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Using mixed methods, the study examines teachers’ practices and perceptions, revealing confusion about when to intervene intentionally versus letting children play, alongside limited confidence, skills, strategies, and teaching language. The article argues for professional learning to clarify theories and support intentional visual arts teaching aligned with how children learn.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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New Zealand Journal of Teachers’ Work, Volume 20, Issue 1, 5-18, 2023  \nRACHEL DENEE1  \nSUE CHERRINGTON1  \n1 Victoria University Wellington, Wellington, New Zealand  \nABSTRACT  \nThe early childhood sector in New Zealand has a long-held tradition of free play and child-led pedagogy, influencing visual arts approaches with young children. However, alongside learning through play, New Zealand’s sociocultural curriculum highlights the active role of the teacher and intentional pedagogy. This article explores the practices and perceptions of early childhood teachers regarding visual arts through a mixed methods study, including a nationwide survey and an embedded case study. Data indicated that teachers are confused about the appropriateness of taking an active role during children’s visual arts learning, and about when to be intentional versus leaving children to play without interference. Such tensions appear to be founded in contradictory theoretical assumptions, and are evident through a lack of confidence, skills, strategies and language for teaching. The authors argue that professional learning could ameliorate these tensions by clarifying educational theories and identifying intentional visual arts teaching practices that align with current theoretical beliefs about how young children learn in early childhood.  \nINTRODUCTION  \nIntentional teaching has gained increasing focus in Early Childhood Education (ECE), internationally and in New Zealand (NZ) since the publication of Epstein’s (2007) seminal text. In NZ, intentional teaching has been described by [McLaughlin et al. as](McLaughlin et al. as) “the purposeful and deliberate actions of teachers, drawing on both their knowledge of individual children and professional knowledge and skills to provide meaningful and appropriate curricular experiences for all children in ECE”(2016, p. 176). International research into intentional teaching in ECE is evident across a wide range of domain areas, such as literacy, sustainability education, science, and numeracy (Grieshaber et al., 2021) . However, the body of research surveyed in Grieshaber et al.’s extensive scoping review included few studies focused on the arts, let alone the visual arts. This article aims to address this lack of attention and to offer a provocation to teachers to (re-)consider their theoretical and philosophical approaches to visual arts teaching and learning. We encourage teachers to reflect on the extent to which their current visual arts teaching approaches enable them to intentionally provide  \n“meaningful and appropriate curricula experiences for all children”(McLaughlin et al., 2016, p. 176) .  \nAlthough there is international consensus that teachers play a key role in relation to quality ECE (Dalli et al., 2011) and positive outcomes for children, there is also evidence that teachers remain reluctant and unsure about how to claim and develop that role (Cherrington, 2018; McLaughlin & Cherrington, 2018) . In her study of ECE teachers working with infants and toddlers, Dalli (2017) found that teachers were hesitant to describe their own teaching and decision-making as intentional and tended to refer to their responses to children as intuitive. While the revised ECE curriculum, Te Whāriki (Ministry of Education, 2017), explicitly articulates that a primary responsibility of kaiako “is to facilitate children’s learning and development through thoughtful and intentional pedagogy”(p. 59), McLaughlin and Cherrington (2018) suggest that“teachers may need support to move beyond intuitive decision making to intentional decision making”(p. 36) .  \nOngoing tensions regarding the place of intentional teaching, particularly in relation to child-centred and play-based philosophical approaches to ECE, were clearly identified by Grieshaber et al. (2021) . Thomas et al. (2011) have suggested that “socially and cultural","cbCaindAMQAAJ2i3","https://ap.wps.com/l/cbCaindAMQAAJ2i3","pdf",228395,14,"English","# Introduction\n## Intentional teaching in ECE and its definitions\n## Teachers’ uncertainty about intentional roles\n## Tensions between play-based and intentional approaches\n## Visual arts research gaps and study focus","[{\"question\":\"What is the core focus of the article?\",\"answer\":\"The article examines early childhood teachers’ practices and perceptions regarding visual arts through a mixed methods study, addressing how intentional teaching should be enacted during children’s art learning.\"},{\"question\":\"What tensions do teachers experience in visual arts learning?\",\"answer\":\"Teachers show confusion about the appropriateness of taking an active role, and about when intentional teaching is needed versus leaving children to play without interference.\"},{\"question\":\"Why does the article argue for professional learning?\",\"answer\":\"It links tensions to contradictory theoretical assumptions and a lack of confidence, skills, strategies, and teaching language, arguing that professional learning can clarify educational theories and identify intentional visual arts teaching practices aligned with how young children learn.\"}]","Intentional Teaching for Visual Arts in Early Childhood Education - Teachers’ Practices and Perceptions - New Zealand Journal of Teachers’ Work, Volume 20, Issue 1, 5-18, 2023 | PDF",1792064849,35]