 pages).
To learn more, go to http://www.nanowrimo.org/ . Each girl has completed two 50,000-word novels. Last summer, they had great experience collaborating on writing a play.
I should add that their friendship originated out of a writing opportunity; all three daughters had expressed interest in having pen-pals and a call to the homeschool list I was on at the time resulted in Eva connecting with this very special friend out in California (we're in Ontario). This was five years ago and their friendship has since blossomed and deepened.
Use the internet
The internet is a world of wonder for resources and online writing courses. Check out these links as a starting point:
http://www.pandorascollective.com/literary-links/young-writers
http://www.poeticpower.com/
http://www.youngpoets.ca/markets_and_contests
http://www.poeticpower.com/
http://www.youngpoets.ca/markets_and_contests
Competitions and writing challenges are all great ways to get sharpen writing skills. As mentioned above, the NaNoWriMo competition is worth , and they have a children's challenge of 10,000 words.
Provide the young writer with plenty of time and space in which to write, to dream, to think, to talk over their ideas or to simply let their ideas percolate.
© 2011, Beatrice Ekwa Ekoko
Sunday, March 3, 2013
"I have a box and I know what to put in it!"
Posted by
Unknown
at
10:14 AM
Labels:
cheating,
education,
passing tests is not education
0
comments
This is how it goes; the teacher hands out a sheet that outlines what you need to know to if you want to get 5/10, use two words.
If you want 6/10 give more content. For an 8/10 you will need to show that there is some mental processing going on. If you want a 10/10 you need to be able to show some originality.
If you hand it in late 10% will be deducted from your marks.
My daughter describes learning in school in a nut shell with the following words: "I have a box and I know what to put in it."
What's more, it seems that cheating is the norm: "Everyone is cheating and getting As. You're a fool if you don't. You'll be left in the dust!"
How does it work? "You get your paper and you stick it in the pencil case. No one is going to look in your pencil case. These are just the subjects you don't care about."
There you have it: "These are just the subjects you don't care about," says it all. If you don't care about the subject, what's the big problem if you cheat in order to pass into the next year? That makes sense to them. It makes perfect sense to me as well. The goal is to get into the next grade with good marks whether or not you deserve them. Here's why school doesn't mean education. Nobody cares about what is being taught. Why should they? It's someone else's interest; not theirs.
-----
One evening, at the dinner table where my youngest is studying for health test, my oldest (in grade 12 and at the same school) exclaims, "Did you know that this unit hasn't been changed since 1990? Since you were two! There is absolutely no accounting for the changes in awareness around issues like sexual orientation, gender etc. There is no context for learning this information."
How is this education? Information is useless without context.
Subscribe to:
Posts (Atom)



