Child culture refers to the set of practices, products, and activities that are structured through formal institutions and aimed at promoting the psychological and moral development of children, often supplementing school education.
John Blacking's work highlights that Venda children's songs are distinct from adult music, resulting from dynamic interactions between children's creativity and adult influences.
The three manifestations are culture for children, culture with children, and culture of children.
The role of play in children's socialization varies across cultures, serving as a medium for imparting social values and enhancing participation in cultural and social structures.
Adults often view children's play through a pedagogical lens, assessing the educative value of activities and imposing their interpretations on children's experiences.
The 'flow' experience in play is characterized by a balance between challenges and skills, merging of action and awareness, exclusion of distractions, absence of fear of failure, disappearance of self-consciousness, and the activity becoming an end in itself.
Social support has a significant impact on individual confidence and creativity, affecting children's personal sense of achievement and enjoyment in their artistic endeavors.
Since Antiquity, music has been viewed as a powerful force capable of shaping children's moral character and social behavior.
Holistic refers to combining multiple media for creative expressions and exceeding performance levels in school.
Social interaction in play allows children to learn from peers and adults, transferring traditions of child culture and becoming members of society.
Play culture is often perceived by educators as nonserious and nonstructured, and it is seldom incorporated into formal educational settings.
Music is a key factor in determining and characterizing friendships among young people, influencing inclusion and exclusion within social groups.
Music plays an important role in children's socialization, aesthetic expression, and cultural learning, reflecting their playful interactions and community linkages.
Play culture is increasingly seen as a valuable activity that contributes to holistic learning, while child culture is a socially constructed concept that evolves with changing definitions and lifestyles.
In local art contexts, children often learn through imitation and copying, readily learning from one another and from popular media imagery.
Artistic play helps children access inner resources and enhances their participation in the enculturation process, allowing them to learn about their cultures and social structures.
Bresler distinguishes 'child art' as the art created by children, 'fine art' as art created by adults, and 'art for children' as art designed specifically for children's engagement.
The five subcategories are schooling, training, education, socialization, and enculturation.
School art is ritualistic and rule-governed, often predictable in themes and products, while local art is informal and varies widely in themes, including more diverse and unconventional subjects.
Music functions as both a reflection of how individuals see themselves and a catalyst for action, influencing personal and collective identities.
After the Second World War, the concept of child culture shifted from an adult perspective to a child-centered viewpoint, emphasizing reform pedagogy and the arts.
Informal learning environments allow for peer learning and incidental learning, contrasting with the structured, goal-oriented approach of formal education.
Relationships and friendships influence the ways children engage in artistic and play activities by teaching them to negotiate over leadership, control, and decision-making.
Playground pedagogy refers to the informal, participatory nature of children's singing, clapping, and dancing games, where children act as their own teachers, adhering to rules and good behavior.
It suggests that children can achieve a higher level of understanding by bridging the gap between their actual developmental level and their potential development through support from adults or capable peers.
Socialization is a form of education that involves the process through which children learn and internalize the norms, values, and practices of their culture.
Children's musical interactions in playgrounds include singing, dancing, speech, movement, characterization, and rhythmic elements, often improvising and emulating stimuli from their environment.
Musical taste is strongly related to social class and group formation, with middle-class children more likely to engage in orchestral music and girls showing more enthusiasm for classical music compared to boys.
Play, artistic activities, and creativity are closely intertwined phenomena that contribute to children's socialization and the development of artistic and social skills.
Dramatic meaning refers to the ability of children to express and create narratives through their dance, enhancing their creative engagement.
Local art is personal, autobiographical, and fanciful, while school art tends to focus on form and technique, often excluding content meaningful to children.
Computer programs enable children to engage in hands-on music composition activities, bridging the gap between school culture and play culture.
DeNora's work illustrates that the music preferences of the bikeboys were closely related to their preferred mode of being, showing a clear relationship between musical and extramusical phenomena.
Play culture is characterized by informal social networks and traditional transmission of knowledge and skills among children, while child culture is structured through formal educational systems and institutions.
Comic books provide a rich source of artistic expressions where children depict heroes, monsters, dolls, and animals to create and tell stories.
Children's play culture often serves as a form of resistance against adults' culture and their role as agents of pedagogical initiatives.
In African societies, music and dance serve as contexts for socializing education, embedding philosophy and moral systems within the music and dance-making processes.
Children's art is acknowledged as a distinct genre of art with its own history and culture, providing various ways to be incorporated into educational activities.
Differences include attitudes, values, and activities, often framed in binary terms such as teacher-oriented vs. self-directed and goal-oriented vs. flow.
The affordance theory underscores the mediating role of the arts in relation to social action and experience, suggesting that certain types of artistic media facilitate specific actions more easily than others.
Play forms the basis of children's creativity, allowing them to create meanings, characters, actions, and emotions in their imaginative worlds.
The perception has shifted to recognize children as social actors who form their own cultures, emphasizing their unique lives and artistic engagements.
Improvisation is an essential skill for everyday social life, allowing children to practice conversational skills through play.
Merrill-Mirsky analyzed how school-aged children from different cultural backgrounds (Euro-American, Asian, African American, and Latino) perform musical and rhythmic plays, noting differences in musical patterns, physical movements, and gender roles.
Hanna argues that dance/play is a 'serious business' that dramatizes concepts and patterns of social life, influencing social organizations and interpersonal relationships.
Children's play is often viewed as preparation for adult play, involving not just learning music and dance but also serving as a medium for socialization and the transmission of folklore.
