Why I Let Kids Play Without Rules in the Wilderness

The first thing I do when I meet with a new group of kids in the woods is sit down and talk. I like to hear what they're hoping to do in the wilderness and what their expectations or concerns are. Then we talk about rules. Well, more to the point, I talk about our lack of rules. I say, "You can do anything you want, and please keep yourself and all the other living inhabitants of this forest safe." 

In that one statement, I hand over the reins. Some kids are excited at discovering new freedom; others are terrified, as they feel overwhelmed by the responsibility, or just plain stunned and unsure what to do without a clear path. So we talk some more. There are always lots of questions, both right off the bat, and continuing throughout our time, together.

"So can I eat Colton's cookies?"

"Well I don't know. Why don't you ask Colton? Colton, Do you feel safe?" (You never know. Colton's mouth is full of cookies; maybe he swallows his cookie bite, and shares the rest! Maybe he just says 'no'.)

"Is she allowed to climb that tree?"

"Yes of course. Do you feel safe up there?" ... "No? It seems she needs some coaching to come down."

Or maybe I see someone hauling moss off a maple tree, and I ask them to consider why the moss is living on that tree and how the act of pulling it off might affect the other things living in the woods. (The moss may die, the maple needs the moss to retain moisture, and the various plants and insects living in the moss need it, too.)

We do a LOT of talking. We do a lot of considering. And by "we", I truly mean the group; not the condescending "we" of adults who really mean "I". The kids sometimes police each other, and we talk about that, too--how having responsibility and independence means also allowing others to have their own. Usually after a day or two the group is comfortable being in charge of their own actions. This is when all the magic really begins. 

The Cheese Restaurant was magic like that. I was just settling into a forested hillside with a group of eight-to-twelve-year-olds, looking at one child's collection of snails on a piece of bark, when another child called frantically from about thirty feet away: "Stop them! Stop them!" It was the kind of panicked-sounding cry that actually made me jump up and hurry over, to where two boys were passionately destroying a large, rotten Douglas fir stump. 

I collected myself again, and asked nonchalantly how they were doing. They responded with guttural sounds, orange powder of wood still flying in all directions. In a couple of minutes they'd already pulled apart about ten percent of the stump. So I pulled out my secret weapon, started digging in the orange powder, and cast my eyes all over the place until I found something cool, then said excitedly, "Oh wait! Let me save this millipede!!" I pulled it out and held it up.

"What?" They stopped tearing at the crumbling stump and looked at my outstretched hand. "Gross!" 

"It's not gross. It's just climbing on my hand. Want to hold it?" One backed away and the other stuck out his hand. The millipede cycled its flow of tiny legs across his skin and he shivered as he felt it. The other boy approached with a large piece of bark and suggested he put the millipede on, with the cheese.

"Cheese?" I asked.

"Yes, I'm having a cheese restaurant. This is cheddar." And he dumped a handful of orange powdered wood onto the piece of bark, next to the millipede, who immediately sought cover in the powder."

"You ruined his home", moaned the child who had originally called me up to stop these boys from breaking the stump. She looked shaken. In an effort to diffuse the situation, I suggested that he would probably be fine, and maybe when they were finished serving him for dinner, they could return him to what was left of the stump. They hardly heard me, because they were already gathering more "plates". 

Within a few minutes, these two boys had a bustling business going, serving cheeses of all varieties on plates to customers who paid with fern leaflets (or rocks, for extra-rare specialty cheeses). The child who was most concerned for the safety of the millipede began "harvesting Swiss cheese" from the pile of powder at the base of the stump. The millipede was forgotten and likely eventually made its way back to the stump, which had become the wall of the Cheese Restaurant, for the full half hour or so that it was in business, before other endeavours took priority for the restaurateurs. 

Did these kids destroy a bit of nature? Yes, they did, but they naturally turned their play into something less destructive when they realized there was a living thing in that bit of nature, and they did it without my direction. They went home feeling proud of their restaurant, happy about their play and discoveries, and, most importantly, more deeply connected to the ecology of their home. That connection is a kind of magic that will stay in their hearts forever, that will lead them to think more carefully about the effects of their actions, and that will lead them to feel more independent and secure in all that they pursue.

In giving kids freedom to explore, we give them space to learn. They learn how to be safe as they explore their own limits. They learn how to handle their bodies in space when they're allowed to play in the creeks and the trees and get stuck in the mud. They learn how to manage their social interactions when they have unhindered space for free play and conversation. And when they are charged with the responsibility of keeping the forest safe, too, they learn to see, understand, and value their ecosystem, as well as their involvement in it.

Is it dangerous? Absolutely. It's risky play. And as we know, risky play is essential for learning to be safe. It's dangerous for the ecosystem, too. That chunk of stump pulled apart will indeed cause some creatures to die, or at the very least to be displaced. And more damaging will be the impact of the continued use of particular locations in the wilderness, where our footsteps and clambering over logs and tree-climbing will, over time, leave noticeable bareness and changes in our path. This is a chance for teachers and parents to point out these changes; to notice our own human impact and compare it to, say, the impact of deer. 

Deer rip stumps apart, too--especially when they're rutting. They even rip the bark off living trees. So why don't we see large areas of the forest just rubbed smooth by this activity, the tree trunks bare, the moss dead, and the ground turned to mud, as it does under the feet of children after ten days playing in the same location? Because deer keep moving. They step lightly. They graze only the tips of leaves in many places instead of devouring whole plants or communities of plants, not only because it's healthier for them to eat a variety of foods, but because that means the plants will keep growing, to be eaten again, later. They interact with their ecosystem in a way that is sustainable, because it's their home, and they need to survive. It's our ecosystem, too, and we need to practice interacting with it, so that we can learn to act sustainably. Giving children freedom and responsibility to engage on their own terms with their environment ensures that they will get the practice they need to become responsible, thoughtful stewards of their home.

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Why Explorative Learning Matters

The Medicine Forest My Parents Gave Me: How Exploring and Knowing Our Place in the Ecosystem Builds Resilience

Once I lost my son in the forest. We were heading home through ferns taller than his three-year-old self, he carrying a harvest of licorice ferns and I carrying his baby sister and some oyster mushrooms. He followed along behind me, and when I turned around, he was gone. I called repeatedly. I retraced my steps. I gripped by baby girl to my chest and started running, panicking, and-- there he was, nestled into a sword fern, chewing on a piece of licorice fern root. He looked up blandly at my stricken face and said "I'm just havin' some licorice root." His trance-like state may have been induced by the well-known calming medicine of licorice fern, or it may have been just his joyful state of mind after a couple of hours spent wandering the forest with his mother and sister.  

My kids and I spent part of most days of their childhood out in the forest, exploring. That's what I did as a mother because it's what I knew to do from my own childhood, spent here in this same little west coast paradise. When my head hurts, I go outside. Maybe I chew an alder leaf like the wild aspirin that it is; maybe I just lift my face to the fresh air, sun or rain. When my heart hurts, I lie in the moss and let it soak up my tears. Licorice fern soothes me; so does the feeling of bark, or the creek water between my toes. When I'm hungry, I eat beans off the vine on my porch, or berries and other treats from the woods; when I'm hungry for adventure I go exploring in my medicine forest. I made up that word. Medicine Forest. It's like a permaculture food forest, but with emphasis on its healing power. My parents didn't purposely give me a medicine forest, but they did give it to me, and I'm passing it on to my children. Let me explain.

That's me with our chickens in the early 1980's, rabbit hutches on the right, and winter-covered veggie garden, behind.

I grew up in a pretty typical single family house - a modified double-wide mobile home, actually - on a five-acre piece of land that my parents purchased in 1980. This land was forest when they bought it. We used to come up here and have a picnic on the slope they hoped would one day be their building site. They let my brother and me free-range all over this place, climbing trees, damming creeks, digging great big holes and picking and using whatever plants we felt like, as they slowly cleared the land and built up what is now a developed property. We raised chickens, meat rabbits, and pigs (but only once because the experience was too heartbreaking for all of us to repeat). My parents grew food crops and allowed us to plant our own experimental gardens, while also insisting that we should help with the family food operations. My brother and I were never forced to kill or butcher animals, but because our parents nurtured our curiosity, we both knew how to clean a rabbit or chicken by the time we were twelve, and by the time we were fifteen we could cook a good family meal from the foods we'd grown or wildcrafted. We didn't even know the word wildcraft, though. We were just "picking nettles", or "finding a mushroom."

My son helping my mother pick nettles in the early 2000's.

Living in and with the forest our parents were busy turning into a home was just "life". We could pick indigenous trailing blackberries from the hillside, invasive Himalayan blackberries from the place Pappa was trying to get them out of the creek, or cultivated boysenberries from Mum's garden. Same difference. They all make good pie, if you don't eat them all before getting them home. And whether they make it home or not, your belly is full with the food, your heart is full of the joy, and your mind is full of knowing every detail of your home. That's a medicine forest. It's a place where everything is living and growing together -- humans included. It's a place you've grown so connected to that just living there heals you from the inside out.

My daughter reading in a tree she knows every inch of.

Somehow through my own teaching and parenting over the years I have come to recognize that, just like the best learning happens when we're inspired by connections to our own experience, the best living happens when we're connected to everything around us. Think of it this way: you care much more about your own backyard than someone else's. You have a lot more interest in your own little potted plant than in the weed at the edge of the pavement, or some tree in a forest far away. So somebody teaching you about a baobab tree might have a bit of a tough job keeping your interest. But what if that tree was yours? My friend went to Africa and really got to know baobab trees - and they became hers. When we connect personally with things, they matter, and mattering strengthens our neural pathways. That's great for learning, but how does this have to do with my medicine forest? Well, this place matters to me. It matters so much that I've spent about thirty years of my life exploring here, both as a child and now with my own nearly-grown children. I know exactly which part of which slope of which creek has the best clay for sculpting, and which part will still have a pool of water and some desperately-hungry trout in August. I know where the elusive white slugs live. I know how berries' flavours change with the weather and with the time of day. This deep understanding of my little wilderness is my connection, and it's why this place is my medicine.

On top of being important to my own health, my experience of exploring this place has made me resourceful and resilient. We all learn more from observing the people around us than from being taught conventionally, and I learned from watching my parents develop this land; their need to be resourceful when we had no electricity, no toilet, or no income. I learned from watching them not just survive here, but keep working even in the face of failure to find joy and wellness in whatever this land and life had to offer. The moss is not my weeping pillow because I'm an idyllic child from a book about fairies; it's my pillow because sometimes I was just plain too sad, as a child, and the moss was what I found to comfort me. My kids don't harvest nettles for brownie points or allowance; they don gloves and harvest them just because that's what we do for Easter. They get stung and they complain at me, but they also delight in testing their brawn by picking them bare-fingered or by eating them raw. They're building resilience, just like I once did. We're in this ecosystem for better and worse and every day that falls in between. Like the plants, we'll thrive or die as part of this, so we're doing our best to thrive.

My kids at fifteen and eighteen processing wild burdock root for tea.

The business of gardening and developing the physical ecosystem is nowhere near as idyllic as I imagine it sounds. There are brutal realities in nature that hurt like hell. Our crops fail, our chickens get sick and I have to put them down; sometimes we fight and resent each other's impact in the ecosystem. Sometimes money is short, time runs out, and family or world tragedy makes us doubt we can succeed. But experiencing these things, feeling them and accepting them is part of the whole picture. My medicine forest is the ecological basket that holds our family, and the love and knowledge we cultivate here, among the weeds and the crops and the chickens, the weather and the water and our own bodies living. When I leave this place, my medicine forest is carried in the knowledge of my body and mind, to nourish and grow with other ecosystems. It's a conscious choice I make to see my surroundings and live in health with them, as a part of them. 

In a monoculture garden, one invasion of a particularly voracious insect can wipe out a whole crop, with nothing remaining to re-seed. The earth itself becomes a barren place, unable to nurture new-fallen seeds without significant help from humans. In a food forest, insects may devour a plant here or there, but the diversity of the community will discourage any one plant or insect from taking over, and thus ensure that enough remains to keep the community thriving. The dead plants along with the dead insects and the droppings of all those who foraged in the forest will feed the earth, ensuring that all the fallen seeds have at least a chance to grow. In fact, the richness of the soil even means the earth will hold more water, making everything thrive more easily.

My parents have asked me how I came to know all these things, and I said "from you", because it was their willingness to let me explore that gave me the gift of knowing my ecosystem. It was their willingness to let me grow my own experimental gardens, and now to rent us a piece of their land and still let me grow my own experimental gardens that gave me the gift of my medicine forest. Sometimes they don't like the look of my unkempt yard, my son's experimental tree fort project, or the weed piles I leave laying around. But they let me and their grandchildren keep living and exploring here, because they're watching the growth of our medicine forest. And sometimes - just once in a long while - we discover things we can teach them, too. Explorative parenting is like that. It's looking at the whole family as a forest instead of one plant seeding another. Our family is like a forest of possibility, where everybody lives in community, exploring and discovering and balancing and sharing, as we all put our roots further and further down, and our branches further and further to the sky.

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Why Art is Essential for Learning

Have you ever seen Saturn's rings? I mean in person? I have. Once when my science-obsessed son was passionate about astronomy (and the technology for studying it!), we went out to share the moment of Saturn's proximity to the earth with some other enthusiasts and an enormous telescope. It took what felt like far too long to set that telescope up - over an hour, as I recall - as I stood with my young kids in the freezing winter field, assuring them over and over again that that one particular bright point of light we could see was, in fact, Saturn. I knew it was. My research on the Internet and some of the other people gathered that night had confirmed it. And I had faith in science to be right. I knew this was an exciting event because everybody told me so. But it was also cold, frustrating, and as the time dragged on, and the thing they said was Saturn kept marching across the sky, ever out of the continually readjusted telescope, I was losing my faith. 

Finally the telescope was properly set up, and we awaited our turns to look. By the time my turn arrived, Saturn had drifted out of view again and the telescope had to be adjusted. Again. Then I looked. It was like someone was showing me a cartoon. There was Saturn with it's rings (I could even see the dark gap between them), and three of its moons clearly visible. I struggled to link the tiny white image I was seeing, which looked so rudimentary, with the immaculate photos and renderings I'd seen in colour in movies and books, and with reality. I looked from the eyepiece of the telescope back up to the point of light in the sky. I looked along the length of the telescope and confirmed that it was, in fact, pointed at that same point of light, and that by all reason I was truly seeing the same point, magnified by a series of lenses. I gazed into the eyepiece, and after a few moments realized that I could see the three-dimensionality of it. I could see a slight shadow from the planet on its own rings. the little logo-like image drifted to the edge of my view again, and I realized that, not only was I looking at a real planet dancing unfathomably far away from our own, but also that our own was slowly turning away in its own different but intrinsically connected part of the dance of our solar system.

I would have said Mind. Blown. But that wasn't a thing yet back then, or my kids weren't old enough to have taught it to me. My previously-limited mind opened in that freezing cold moment, and the solar system became interesting to me. Gravity became interesting to me. Telescopes and people who use them became interesting to me. So much that I had never even wondered about who we are as humans in this beyond-huge infinity of the universe began to preoccupy my thoughts, until I found I looked at earth, and humanity, and my children, and me, differently than I had, before.

Then we all began to freeze in earnest, and we went home to our fires.

Art is like that telescope, that night. It's what brings us to the world and helps us understand it. Art is about learning to see. So often this basic truth goes unnoticed as we imagine that art is for artists; that art is a frivolous pass-time, or that art should take a backseat to more essential activities like learning to read, solving equations, and developing the ability to recite stories from human history. Many of us have heard, by now, that music enhances math education, and that children who learn through music and dance retain information better than those who only learn through verbal instruction. But how often do schools offer visual art as an essential learning tool for all students? We all suffer the consequences of blindness as a result of not learning to see. 

As someone who sees breakthroughs of discovery and understanding on a regular basis when I teach art, I want to take some space to explain, a little. The examples I'm going to talk about aren't the end of the equation; there are so many ways we can learn to see. These are just a few of an infinite variety of ways that our species opens our minds through visual art. I believe very strongly that gaining visual and creative literacy is an essential part of learning and retaining all that information that our culture values so deeply.

Line Drawing

Fundamentally, line-drawing requires a mental translation from an understood three-dimensional concept to a two-dimensional surface. We know what we know more than we are conscious of what we see. Line drawing requires and promotes development of conscious observation. Have you ever seen a child draw a picture of a house with all four sides visible, as if the four walls were unfolded onto the plane? We can't see the back of the house, but the child knows it's there, so draws it. Similarly, they often draw the sky as a blue line, because they understand the concept of there being a sky above, but they don't conceptualize the idea that it's unending, and therefore, in a line-drawing, invisible. All of these things require observation to discover, and training and practice of observation and line-drawing promotes this discovery.

There are so many ways to translate observation into line, from the rather mathematical calculation of perspective to the deep inquiry needed to document tiny things we might otherwise not examine (like the texture of a leaf), to the intuitive, emotional research needed for blind contour drawing of people we know. All of these things allow us to look and see in new ways, and then we take these new ways of seeing into other activities. Learning to draw a street with linear perspective, for example, not only helps us understand observation, relative size, and laws of physics, but also helps us understand the vastness of our world, and opens our eyes to see more consciously when we're out in the world. So in the end it gives us a deeper understanding of everything.

Technical and Psychological Colour Theory
My daughter still talks about the time she learned from her very clever friend at preschool that mixing red and white would make pink. So she tried it, but used red and yellow... and it turned out orange! She was painting a sculpture of broccoli, and decided that while pink would have been an acceptable colour for her broccoli, orange was definitely not. She was three at the time, and at fifteen this memory still comes back to her at regular intervals, because it had a huge impact on her. Not only did she make some discoveries about colour-mixing (technical colour theory), but she also discovered something about which colours jive with the concept of broccoli in her mind (psychological colour theory).

Tie-dyeing is a great experimental colour theory activity.

We are influenced by colour every second of our lives, from the clothing we choose, to the hues emitted by our light bulbs, to the design and advertising of commercial entities. We can grow up blind to this, or we can learn to recognize how we respond to colour and, using this knowledge, make wiser choices. For example, turning on the night screen mode of your devices can have a noticeable impact on your mental and physical health, since the blue light emitted by our screens changes our brain chemistry, affecting our sleep and various body systems. I also just recently discovered that blue light actually triggers our retinas to kill off photoreceptor cells, eventually leading to macular degeneration. Literally, blindness. Light really does have a physical effect on our bodies, and colour is light. Having an understanding of not only how we are affected by colour, but how we can manage it, mix it, and use it in our worlds gives us agency in our own lives and health.

An understanding of colour can open our eyes to the rest of the world, as well. If we start noticing colour in all its capacities in our lives, we notice things we didn't before. As with all of these visual discoveries, we learn to see, consciously.

Three-Dimensional Form
How often do you look at the wall of your house and wonder how it was put together? All the layers, all the varied materials and their unique functions -- do you wonder what kind of insulation is in there, and why? Do you look at a couch or an upholstered chair and wonder what's under the fabric? Do you flip through a hardcover book and then peek down inside the spine to see how it's constructed? I teach bookmaking because it opens our minds to three-dimensional form and material use. Building a hand-bound hardcover book requires a slightly complex series of construction steps, including folding and tearing or cutting pages, sewing them together, creating a sturdy, flexible spine for them with starched cheesecloth and glue, then building a hard cover out of board and paper or fabric, then embellishments, then attaching the book to its cover with perfectly-fitted endpapers. And then suddenly there you are holding a real, honest-to-goodness book, and understanding not only what all the parts are, but why they're there.

Our world is full of constructed objects, and understanding how and why things are built the way they are allows us to see everything more deeply, and also gives us the insight needed to repair and build things, ourselves. Learning how to knit a sweater, construct a pie or a complex cake, fix a bike or cobble a fix on a broken backpack are all essential in the same way: Instead of replacing broken goods, we can repair them; instead of relying on others to provide for us, we can be self-reliant. Understanding how things are made gives us confidence and courage to take charge of our own lives.

Experimentation
I can't write about learning without mentioning how important it is that experimentation is a part of the process. Remember that orange broccoli? My daughter's experimentation in grabbing yellow instead of white, and the consequential discovery that different parts make a different whole, is probably the reason she remembers the incident at all. When somebody tells us something, we may take it or leave it, but there's not much emotional pay-off in just following instructions. There's a huge emotional pay-off in discovering something ourselves!

The other day I took my son's snowboard in to a local ski and board shop, hoping to replace a lost toe ramp. Apparently the bindings are an older model, and the toe ramp is not something we can just order and replace. And no way on earth can I afford new bindings. So this amazing person at North Shore Ski and Board examined the remaining toe ramp on the other binding, disappeared for a few minutes, and came back with some handfuls of padding, boot inserts, and double-sided tape paper. He gleefully experimented for a few minutes with different materials and placements, until he came up with a solution that most closely matched the other toe ramp. Then he started measuring, cutting and gluing, and in less than an hour, total, he had repaired my son's snowboard. He charged me for the parts and time, which was far less than any binding replacement part would have cost, if I had been able to buy one. And then he posted about his awesome customer service on social media, and showed off his handiwork to his boss. His pride was glorious for me to witness.

Like Icarus' experiment, this one didn't go as expected, either. He learned many things, that day!

Art leads to experimentation, and humans need to experiment. It's how we learn and evolve. Trying new things, failing, and trying again is how we learn to keep trying; how we develop resilience and courage and grit. All of the important skills that art gives us are made more accessible through experimentation. It's not enough to teach someone how to draw a street scene with accurate perspective; we need to allow children to make perspective drawing part of their personal experimentation, without criticism, direction, or correction, so that they make discoveries and carry that learning on into the next things they play. We need to give them time and space to make a big mess; to scratch up clay from the creek and see if they can build something of it; to take apart their toys because what's inside is more interesting than what's outside. We need to give them resources and time and encouragement, and then stand back and just allow them to experiment. That is how they will grow up to see the world around them as a great big fascinating opportunity for growth. That is how our children will grow.

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Respect Yourself: Unschooling Reading

On our journey as an unschooling family, the very first struggle we had was with our own presumptions about reading. It seemed like one of the most important parenting tasks we had was to make sure our kids were reading-ready before Kindergarten. According to things I'd read at the time, this amounted to my kid having a firm grasp of the alphabet, and a strong love of looking through books and being read to. This was the bare minimum, since other parents we talked to already had their preschoolers reading short sentences, and studying phonics. The stakes were high.

From age two to four, our son was passionate about reading and language. He spoke clearly and carefully, expressing his feelings and ponderings and discoveries, and when he didn't know how to put these things into words, he drew or described, and requested the correct words for his needs. He trusted us to supply him with whatever new words he needed when he needed them. Without reading a word, in the conventional sense, he "read" to his baby sister every day, as he enthusiastically entertained her with great stories and descriptions of the books he presented her. He sang, too - long story-songs full of angst and emotion. He drew diagrams of his complex inventions, and instructed me to label them for him so I would understand all the important details. Sometimes he tried labeling, himself.

By the time my son was four, I began to worry that all this expression wasn't enough for Kindergarten, and I began tracing my finger along as I read to him, to let him see which words I was reading. My hand got in the way of not only the pictures in the books, but even of the words he was looking at. So I began reading more slowly, and giving him time to look at the picture after. He complained that I was ruining the story. Do you see what's happening, here? Because I didn't. But I do now. This was the long series of moments I stopped respecting my son. I listened to the voice of my own fears instead of his voice. This was the moment that our beautiful story times stopped being about enjoyment of stories and words and togetherness, and began to be a kind of manipulation. He stopped reading to his sister, and read only silently to himself, on the bedroom floor. I knew he was capable of figuring out the words, so I tried to get him to read me some. He refused, so I bought a new book. Jake Bakes a Cake. My son is 17 now and as far as I know he's never read that book. You know why? Because that innocent book was the last straw. After I sat him down with Jake Bakes a Cake, he didn't read another book for nine months.

Nine months later, he was in Kindergarten, fighting his own rebellion against the teacher who wanted him to respond to stories in his journal. I had finally given up completely and decided I'd trust the system to teach him, since I had clearly failed. Then we went on a road trip. Somewhere along the drive from Victoria to Nanaimo, we stopped at an intersection, and our boy whispered tentatively from the back seat: "S -- TA -- AW -- PUH". We waited. "S -- TAW-P". I remember being afraid to carry on driving, but we did. The sign was gone, and in a moment he said, "did that sign say 'stop'?" Well if I know one thing about my son it's that my enthusiasm about his discovery would kill it for him, so I put my hand on my husband's leg, and said "yes", like it didn't matter at all.

By the time we got home he had read a handful of signs, quietly to himself. And then, as we parked outside the bank: "Mama, what does 'par-kinje' mean?" It might sound like I learned to respect him at that point, but I didn't. I still thought we were on the right track to learning to read. I still thought he was measuring up. I failed to see his innate curiosity for what it was, and to nurture it without judgment. I told him that i-n-g makes the sound 'ing', and celebrated quietly when he carefully pronounced 'parking'. I failed to see soon enough that my kid had his own interests, needs and life-path, separate from those arranged for him by me and the school system. But this idea began to grow on me, and we pulled him out of school the next spring. The world of unschooling opened our minds. I began to explore the idea of respecting my kids, in order to foster self-respect in them. My son did grow to love reading again, but I will never know what might have been his life if we'd been a little wiser to begin with.

So I also need to stop judging myself. Self-respect is learned partly by modelling, and unfortunately I'm not a terribly good model for my children. Like every other parent, I am fumbling along, making mistakes and trying to learn from them. Who knows what kind of life we'd have if I'd sent my kids to school? Or if I'd been unschooled, myself? Who knows what would have happened if I had pushed Jake Bakes a Cake on my son, or had shown too much enthusiasm when he read the word 'stop'.

My son now likes to read fiction: sci-fi and a little fantasy. Exciting but not cruel. His spelling is not always accurate, but he uses spell-check when he feels it matters. His writing reads like speech; he uses punctuation so that I hear his voice in it. He's not much into poetry or song lyrics, and although at age nine he read an incredible amount of advanced physics research, he now reads more how-to manuals and science humour. He drops in to read over my shoulder if he hears me laughing. My daughter, who benefited from and earlier start to unschooling, is a voracious and passionate reader and reviewer of youth and historical fiction, and has memorized the scripts of countless musical theatre productions. Interestingly, she was also into advanced books at age nine, reading as much as she could from Charles Eisenstein's Sacred Economics because she fervently wanted to create a free economy. But eventually that interest waned, and now she spends almost as much time reading and writing SIMS manuals as she does writing her first novel. Her spelling is usually immaculate, but she hates ending sentences, and often forgets to put a period at the end of a paragraph. My kids are individuals, like we all are, using reading like the simple tool it is in whatever way suits their needs.

Reading is as individual a pursuit as wearing clothes. Society expects us to do it most of the time, and there will be people critical of our choices no matter what we do, but how we enjoy it is entirely up to us. Today I am respecting myself by wearing pajama bottoms and my partner's sweater. Tomorrow I'll dress up fancy for going to town. Sometimes I like to wear black with band t-shirts and sometimes I like to wear multiple big flowery skirts. Sometimes I wear those things together, and I really really hate blazers. Some days I'm a novelist and some days I'm a poet. Some days I write about parenting.

Reading is something that happens to us, because it's all around us. As long as our kids live in a world full of written words, they'll learn to read. The more we can foster self-respect in them, the more they will be empowered to make sound choices about what, when, and how they want to use this tool. The more we respect those choices, the better they will become at making them.

(A little something to remind us of summer.....)
The Novelist and the Poet go for lunch
Novelist : ​I want them to turn the pages.

Poet : ​I want them to linger.
Novelist: ​That’s not a good plot.
Poet: ​There is no plot.
Novelist: ​How interesting is that?
Poet: ​ It's all about what's happening now.
Novelist ​: But where does it go?
Poet​: Here.
Novelist:​ What is here?
Poet:​ Everything.
Novelist: ​ I can't follow.
Poet: ​ Just be here and listen
Novelist :​ To what?
Poet : ​ The stone in the rain. The walls of the house. The bridge in the dark.
Everything has something to say.
Novelist: ​What does the bridge say?
Poet : ​Don't jump.
Novelist:​ The bridge has no voice. The readers don't want fairy tales.
Poet : ​The bridge has many disguises.
Novelist :​ There was a bridge and thousands of cars drove over it and once in awhile someone jumped from it and died. An old story.
Poet: ​Some bridges transport cars. Some connect souls. Others fill in the gaps. Some rise out of the mist.
Novelist: ​ Why mention the mist?
Poet: ​Because visibility was limited.
Novelist: ​Is that why she jumped?
Poet: ​That's why she waited.
Novelist: ​ This is too slow.
Poet: ​I want them to know her.
Novelist: ​All they want to know is whether she jumped or not.
Poet:​ Maybe they want the real story.
Novelist: ​ That's what I have been saying. They want to know if she jumped. They don't want to hear her musings on the mist.
Poet : ​ Maybe they want to know what stopped her from jumping.
Novelist :​ Someone comes along and saves her?
Poet: ​Maybe she remembers something.
Novelist: ​That it's a long way down and the water is cold?
Poet: ​She remembers summer
Novelist: ​ This isn’t going anywhere.
Poet: ​ Butterflies, dragonflies, fireflies, hummingbirds, robins' eggs,
bare feet on fresh cut grass, sweet corn, peaches, plums.
Novelist: ​All those things might make the reader just close the book and go outside and play in the sun and not bother reading to the end
Poet: Yes.

used with permission from:
lisa shatzky
from The Bells that Ring,
published by Black Moss Press, 2017

 ~ ~ ~

 *Hello! If you're new here, this is my unschooling blog. Eighteen years ago, just before my first baby was born, I'd never heard of unschooling, and hadn't given my kids' education any thought. Now that we've traveled a few meandering paths, and have two children who have made very different life and education choices, I'm writing a little series about some of the things we've worried about, struggled with and overcome, on this journey. This isn't intended as advice because, as we've learned most assuredly, one person's experience cannot ever be another's. But if you're a new unschooler or unschooling parent, I hope to reassure you. In many ways, unschooling is just like schooling: We're all different, and most of us manage to find our ways through whichever systems we choose, especially when we listen to our (or our kids') hearts, and respect ourselves. This series is called Respect Yourself - it's as much about respecting ourselves as parents as it is about giving our children the space to respect themselves.*

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Exploring to Learn About Diversity, and Why It Matters

Found: A decomposing, rat-chewed deer vertebra.

This morning my fabulous group of Wild Art kids and I lay on the forest floor with our heads in the dried leaves, looking up at the canopy of deep, dark, low-branched cedars and verdant freshly-leaved maples, their moss and fern-covered trunks reaching down to the ground beside us. The diversity of greens was shocking. Even the leaves of one maple were a very different green than those of the next. We talked about the diversity of bird sounds we could hear, the sounds of the different sorts of leaves rustling both under us and in the distance. We talked about the dark brown, cone-covered branch hung up in the cedar above us, and one of the kids waxed nearly poetic about the balance of dead and decomposing things with the fresh and living things, the balance of different shapes all around, and even the balance of humans in nature, since mostly we now find ourselves not there.

We agreed that balance is pretty important. And the more diversity we have, the more balance. Diversity and balance are essential for all communities, human and wilderness. And the understanding of this diversity is essential for engaging with the world.

This past weekend I attended a rhododendron symposium in Washington, where a majority of attendees were grey-haired, and one of the burning questions was how to engage younger people in the study and love of rhododendrons. Well, of course it's not just rhododendrons, as various people pointed out - it's wilderness in general. But rhodos are one way to look at the wilderness, and humans need to be connecting more with the wilderness. Rhododendrons, mostly recognized as those car-sized, shiny-leaved, blossom-covered shrubs often lining suburban driveways, don't exactly scream wilderness as they beckon weakly from the garden aisles of Costco and Walmart. But did you know that plants of the rhododendron genus occur in the wild on nearly every continent, from cold alpine climates to temperate lowlands to tropical forests? They grow in swamps, on rocks, on stumps and even in the tree canopy. Did you know that these shrubs can be as big as castles or as small as a football? They include species with leaves as big as serving platters, and as small as your thumbnail, blossoms of all colours and many different shapes, and some are evergreen while others are deciduous. We have a few wild species here in my own ecosystem, and one of those, Labrador Tea, is harvested from the swamps for human consumption. I drink Labrador Tea. It's delicious.

There is quite possibly some kind of rhododendron participating in your ecosystem too, just as there are likely many species of grass, trees, moss, lichen, fungi, mammals, and insects. If you go out in the woods, today, you will find diversity.

My point is this: The great diverse world of rhododendrons is one of millions of interconnected pieces of our complex world that thrives because it is complex. Each individual rhodo species or plant, in its own natural community, is an integral participant in the livelihood of everyone. The diversity of human culture is important, too. Each of us contributes in a unique way to our greater community, creating a balance that keeps us more generally prosperous. It is not enough to write this in textbooks for biology students, or to depend on a few grey-haired plant-enthusiasts to champion the diversity of each species. We all need to champion diversity in general, and to celebrate and nurture it in every part of our lives.

If we don't take our children into the wilderness and allow them to play, how will they know - I mean innately, deeply know - that diversity is essential for life? In the wilderness, diversity is what ensures the cycle of life. A rat chewed the deer vertebra in the photo above, nourishing itself with essential minerals and introducing those and others back into the available substrate when it pooped, so that tasty maple cotyledons now shoot up all over the place, are eaten by a nursing doe, passed to its offspring by lactation, and thus the minerals of that bone become part of the next generation of deer. Nobody told me this; I surmised it from a lifetime of exploring and asking questions and being engaged. You don't have to tell your children this. They don't need to read about this cycle in a text book to understand it. They need to crawl around in the underbrush of the forest and find the bones with their own grubby hands, feeling the marks made by the rat's incisors all along the edges. They need to get curious and go looking for the rest of the bones.

As the earth's biodiversity succumbs to climate and habitat destruction, there are people trying to preserve the diversity of rhododendrons for the world. These hardy explorers traverse mountain ridges and river valleys, picking their way through a still-surprising diversity of life and weather conditions, to discover wild rhodos and bring a few seeds back to raise, at home. They observe and document the diversity of life that exists where the seeds came from, and create similar diversity in urban gardens, so that one day when we stop razing the world's forests, perhaps some of this diversity will be retrievable. There are people doing similar preservation work for thousands of genuses and ecosystems all over the world. The reason the room full of grey-haired rhododendron enthusiasts is so eager to engage future generations is because they know the importance of the preservation of diversity for all species.

This is why exploration is important - because in exploring, we discover real diversity, on a scale that no textbook, biology professor, or nature documentary can show us. We know by the dirt under our fingernails that we are a part of this. In a time when the earth's biodiversity is severely threatened, we can immerse ourselves in it, engage with it and know it, literally from the ground up. Then when we get on a city bus we can look at the great diversity of people around us, the great diversity of ideas and emotions and physical attributes, smells and even microbiomes, and we can feel comfortable in knowing that these are important parts of our ecosystem, too.

No matter where we look in the world, diversity means innovation from diverse sources and evolution in many directions, and therefore more likelihood of success and survival, overall. Diversity matters in wilderness ecosystems as well as in our intestinal bacterial populations, boardrooms, classrooms, and human technological progress. Let's give our kids the opportunity to be and value and preserve that diversity.

Further Reading:
May 21 is World Cultural Diversity Day!
Rhododendron Species
The Catalogue of Life! 

Why the Best Learning Looks Like Play

My fourteen-year-old daughter is spending today doing and creating crossword puzzles, playing Sims, and rehearsing for her current role as Ginny in A Very Potter Musical. I asked her to tell me about a time she remembers play that was especially wonderful, or meaningful to her.

"What do you mean?" She asked me. "I'm always playing!"

Far from being the useful answer I hoped for that would help me frame this article, her answer helped me rewrite it. My fourteen-year-old unschooler is an accomplished writer, actor, and student, as well as one of the most diligent workers I know. She always keeps her goals and commitments in mind, runs her social and academic lives like tight ships, and yet feels like she has spent her life always playing.

My daughter is living the dream I dreamed for her, and yet the simplicity of it took me by surprise.

“This is the real secret of life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realize it is play.”                           ~Alan Watts

I've been writing about the beautiful learning that my own kids and the kids I work with stumble upon while playing for a very long time, but every day I still run into my own judgments about what comprises valuable activity. This is the way with most of us, I think, who unwittingly (or otherwise) subscribe to the notion that drudgery makes us valuable. But it doesn't. It just makes us drudge.

Play is the word we use for something that we joyfully engage in. Work is often used to represent the opposite. What happens when, instead of teaching our children that hard work pays off with more time for play, we teach them that play is the way to engage with life. We teach them that they have to do some chores, and they have the power to make the chores fun. We join them in the chores because it's a happy way to engage socially. We teach them by example that we are constantly learning. We allow them to see our fascination at whatever we observe happening during the day, we talk to them openly about our wonderings and explorations and the things we've discovered by simply looking up that new word we heard or researching whether we can eat that berry growing in the park. Not only does this demonstrate a healthy way to learn through play, but it turns the job of parenting into joyful engagement... and that's play.

photo by my fabulous brother and teacher, Adrian van Lidth de Jeude, who knows the value of play

"But", says my own father, "at some point you have to stop playing and get to work." As a culture we've convinced ourselves that in order to be of value we have to struggle. I'm going to suggest we throw that away. Just chuck it out. Life has enough inherent struggles, and we're going to learn from every one of them. We don't need to set ourselves (or our children!) up for planned struggling. It doesn't make us more valuable; it just makes us less willing. Nobody went into a parenting or marital or personal crisis on purpose, and yet those crises happen and they make us who we are. They give us the passion we need to pick up and go again - only wiser.

Passion. That's what we need. There's passion in having a fun idea in the middle of the night and getting up to make it happen. There's passion to be found in discovering a new recipe or a new unsolved mystery or a new insect on the wall. There's passion to be had in taking any of the hundreds of experiences of our day and allowing it to inspire us. And that's what some of the best learning looks like: Passionate play.

Maybe it sounds pompous of me to call anything the best learning, but I'm not backing down, there. For decades, now, research has been showing the massive value of play-based learning for people of all ages but especially for children and youth. Some excellent schools have been putting it into practice for a long time, and many businesses are following suit, as companies encourage their employees to both explore their own passions and share their pursuits with the team. In these cases students and employees are encouraged to play; encouraged to explore, and the result is empowered, passionate learners. The result is better teams; better learning; better work.

I live in British Columbia, where the Ministry of Education has rejigged the provincial curriculum to focus on core competencies and other broad ideas that create opportunities for empowered, self-directed, explorative learning. It is taking a while to reach the goals of the new curriculum, but we're on our way. Maybe in twenty years we'll have a whole generation of young adults who have learned through playing all their lives, and go on to build inspired, engaging careers based on curiosity, learning, and enthusiasm. No matter what we're doing, may we always be playing.
...
Some resources for further reading:
The Conversation: Play-Based Learning for Success at School

Province of BC: Benefits of Play-Based Learning

BBC: Could subjects soon be a thing of the past in Finland?

 

 

 

 

 

 

 

 

 

 

Supplies and Practice of Open-Ended Art Exploration

 

When I was in high school there was a poster on the door of my art classroom that displayed the then-ubiquitous 3 R's (Reading, wRiting, and 'Rithmatic) along with a 4th: aRt. I think Mrs Sunday never knew how much that poster influenced my life. In grade twelve I spent nearly every lunch hour in the corner of the art room, using up her acrylic supply for finger-painting, and paint-squirting. To her enormous credit, she let me do it. I still do it, and I encourage everyone to do it - to get as messy and unexpectedly creative as possible with whatever supplies they're given.

I've spent a lot of time on this blog talking about explorative wilderness play, but am often asked about "real" art supplies, and what kinds of simple art projects are good for various situations, and I feel like it's time I give a nice solid answer to that.

First, let me be clear: The best way to learn art is by exploration. Art is also a wonderful explorative activity for learning everything else. The Council of Ministers of Education, Canada (2012) states the following:

"The benefits of play are recognized by the scientific community. There is now evidence that neural pathways in children’s brains are influenced and advanced in their development through exploration, thinking skills, problem solving, and language expression that occur during play.

"Research also demonstrates that play-based learning leads to greater social, emotional, and academic success. Based on such evidence, ministers of education endorse a sustainable pedagogy for the future that does not separate play from learning but brings them together to promote creativity in future generations. In fact, play is considered to be so essential to healthy development that the United Nations has recognized it as a specific right for all children."

So all those wonderful prescriptive art projects where you know the outcome before you begin, and the process of creation means following instructions? Those awesome craft kits that come with the pictures of what it will look like when you're done? They're junk. Throw them away. Or at the very least, get rid of the packaging and present the included materials with no expectations or directions and let the kids do whatever they want with them. Yes little ones might eat the crayons. So make sure they're non-toxic. Older kids might also melt them to make candles or wax prints or just to see how cool the melted colours are when pouring them around. Awesome! All of these things are actually done by professional artists all the time, so it's not even a stretch of the imagination to see their value. In fact, a stretch of the imagination is exactly where the value is to be found - because that is where the learning is. When I apply for an art grant for my own artistic practice, it always includes funding for "research"... which in the art world means experimentation and playing with material, form, and method.

It's important to think about how the presentation of the materials influences the way we use them. My father used to own a toy store, and supplied the Waldorf school in North Vancouver with the wonderful beeswax block crayons they use. He always had a lot of blacks left over, because they don't use those in their program. How does a child's thought-process change if they are never presented with the option to colour with black? We can't know for sure, but I am positive there are some interesting associations, there. I give me children all the colours. But do I always present them in rainbow-gradient? No. And amazingly, the kids end up sorting them themselves, into a myriad of different patterns, either because the sorting itself is fun, or because it's useful for whatever they're doing with the crayons. This, too, is an important part of their learning. It's how they familiarize themselves with the materials they're using, and with the colours they're working with.

Now for some material suggestions. I'm going to go most often with the cheapest alternatives, because we live in a disastrously consumerist society, and none of us needs to be buying new materials when they're not essential. Even on a tight budget you can get a load of materials at huge stores, but you don't need to. Going with unexpected chance finds from the local thrift shop, recycling depot, or other people's refuse not only saves money but also opens all sorts of new avenues for experimentation and problem-solving that will teach your kids more than a pristine new package from a store will.

Art-making space: Whatever your circumstances, just make sure you provide a large area where mess-making is acceptable and clean-up is easy. A large table is great but if you don't have one, or don't have suitable chairs, a corner of washable floor can be great too. Outside, a sheet of plywood on the ground suffices. I've done this often. Cover the space with a heavy paper that can be used for mess-making, drawing, or notes, and replaced when necessary. You can also cover it with a heavy plastic table-cloth, but glues and acrylics will eventually make the plastic lumpy, so I still recommend the paper-cover on top to make cleanup easier. 

But... don't keep art confined to this space. Take it to the kitchen. Bake cookies and cakes and decorate those; fill the sink with water and drip paints in or use the surface for oil-resist prints. Take art outside. Do tie-dyeing or papier mache there. Paint the lawn; paint your car or bicycle or front door. My uncle once gave his young children house paints and had them hand- and foot-print the front entry room. Decades later, their beautiful creative creation is still the welcome that guests first receive. Make everywhere art space.

An Easel: Not only does it give a new perspective to have your workspace upright, but dripping paint is wonderful, and should be encouraged. However, you don't have to go get an expensive easel. A stable propped board will do, as will an old sandwich board on a table. The best accessory for your easel, though, is a pair (or more) of large bulldog clips to hold paper in place.


Storage: If you want to have a beautiful art corner, you still can, even if it's not colour-coordinated or tidy. A bunch of large bins and a very few smaller ones will do well, or similarly a chest of drawers. We do have a great art-storage carousel that has been in use in our house for many years, holding an assortment of whatever the currently-most-used supplies are. This makes a greater number of supplies more easily accessible to various people seated at a table, and a handy place to put them away quickly. But it's not essential. A bunch of materials rolling around the table can actually inspire new ideas.

Some kind of drying rack is a great idea. We never had space for one, but the end of our dining room table was usually used for drying. Still, if you have space, old oven racks or baking racks can be a great thing to have in your art area. A permanent set of wire-rack shelves is amazing.

Paper: It really doesn't matter what you have - just have some. Preferably lots. We commonly have whatever papers people have passed on to us, including old letterheads, those old perforated printer-papers, construction and manila papers, some old used sketchbooks that people threw away with 80% of their pages still unused, and various types of white and coloured printer papers. I also supply my kids with the seemingly endless supply of graph-paper which they love. No papers have specific intentions. It's OK with me if fancy sketchbook papers get used for note-taking or construction or torn-up little shreds of I-don't-know-what, or even crumpling into balls and called 'cat toys'. Getting the paper second-hand helps me let go of my own hang-ups about 'intended use' and 'value', which gives the kids a broader explorative environment, and greater learning opportunities.

Cardboard: You could go all out and have some gigantic boxes for construction experimentation (my kids have built cars, rocket-ships, stores and villages, and most recently, as teens, a vending machine which they took into public for entertainment). But at the very least you should have some old boxes or scraps around in case construction starts happening. I hope it does!

Cutting Devices: Good scissors, appropriately sized for the people using them. An exacto knife. Obviously not for young ones, but you might have one handy to help out with big cuts. And a serrated bread knife! This has been very helpful to us for cutting cardboard, especially. Also never underestimate the usefulness of a good hole-pucher, and things like skewers for poking holes in cardboard.

String, ribbon, and other tying materials: Especially for constructing with cardboard, but also comes in handy for making books and all manner of other things. You never know when this will be just the thing you need in the moment!

If you're going to get a stapler, get a fabulous one like this that can reach into very big projects. 
And take a look at this Stockmar box from my childhood. The box has been replenished piece by piece over the years, and the crayons have been chewed and used by multiple generations.

Mark-Making: It's important not to narrow our kids' ideas of what constitutes a proper mark. So much is lost to a narrow mind! So provide lots of different options, and let the kids mix them up. You might want to keep some expensive felt-pens out of the acrylics, just to keep them in working condition, but experimental mixing of media in general is a highly educational activity, so do it! You don't need all of these but at least have many.

• chisel-tipped pens - for older kids sharpies are awesome.
• a great assortment of colourful felt-pens. Those cute stubby pens are a huge waste of plastic, though, since they run out frustratingly quickly and have to be thrown away. Tip: Store felt and ink pens tip-down, which means they last longer before drying out.
• pencil crayons (as they are worn down they make many different types of marks)
• wax crayons. Lots - and be prepared to see them very, very broken.
• those Stockmar beeswax block crayons I mentioned earlier.
• paint pucks that fit into a plastic tray - when you don't have time to get out the bottled paints, or just for watery experimentation, these are a wonderful thing to have available.
• bottles of tempera or acrylic paints that you can squirt out small amounts of for open-ended free painting (tempera is great for younger kids who might ingest it, but acrylic is great for the ability to paint on many surfaces).
• brushes! The best in my experience are natural stiff-bristle brushes, flat or chisel-shaped, because they give more opportunity for a variety of marks than round ones do, but others can be fun too.
• pencils, erasers, and fine black markers. 
• something smudgy like chalk or oil pastels. Sidewalk chalk can be used inside and chalkboard chalk can be used outside.

Glue sticks: Glue gets two sections because you need both. We always have a few glue sticks around, as they're the best way to stick papers together without soaking or wrinkling them. I recommend acid-free strong-hold glue-sticks. Don't bother with those silly school-glue types. They often don't hold.

White glue: While basic white glue will work for many applications, such as stiffening fabrics, gluing together cardboards, fabrics and layers of paper, we keep a bottle of Weldbond universal adhesive around because it glues almost everything! That's a great advantage when you're mixing up sometimes unexpected materials.


Fabric scraps and found materials: Without getting into the wonderful worlds of sewing and yarn arts, fabric itself is indispensable as an explorative material. With a bin of such materials for free creativity and exploration, you can create costumes, forts, decorations for those cardboard constructions, head-dresses, jewelry, dolls, doll-clothes, and really an endless list of delights. Have a bin of scrap fabric! And to this add found materials like plastic, corks, sticks, wires, etc. You never know what random things will be fabulous. Discarded CD's and cutlery for example. You just never know.

Something to squish and build with: A great block of clay and a big clay board to work on is awesome. That would be my favourite, although to be honest I didn't often have it on hand for my kids. We mostly used natural clay from the creek outside, and mud. Of course there are plenty of polymer clays available and while they're fun for building with, I don't personally like the environmental burden they bear (wanton use of plastics that end up in the garbage). I'm not really suggesting slime, either, because while slime-making and playing is a fine explorative activity, and fun, I think we get so much more mileage out of materials that stay put when shaped. A biodegradable glue mixed with sawdust or ground/shredded newspaper, by the way, is a pretty cool modelling material. So is salt dough, and gingerbread, if you want to eat your creation. One brand name product my kids did love and use for a long time was Stockmar modelling beeswax (no I'm not paid by Stockmar; they just make a few really fabulous products!).

***

So you see, the main thing is to have a fabulously free space and some stuff to play with there. Get messy. Play with the kids (or teens or adults!). They will learn a huge amount from watching what you do, so make sure you're exploring and have no idea what your outcome will be. This will help them learn to do the same, and together you'll make wonderful discoveries.

Explorative Learning

I sit down with a new group of kids, their wide eyes looking up at me, waiting to see what we'll be doing for the day. It sounds idyllic, but it's not. As a teacher, this is my greatest challenge: to spark genuine curiosity in kids and adults who have lost theirs.

The first thing I'm going to do with these kids will shake them up entirely. I'm going to ask them what they'd like to do. "Well what is there to do?" They'll ask me. And I'll tell them there is everything. I'll tell them about all the fun resources we have, that we can go anywhere we can get to, do anything we would like to do, and that I'll support their adventures with materials, enthusiasm, and information as well as I can, as long as everybody remains safe and happy. They will look at me blankly. They won't even get up and look around. They won't know what to do with this information, and will start exploring the boundaries of the new idea. "But teacher, I thought we're going to learn about the environment." "My Mom said don't get my raincoat dirty." Etcetera. It's going to take a few days of freedom for these kids to simply understand that they have free will. It will take many more days of experimenting, boundary-pushing, accidents and tentative steps outside of their comfort zones for these kids to start doing the most natural thing for children to do: explore.

Exploration is how learning happens. It's how a baby learns to take its first steps, to eat, and to speak. It's how an artist, scientist or inventor develops anything new. Even when we've been taught the facts, we don't truly understand them until we've tested them. Exploration is how we develop as individuals and as a species, and we literally can't live without it. And so much of the way we're teaching, parenting, and entertaining our children is killing their ability to explore. We're crippling our children.

As Neil deGrasse Tyson points out in this fabulous lecture, kids are born scientists, and the first thing we do as they start wreaking havoc with their scientific exploration is to stop them, because the chaos is inconvenient for us. He also says "we don't have enough parents who understand or know how to value the inquisitive nature of their own kids, because they want to keep order in their households."

Well we parents were kids once, too. We were kids whose parents told us not to get our clothes dirty and frowned on us destroying the crayons, whose teachers reprimanded us for drawing in our workbooks, re-configuring the scissors, or for staring out the window at the leaves falling. We were kids whose curiosity was crushed and crushed and crumpled into tiny boxes so that now we find it satisfying to see things work the way they are supposed to work. And we haul our kids off the playgrounds and stuff them into cute little chairs with perfectly ordered science experiments just waiting for them, so we hope they'll excel at physics although we just denied them the greatest physics and social experiment of the day: the playground.

Our kids will grow up to watch flat earth conspiracy videos on YouTube because they learned really early that science is for people who sit in chairs and follow instructions and intrinsically they knew that was wrong, so they lost faith in science. They lost faith in themselves as scientists, because we did. We didn't celebrate their efforts to run so fast they disappeared; we told them it was impossible. We told them scientists could prove them wrong. We held science up as an impenetrable wall to stop their exploration, and we killed science in our children. Then, because their learning wasn't recognized, they lost faith in themselves as learners; as explorers; as intelligent. They lost faith in themselves. This has been going on for generations, and when are we going to wake up?

Our job as parents and teachers isn't to provide facts and order and schooling. Our job is to not have all the answers, but to just be busy exploring, ourselves. Our job is to let our kids find the answers we didn't even know existed. Our job, as Neil deGrasse Tyson also says, is to get out of our kids' way. We can, in fact, follow our children's curiosity and begin to break this terrible downward spiral our society is careening along.

It's going to take some patience, because exploration takes time. It's going to take patience, because exploration is messy. There won't be any time for classes and tutors and homework. Only life. And it's going to be one hell of a disorderly life. But an interesting one. And a rewarding one.

My eight year old daughter eating a bowl of cornflakes, pepperoni, snap peas, milk and lemon juice. It apparently tasted too awful for a second bite. A waste of food, which I would have attempted to avert, had I realized what she was concocting, but a self-directed experiment she learned a lot from, and never forgot. She is a wonderful cook!

Unschoolers, life-learners, de-schoolers and democratic educators are going there. Not fast enough, but it's happening. I can't wait to see where we go from here!

Unschooling Music

unschooling music by playing his own way

I come from music, through my mother. When I was little, music was how we lived. I knew how she was feeling by what song she was singing, or what record was in the player. We had to sing on road trips to keep her awake, and some of my earliest memories are of sitting on the floor surrounded by her and other musicians. She gave me music in everything.

So there was never any question my kids would have music. But how they had music has changed many times over the years and, like so many things, I've failed them many times along the way. Unschooling (like parenting; life) is a journey of failures and discoveries that ultimately lead to the rest of our lives. I thought I would share some of our music journey, in case it is encouraging to someone just hovering on a precipice of this crazy trip.

When my kids were little they were surrounded with music all the time, through recordings, through my constant playtime singing, through the songs I sang while I worked in the house and they were busy in another room, and through the many parties and group music events we attended with other folk musicians. Playing, dancing, or drawing in a room full of music was their happy place. This was our life and, although it isn't anymore, it was a wonderful foundation. No lessons, no expectations, just music, everywhere. We weren't even doing it for the kids - it was just our life, which meant, most importantly, that their everyday lives included watching their own parents engaging with music, and they learned how to do it. For that handful of years, I think we got it right.

There's plenty of evidence for the benefits of singing with babies. We even acknowledge the benefits of song and dance for young children, but sometime after our kids leave preschool, many of us begin to lose sight of the importance of music. As our kids get older and we become more and more concerned with their academic futures, music often becomes a skill to be taught in a regimented way, with little or no value given to the actual playing of music. After all, we say we play music; we don't work it. Music is meant to be played, and play is fun. Worse still, music sometimes becomes a leisure activity, and given little value in our school and life-plans. The older our kids get, the more music becomes either a leisure-only activity, or a structured academic pursuit. I destroyed music by allowing this to happen in my home.

My son loved violin. I mean he LOVED violin. He seemed to arrive in the world pre-programmed to desire a violin and to make beautiful sounds come out of it. So, his loving grandmother (the one who brought music into our family) bought him a violin, and also tried to teach him - with all the adoring love of a grandmother giving her own greatest love to her first grandchild. Somebody putting tape markers on his violin was the first offense - no matter how well-intentioned and lovingly it was done. The series of amazingly thoughtful and ridiculously talented and inspiring teachers he then had for violin and cello were the last straw. And I have to say - we chose teachers who truly taught to our son's wild and stringent standards of freedom and inspired genius. He adored them. He thought they were the coolest people in the world. However, he lost interest in stringed instruments.

Our daughter decided she wanted to become a singer, and took up the guitar. She took voice and guitar lessons with teachers who similarly listened to her desires and tailored their lessons to her own measured and regimented but highly alternative style. She had excellent teachers, and she learned a lot from them. But she also eventually declared her own independence, and quit her voice lessons. The thing about unschooling is, kids always have the right to quit. And mine take this very seriously.

Amazingly, although we apparently failed at providing music instruction, both of our kids still make music. My son plays accordion (the one instrument nobody tried to teach him), and has on occasion gone busking in the city. My daughter is still working on her dream of becoming a singer, performing in musicals regularly, and developing a fledgling YouTube presence. But it's not these public pursuits that give me hope. It's the quiet moments while they're working on puzzles and humming to themselves, or cleaning the kitchen while singing an extremely loud improv session, together. It's the way that when they play, music seems to work its way in. It's the way that their very best friends are happy to sit down and make music with them; that when we drive in the car, they sing. We sometimes speak in lyrics. It's not because I know these experiences are beneficial that I encourage them, it's because they make me happy. I was raised in a home where music was the expression of our lives. I hope my grandchildren will say the same thing.