The Story. The function of the story is to supply the child with racial experiences that will enrich his own more narrow personal experience. It is not intended merely to please but to present facts in a form which the child can understand. By using the simple form of a sequence of sentences, each sentence standing by itself, less difficulty is presented to the child in reading than if the paragraph form had been employed. The greater ease with which the young child reads this style, together with the fact that the rhythm in a majority of the stories is of a character in keeping with the subject, and readily appreciated by the child, seem to justify the use of this style for a few months of the child’s life.
Things to Do. The teacher should use her judgment in regard to how many of these suggestions it is best to carry out in the school hours. In schools where little work has yet been done in pantomime, drawing, modeling, and other kindred modes of activity, it will probably be the better plan to have many of the suggestions carried out in hours of play. If the teacher takes an interest in what the child does outside of school hours as well as in what he does in regular recitation and work periods, and if she utilizes the experiences of the child that are gained in informal ways, she will have no difficulty in securing the heartiest coöperation in the work of the school. Where constructive work has already been introduced, the teacher will have no difficulty in selecting from the suggested activities those that are best adapted to her purpose. She should always feel free to substitute for any of the printed suggestions others that may more nearly meet the needs of the child in the locality in which she lives.
[ TYPICAL MODES OF ACTIVITY]
“If there is one principle more than another upon which all educational practice, not simply education in art, must base itself, it is precisely in this: that the realization of an idea in action through the medium of movement is as necessary to the formation of the mental image as is the expression, the technique, to the full play of the idea itself.” —John Dewey.
Gesture and Pantomime. The muscular sense is the foundation sense from which all the others have been derived. Perceptions through sight and hearing are uncertain, often requiring to be verified by the use of the muscular sense or even by the use of smell or taste. Knowledge gained through the use of sight and hearing may be superficial; that which comes through the use of the muscular sense is wrought into the very fiber of one’s being.
Among the more simple modes of using the muscular sense are gesture and pantomime. They are within the reach of every teacher. They require no materials. A worthy idea and the desire to communicate it are the essential conditions for profitable work. Gesture and pantomime are too powerful tools in education to be used carelessly. The teacher should aid the child in discovering the real motive which animated the character to be represented. She should appeal to the best in the child. In so doing she will be able to use gesture and pantomime in such a way as to transform activities, which when undirected are liable to degenerate into vicious habits, into activities of great moral significance.
Teachers who have tried gesture and pantomime as a preparatory step to other modes of activity have found it invaluable as a means of securing a genuine growth of imagery and free expression in a variety of forms.
Play. It is now well known that many of the child’s spontaneous plays are idealized reproductions of the serious activities of primitive people. It is possible to make a much larger use of these plays than has yet been made. It is hoped that the suggestions that are scattered throughout the pages of this and the succeeding volumes of this series will enable the teacher to make a large use of this most important educational force.
Sand Modeling. Almost every child has had experience in sand modeling before coming to school. The part of the teacher is to enable him to make use of this habit with reference to new ends. One who has not learned through experience the value of this art is scarcely in a position to realize what a stimulus it is to the growth of definite images of geographical forms. When based upon observation, as it always should be, it is unsurpassed as a mode of developing and communicating adequate conceptions of topographical features. Sand pans should be provided so that there will be at least one pan for every two children. If each child can have a pan, the conditions will be still more favorable. Whether sand pans are available or not, every primary school-room should be supplied with a large sand box—two or three if there is room for them. Excellent results have been attained in many schools by modeling typical areas and representing in a graphic way the life of the place. If the sand box is lined with zinc, rivers and lakes may be represented with ease. In case there is no zinc lining, water may be represented by the use of tin foil, or by glass which may be laid in the bottom of the box, leaving only such portions uncovered as are needed in order to represent the water. Moss, twigs, grass, stones, toy animals—all help to make the scene more lifelike. By sprinkling the sand with lime water it hardens so as to keep its shape for a long time.
Clay Modeling. Although clay does not respond so quickly to the touch as sand, it preserves its shape more easily. The more skill that the teacher has in clay modeling the more freedom she will feel in the work, but she should not hesitate to make use of this mode of expression even though she has to learn with the child. The aim is not so much to secure finish in details, or a result similar to that reached by other people, as it is to secure the growth of the image and freedom in expression. Only by leading the child to compare the result of his work with the image in his mind does the image grow. By so doing, and by referring to the real object when present, the child gradually gains control over this mode of acquiring and communicating ideas.