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Ga Ga

Ga Ga

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舅媽說

2006年02月19日
公開

舅媽是專業小提琴老師 長期work with小朋友 對於觀察小朋友很有一套 因為每一個上門求教的family 舅媽都會做一些assessment 來確定小朋友是不是已經ready 不論是領悟能力上, 心智成熟度上或是身體各部位的控制上 一樣都不可缺少 別看平常舅媽大而化之巴辣辣的個性 一拿起她的小提琴氣質馬上就回來了 而且一看就是個嚴格的老師 (大嫂看到別打我^^) 上次去Portland玩的時候懌恆看過舅媽教小朋友拉小提琴之後 懌恆就一直念念不忘 常常都會提起~舅媽教哥哥'玩'小提琴~呢 這兩天舅媽跟懌恆相處下來 一直說懌恆怎麼比X’mas時見面又長大了這麼多 而且他講話和思維的方式也已經很成熟 甚至有大小孩的風範 最重要的是他open to learn和willing to cooperate的個性 舅媽建議媽咪可以多帶懌恆去上一些幼兒課程來激發他的潛能 讓他能在玩樂中受益無窮 畢竟這階段的幼兒課程都是以玩樂為主 跟給予壓力是不可混為一談的 其實 媽咪何嘗不想呢 只是大部分媽咪想帶懌恆去上的課 (gymnastic, creative dance, music etc.) 都是在weekday才有 週末的選擇是少之又少的 這方面媽咪一直很懊惱 因為身為working mom 實在沒有辦法帶著他去上這個參加那個 所以只好努力物色適合的preschool或是daycare讓懌恆去 讓他在有人代替媽咪照顧他日常生活之餘 又能有良好的學習環境 曾經和一位跟媽咪一樣是職業婦女又有相似育兒理念的朋友 聊起彼此在這件事上偶爾的無力感 友人給了我貼心的鼓勵~ “….其 實 我 非 常 了 解 那 種 孩 子 超 過 兩 歲 在 保 母 家 亂 混 開 始 顯 出 無 聊 的 感 覺 因 此 我 們 做 家 長 的 就 開 始 覺 得 應 該 為 孩 子 找 個 比 較 有 刺 激 和 挑 戰 性 的 環 境 我 很 贊 成 妳 這 麼 做 因 為 我 們 自 己 的 孩 子 感 覺 怎 麼 樣 我 們 當 父 母 的 最 清 楚 快 樂 不 快 樂 ﹐ 無 聊 不 無 聊 等 等 的 我 也 相 信 孩 子 多 出 去 外 面 看 看 其 實 是 很 不 錯 的 。 …. 有 些 媽 咪 一 直 覺 得 我 太 早 把 孩 子 送 出 去 上 學 和 學 這 學 那 的 了 好 像 太 小 太 早 就 開 始 push 孩 子 學 習 她 們 的 想 法 是 恐 怕 會 提 早 磨 光 孩 子 對 學 習 的 興 趣 由 於 大 家 看 法 和 經 驗 有 點 不 一 樣 有 的 媽 媽 從 未 送 孩 子 出 去 過 因 此 可 能 無 法 了 解 我 們 所 說 的 那 種 受 限 感 ….. 我 個 人 覺 得 那 種 孩 子 對 環 境 開 始 覺 得 無 聊 受 限 是 跟 孩 子 的 學 習 興 趣 被 磨 光 是 不 一 樣 的 正 是 因 為 孩 子 有 精 力 喜 歡 學 習 喜 歡 擁 抱 這 世 上 的 各 種 事 物 他 們 才 會 開 始 對 成 日 不 變 的 事 開 始 感 到 無 聊 疲 憊 我 覺 得 我 們 又 不 是 那 種 給 孩 子 壓 力 開 始 要 孩 子 認 字 算 數 等 逼 得 孩 子 沒 有 童 年 的 父 母 因 此 對 我 來 說 我 並 不 覺 得 提 早 送 孩 子 上 學 是 剝 奪 了 孩 子 的 童 年 只 是 因 為 既 然 我 無 法 親 自 陪 伴 孩 子 身 邊 帶 她 去 探 索 各 種 事 物 學 校 正 好 提 供 孩 子 探 索 各 種 事 物 的 機 會 因 為 那 些 多 餘 的 精 力 不 疏 導 很 容 易 會 發 展 成 其 他 我 們 不 想 要 的 東 西 比 如 侵 略 性 這 類 的 孩 子 也 才 容 易 變 得 油 條 ….” 朋友的這段話 尤其是其中這一段~ ‘正 是 因 為 孩 子 有 精 力 喜 歡 學 習 喜 歡 擁 抱 這 世 上 的 各 種 事 物 他 們 才 會 開 始 對 成 日 不 變 的 事 開 始 感 到 無 聊 疲 憊…’ 真是讓媽咪引起共鳴 正因為懌恆就是這樣的孩子 喜歡學習 喜歡擁抱這世上的各種事物 他是一個這樣熱情 有著滿腔熱忱去接觸人事物 這樣一個forward的孩子 我這個當媽的 又怎可不努力幫他拓廣他的世界來accommodate他的熱情! 至於現在 在還沒有找到適合的學校之前 媽咪會在週末多帶懌恆去參加一些不同的活動 慶幸懌恆是這樣一個highly adaptable的小朋友 而他無限的熱情跟精力反到過來push媽咪呢 讓媽咪每個週末帶他到處去玩也玩得起勁啊! _________________________________________________________

Kindermusik Our Time

2006年02月18日
公開

自從媽咪開始上班後就沒有再帶懌恆去上過課了 因為週末總是有活動到處去 但是近來生活比較固定 也比較沒有到除爬爬走 所以想要帶懌恆去上一些fun class 正好有個朋友介紹有關Kindermusik的program 上去他們的網站看看 覺得似乎很有趣 就給懌恆報了一堂trial class 一進到教室 雖然懌恆是visitor學生 但是他一點也不怕生 馬上就進入狀況跟著大家一起唱歌跳舞 而且即使唱的歌全部都是懌恆沒唱過的 他都可以跟著學著唱 老師做麼動作他就做什麼動作 說故事的時候他還自己跑到老師旁邊坐下來 然後幫老師說的故事配音 (老師說的是choo choo train的故事 他就在旁邊幫忙喊choo choo) 課後媽咪大致上跟老師聊了一下 老師說雖然懌恆是外來生 但是卻是今天表現最好的一個喔 因為他最不害羞(@_@) 最活潑 又會跟著唱歌跳舞 有很多這個年齡的小朋友是不會自己主動做的 他上這堂課應該可以benefit很多 爸爸媽咪也覺得不錯 因為以前媽咪帶懌恆去上課時候 懌恆並不會主動自覺的唱歌跳舞 而是要媽咪誘導他 但是今天懌恆去上課 媽咪覺得...基本上媽咪好像是多餘的... 懌恆幾乎可以自己上這堂課沒問題呢^^ 上過這堂音樂課之後 媽咪覺得懌恆可以上的課應該有不少的選擇 因為懌恆已經可以獨立聽取老師的instruction 雖然三歲以下的課程都是有父母陪伴的 但是他這樣獨立自導相信更能benefit from the class 接下來就是要找看看有什麼課availible了^^

馬桶特訓第一部~宣告成功^^

2006年02月11日
公開

經過了將近四個星期的’便便貼貼樂’之後 懌恆現在只要有poo poo一定會去光顧馬桶先生 自從一個月前開始貼紙獎勵法之後 懌恆已經極少在diaper裡poo poo過了 最後一次應該是三個禮拜前吧 而且很多時候如果不是玩得太瘋忘記了 他連pee pee也會及時來跟媽咪說要坐馬桶 所以 現階段來說 他的potty 特訓第一步應該可以算是成功了唷 爸爸媽咪都好樂喔 因為總算是不痛不養的讓懌恆戒了便便尿布^^ 不過這條路其實走來是很漫長的 因為懌恆在一歲兩個月就開始要求要坐馬桶 這時候雖然媽咪覺得太早了 但是他要坐媽咪總不能不讓他坐吧 就這樣的 斷斷續續的好多個月 按照他的心情 有時候可以連著好幾天都是馬桶常客 但是有時候是好幾個禮拜也不光顧一下 爸爸媽咪有時候會好懊惱 覺得為什麼他學這麼久都學不會? 後來多跟一些前輩聊起 了解到像懌恆這種案例 就是那種心智上ready但是physically not ready 所以即使他愛玩愛學的個性驅使他很早開始要學大人坐馬? 但實際上他的身體是還沒有發展到這個階段的 慢慢的爸爸媽咪也不強求了 反正他愛坐就坐 不愛坐就幫他換尿布就是了 就在過了他兩歲生日之後 某天他又開始他’’便便猜猜猜”的遊戲 就是他便便在馬桶然後要爸爸媽咪猜他今天是便便什麼 這回還真是樂此不彼也 連著幾天他都玩同樣的把戲 爸爸就想了一個貼紙獎勵法 跟懌恆說 只要他有便便在小馬桶裡就可以拿到一個貼紙貼在他的書書上 集滿十個就可以換一樣獎品 剛開始懌恆其實不懂什麼是’集滿十個’ 只知道每次他有便便在馬桶就會有人來猜猜樂 然後還會有貼紙可以拿 樂極了 就這樣讓他習慣了在小馬桶便便 不論是在家裡,爺爺家,外出吃飯,保母家,或是玩得很瘋的時候 只要他有感覺要便便 就會馬上衝過來找媽咪 或是自己衝過去馬桶邊開始脫褲子 雖然從懌恆第一次坐馬桶 到他真正學會完全用馬桶便便 歷經了將近十個月 但是爸爸媽咪真正開始train他 也是從這次的貼紙獎勵法開始吧 這真的是輔合很多書上說的: "Wait till he/she is ready, start, and get trained in a week or two." 所以爸爸媽咪現在知道了 之前他把坐馬桶當作玩的那段日子的煩惱真是白費了 還好爸爸媽咪沒有真的在這方面給過懌恆壓力 否則真是苦了懌恆又苦了爸爸媽咪呀 Anyway, 很高興懌恆往前走了這一步 也希望他再接再厲把pee pee也搞定喔^^ ________________________________________________________ 懌恆的馬桶特訓史~ 3/10/2005-我要PooPoo 3/25/2005-小熊馬桶開張囉 3/29/2005-小熊馬桶生意真好 6/15/2005-自己脫pull up 8/22/2005-小熊馬桶暫停營業 9/1/2005-小熊馬桶重新開張 9/5/2005-Control小雞雞^^ 9/8/2005-一大早就給媽咪勁爆的...... 9/16/2005-百發百中 一月份輝煌史^^

文章分享-Creative Movement

2006年02月10日
公開

Creative Movement and Dance in Early Childhood Education by Gisela Loeffler "Movement is as necessary to mental and physical development as food." -- Grace Nash "Dance is an island in a sea of motion." -- Rudolf Laban Creative movement and dance is an enjoyable way for young children to develop their physical skills, channel their energy, stimulate their imagination and promote their creativity. Creative dance involves using body actions to communicate an image (the wind), an idea (a journey) or a feeling (strength). Many early childhood educators recognize young children's primary need to express themselves through movement. Some teachers include movement exploration to enhance other curriculum areas such as language and literature, science, art and outdoor play. Moreover, the philosophy of creative movement and dance is similar to the aims of early childhood education programs where opportunities for noncompetitive, success-oriented and creative experiences for young children are valued. Benefits Creative dance in early childhood education corresponds to the fundamental phase of movement development that occurs between the ages of two to seven. During this time, locomotor (e.g., creeping, walking, running, jumping, leaping and galloping), nonlocomotor (e.g., stretching, bending, twisting, turning, shaking and swinging), and stability and balance skills are able to flourish when children are provided with sufficient practice opportunities (Gallahue, 1982). The above list provides a ready-made movement vocabulary for teachers to enhance familiar songs, stories and rhymes. As young children's language vocabulary increases, so can their dance vocabulary and their ability to express themselves through movement. Another benefit involves the aesthetic nature of creative movement and dance. "Most definitions of aesthetics involve the capacity to perceive, respond and be sensitive to the natural environment and to human creations" (Feeney & Moravcik 1987, p. 7). All the senses are engaged when children explore and discover different aspects of movement. For example, the kinesthetic sense increases as children literally feel the shapes and actions that their bodies are making. Visually, children respond to the images they see in front of them as well as the images they imagine or create. The auditory sense is stimulated as children respond to sounds they make or hear in the environment, as well as to music. Examples of tactile experiences include touching one another to make a bridge, running with bare feet, doing on-the-floor movements, swirling a cloth, or stretching a big elastic band (Haselbach, 1971). Such fundamental sensory experiences can lead children to appreciate the beauty and form in nature, art and literature as well as the beauty in everyday living. A social benefit of creative dance is that it encourages an interactive environment where children share space as they explore movement together but in their own way. Gradually, opportunities for children to observe different responses to movement ideas are given and the possibility of creating movements together becomes more appealing. For example, after a group experienced a free flow snow dance with white streamers moving up, down and around in the air, some of the children improvised a solid ice castle of connected body shapes. Also, after stomping around in a friendly dinosaur dance, some of the children decided to line up and take big steps together while the last child was dragged along lying flat, as the tail! Creative movement and dance can benefit children with special needs because they can participate at their own level of ability. For example, children who are physically challenged can explore body parts or keep a beat by blinking children with special needs can feel a sense of belonging to a group and a sense of joy at being able to learn on a fundamental movement level. "The necessary modifications are often uncomplicated; it is simply a matter of focusing on what the children can do, as opposed to what they cannot" (Pica, 1995; p. 77). Creative movement and dance activities can be used to enhance almost all other areas of learning and growth including: Health and Fitness -- Since researchers are becoming increasingly concerned about the low level of fitness in all children and have observed that young children are being socialized to prefer less activity (Werner et al), it is imperative that early childhood programs offer a regular movement program. I have found that young children are fascinated with their bodies. They enjoy activities that explore the use of muscles (including the heart) and the different ways we can make our bodies strong and healthy (e.g., stretching, jogging, climbing, skating, swimming and dancing). Providing lots of opportunity for locomotor activity on a regular basis contributes to children's fitness level. Music -- As most early childhood educators know, music and movement are linked even from birth and infancy (Kulich, 1989). Bouncing and rocking are children's first experiences in music and children cannot help but respond to the rhythm, beat and moods that different kinds of music suggest. A Caribbean song called "Be Happy" encourages improvised steps while playing an instrument such as the maracas; the "March of the Lions" from Carnival of the Animals by Camille Saint-Saëns offers clear phrasing for large, proud lion steps until the instruments inspire sustained whole body stretches to portray the powerful roar of a lion. Undeniably, music in many forms is an accessible accompaniment to either improvised or more structure movement sequences. Language Development -- When language is linked to movement, both assist in children's cognitive and kinesthetic learning. Graham Fishburne's (1988) research on the right and left hemispheres of the brain points out that the right hemisphere, the sensing and feeling side, functions through activities such as music, art and creativity, whereas the left hemisphere organizes sequential and logical skills such as language and speech. Fishburne stresses that since cross reference between the two sides occurs, both sides of the brain must be developed during the critical learning periods in early childhood. When children are engaged in poems such as the smashing and crushing in "Garbage Day" (Fitch) or the squishing and squiggling in the "Mud Mush Dance" (Fitch), they cannot help but be thoroughly involved in an activity that will increase their memory and ability to communicate. Dramatic Play -- Creative dance often provides an opportunity for children to express their emotions through dramatic play as well as nurture a sense of community. For example, Flutterby is the story of a butterfly who comes out of his cocoon and finds he cannot fly (Asplund, 1981). Each animal in the forest (squirrels, deer, rabbit, bear, turtle or whoever children suggest) comes to give their help. A drum can accompany the different animal walks and jumps while a softer sound is needed for the butterfly movement. Nobody can get the butterfly off the ground until all the animals cooperate together: they carefully lift the butterfly's wings, stretch and flap them, and give him some lift to fly up and away. Then all the animals do a celebration dance and wave goodbye to their friend. "Let's do it again" is a frequent request after this dance story. Some simple costumes or masks can be made or collected to enhance the experience. Considerations Nonlocomotor/Locomotor Actions All sorts of sequences of nonlocomotor actions can be used for warm-up exercises and relaxation. The image of a balloon growing and collapsing is an image with which children can easily relate. Once the children's balloon body stays all blown-up, it can float and twist on an adventure until it "pops" and has to begin all over again. I use an inexpensive slide whistle to guide this exploration and dance. Locomotion or travelling through space is often what children consider to be dancing. Children respond to locomotion because it is an exhilarating and freeing activity and, as a result, "horse dances" and "car dances" are very popular with young boys and girls. A tambourine or drum is an excellent instrument to guide and phrase children's favourite actions -- running, galloping and jumping. Children practise controlling their bodies by contrasting locomotor actions and stillness or holding their body shape. A phrase of movement is like a sentence with punctuation at the end. Various suggestions such as "freeze," "hold it," “whoa," "put your brakes on," and "hold your muscles," helps children stop their locomotor activity and provides a safety precaution. Action songs (from Fred Penner, Sandra Beech, Charlotte Diamond, Alley-oop and Bob Schneider), provide a going and stopping structure that gives children the freedom to move safely in the space. Shapes and Balance One way for children to practise their balance and stability is by making shapes with their whole body. Basic body shapes are small, tall, wide and twisted, but all kinds of shapes can be made emphasizing things or different body parts. Shapes can be made on the floor, sitting, kneeling, standing and even in the air. Children can copy shapes or move one another into shapes. Children enjoy change games where one group makes solid tree shapes, for example, while another group flies through the spaces and around the "trees" as the wind. On the cue "change," the children reverse roles. Similarly, snow swirling around frozen statues or fish swimming amongst the seaweed provide a structure for children to practise their locomotor and stability skills within a playful environment. Naming a Dance While very young children are gaining knowledge about functional movement, their playful wiggling and jumping responses may not be considered dance. However, with sufficient practise, it is not long before children can identify which parts of their bodies are moving, that there are different steps that their feet can do, that their body can change size and travel in different directions, and that their bodies sense a variety of tension and flow as their imagination takes them through creeping, sneaking or pouncing exploration. Eventually, a name is given to a short movement sequence, the sequence is repeated into a pattern and it becomes a dance (Boorman, 1987). Now the children are able to remember and refer to the dance when they want to do it again. The technique of naming a dance is very similar to a child's remembering the names of songs or stories. For example, imitating body parts movements is a satisfactory experience for young two-year-olds and there are a variety of songs to structure the movement. By adding an image and perhaps some evocative music, older threes and four-year-olds delight in using their body parts as part of a happy, bouncing "puppet dance" or a jerky "robot dance." Likewise, flying through the space in a shape and size selected by the children may become a "bird dance" or a "kite dance" with similar sequences of rising, floating, twisting and falling; starting and ending in a shape gives the dance a form and imparts a finished feeling to a movement sequence. While some movement exploration will have taken place to prepare the children or set a mood, each child will have an opportunity to create his or her very own interpretation of the image and it becomes their special dance. Finding the Magic Sue Stinson, in her book Dance for Young Children (1988), has another useful technique for helping children recognize that dance is different from everyday movement. She talks with children about how the special magic inside them is what transforms ordinary movement into dance. While she recognizes that young children cannot sustain a magical feeling about movement at all times, it is possible to inspire children to go beyond basic physical exercising of their bodies. Flexibility and Flow No matter what, the movement and dance time is meant to be for the enjoyment and learning of the children we teach. I often ask the children what they would like to dance about or if they have some special music to bring. The song "Under the Sea" from the film Little Mermaid provided inspiration and background music for exploring wavy jellyfish, big shark and whale actions, starfish shapes and how we could join together to move like an octopus. The greatest reward of working with young children in movement activities is seeing them comfortable with their bodies and with the self-confidence to express themselves through dance. There are times when children let us know that they would like to express themselves non-verbally. For example, one day a child came in and declared that he was very, very grumpy and he did not like people. A small group gathered to share in his feeling and eventually all were doing a "grumpy dance" to rather loud drum beats and grunts. It was revealed that the reason for this unpleasant feeling was that all his money had been stolen. So a search for the money ensued and finally it was found. Next, all the "grumpy feelings" were gathered together and shipped off to the mountains. Not long after, another small group gathered and they wanted to do what t first group did. While the story action began in the same way, the resolution came much easier with the children deciding that making and giving presents was in order. In the weeks to come, we repeated versions of this story with different solutions. Conclusion Rudolph Laban, considered the founder of movement and dance education, stated in his book Modern Educational Dance (1948) that educators need to guide children's natural urge to dance-like movement and preserve their movement spontaneity into adult life. Our urban environment has many physical limitations on the growing child. It is difficult for children to become physically sturdy and agile without vigorous movement. It is difficult for a child to become co-ordinated without a variety of movement experiences. And it is difficult for a child to be emotionally responsive if the nonverbal part of their development is not recognized. Early childhood educators are in a unique position to provide an environment where children are encouraged to learn and grow through movement and dance activities. Gisela Loeffler (BFA, MALS) teaches movement and dance education in early childhood education programs at several colleges in British Columbia and Washington. She continues to be involved with children in preschool and day care settings, too. References Asplund, D. (1981). Flutterby. Level I Orff Music Teacher Training, University of British Columbia. Boorman, J. (1987). Integrating Movement, Language and Music Experiences for Young Children. Edmonton: Children's Creative Dance Publications. CAHPERD (1989). Creative Dance. Ottawa: CAHPERD/ACSEPL. Feeney, S. and Morvcik, E. (1987). "A Thing of Beauty: Aesthetic Development in Young Children." Young Children, September, 6-15. Fishburne, G. (1988). Critical Learning Periods. National CAHPERD Conference. University of Alberta. Fitch, S. (1987). Toes in My Nose and Other Poems. Toronto: Doubleday Canada Limited. Gallahue, D. (1982). Understanding Motor Development in Children. New York: John Wiley & Sons. Haselbach, B. (1971). Dance Education. London, England: Schott & Co. Ltd. Kulich, B. (1989). Friendly Bear's Song Book. Vancouver: The Empire Music Co. Ltd. Laban, R. (1948). Modern Educational Dance. London, England: Macdonald & Evans Ltd. Nash, G. (1974). Creative Approaches to Child Development With Music, Language and Movement. Alfred Publishing Co. Inc. Pica, R. (1995). Experiences in Movement. Albany, New York: Delmar Publishers. Rodger, Laurie (1996). "Adding Movement Throughout the Day." Young Children, March, 51(3), 4-6. Stinson, S. (1988). Dance for Young Children. Reston, Virginia: AAHPERD. Werner, P., Timms, S., Almond, L. (1996). "Health Stops: Practical Ideas for Health Related Exercise in Preschool and Primary Classrooms." Young Children, September, (51) 6, 48-55. Suggested Reading Church, E. (1992). Music and Movement. New York: Scholastic Inc. Fraser, D. (1991). Playdancing. Pennington, NJ: Princeton Book Company. Gilbert, A. (1992). Creative Dance for All Ages. Reston, Virginia: National Dance Association, AAHPERD. Jalongo, M. (1996). "Using Recorded Music with Young Children: A Guide for Nonmusicians." Young Children, July, 51(5), 6-14. Healy, J. (1990). Endangered Minds. New York: Touchstone, Simon and Schuster Inc. Gallahue, D. (1982). Developmental Movement Experiences for Children. New York: John Wiley & Sons. Landalf, H., Gerke, P. (1996). Movement Stories for Young Children Ages 3-6. Lyme, NH: A Smith and Kraus Book. Morningstar, M. (1986). Growing with Dance. Heriot Bay, Canada: Windborne Publications. This article was published by the Canadian Child Care Federation ________________________________________________________________________

對不起懌恆!爸爸媽咪誤會了!

2006年02月07日
公開

家裡三個小朋友在一起時好的時候很好 但是不好的時候真是水火不容 正在等吃飯的空檔時間 懌恆和霈儀姊姊玩的好高興 似乎是有點興奮過度了 懌恆打了霈儀姊姊 (懌恆玩得太瘋時就會有這個舉動 雙手猛拍人家或是過度用力抱人...@_@) 媽咪就給他一點time out叫他坐在沙發上 坐了兩分鐘calm down後下去繼續玩 這次倒楣的是忻儀姊姊 因為忻儀想講電話 懌恆也想 懌恆就生氣的打忻儀 於是就這樣懌恆被第二次罰坐 這一次坐比較久 坐完後也被媽咪訓話比較久 直到懌恆完全了解自己為什麼被罰 而且知道CONSEQUENCES 媽咪跟他說~那現在可不可以去跟忻儀姊姊道歉了呀?~ 懌恆點點頭說好 然後用力HUG媽咪一下就咚咚咚的熱烈衝過去飯廳 想要跟忻怡姊姊說對不起 這個時候媽咪還沒走過去 也不知道發生什麼事 只是突然傳來叔叔大叫"懌恆不可以push姊姊" 然後就聽到忻儀的哭聲 媽咪衝過去看 看到忻儀坐在地上 而懌恆則已經被爸爸抱起打屁股了 因為才幾秒鐘的事 媽咪並沒有理清頭緒 就再次罰懌恆坐著 而且這次媽咪罰他手抓著耳朵 可能是第一次這樣被罰 懌恆開始扁嘴哭泣 但是又不是很敢哭出來 反正就是很可憐兮兮的樣子 媽咪開始訓話(生氣的): "不是說好要去跟忻儀道歉嗎 為什麼是去推人家? 才剛剛被罰就忘記了... 不准哭 你推了人還敢哭?" 這時懌恆就很委屈的說: ~我只是想要hug忻儀一下~ 然後說完就再也忍不住淚水開始委屈的哭了 媽咪馬上鼻頭一酸 恍然大悟 原來我們誤會懌恆了 但是媽咪還是忍著抱他進懷裡的衝動 跟他說(已經緩和下來):是這樣嗎?那你是不是不小心推倒姊姊的?" 懌恆傷心的點點頭說"是不小心的,下次要小心" 然後就窩進媽咪的懷裡要媽咪秀秀 媽咪這時已經難過的掉下淚來 因為一些假象誤會了懌恆 懷裡的懌恆緊緊地抱著媽咪 好不容易才平復下來 突然又想到~懌恆被爸爸打屁股~ 然後又悲從中來的開始啜泣... 今天這件事真的讓爸爸媽咪在parenting的路上再次發出省思 懌恆已經慢慢的是個有分寸有條理的小朋友 我們在很多事情的處理上一定要更冷靜和更一致 檢討今天這件事 有以下幾點錯誤: 1)在懌恆推倒姊姊的時候叔叔其實並不知道懌恆的動機 所以大聲制止 這都是因為我們幾個大人有一點不完全的認知 由於平常懌恆欺負忻儀的評率頗高 所以以偏蓋全地只要忻儀哭叫就是懌恆壞壞 這點全屋子的大人都該檢討 2)爸爸在沒有看到情況 只是聽到忻儀的哭聲和叔叔的責備聲就責罰懌恆 此舉動不免衝動 3)媽咪因為短短30秒沒裡清頭緒就罰懌恆 也是衝動 不過爸爸媽咪也慶幸有一兩點正面的動作 1)在知道懌恆是被誤會的煞那 媽咪能及繼續保持冷靜跟懌恆一起把事情了解清楚 而不是衝動的馬上緊抱懌恆賠不是 這點相信能把confusion減低 不至於因爸爸媽咪大落大起的情緒和舉動混淆了懌恆 2)在大家都平復之後爸爸媽咪把事情解釋給懌恆聽一遍並跟他鄭重道歉 希望能藉機教他犯錯後要誠心道歉 並且要有原諒他人的胸懷

Problem Solving

2006年02月06日
公開

雖然懌恆這個年紀的小朋友什麼都愛自己來 但是能力上畢竟有限 這時候最常聽到他說的一句話就是"媽咪幫忙"或是"爸爸幫忙" 每一次遇到生活小細節上的難題懌恆要爸爸媽咪幫忙的時候 爸爸媽咪都不會直接幫他做 而是做一遍給他看然後要他自己做一遍 譬如說掛衣服,整理書架,開關抽屜櫃子,撿沙發下的玩具等等 這一點爸爸尤其做的好做的側底 媽咪反而很多時候都直接幫他做了省時間@_@ 今天在游泳池有一件事讓爸爸媽咪發覺 懌恆已經不知不覺中由被動地尋求別人給他解答 進展到自己創造解答 ~~ 上完游泳課的時候 爸爸照例帶懌恆在toddler pool在玩一會兒 懌恆跑給爸爸追 突然腳下採到一個沉到水底的橡皮圈 他很想要 但是又不可能探頭下去拿 本來他也是想要爸爸幫忙他撿起來 或是想要爸爸告訴他怎樣可以拿到那個橡皮圈 爸爸就說 你自己想辦法呀 他想了想 站在離橡皮圈旁邊一點點的位子 用肥腳採著橡皮圈把它拉近身邊 再用腳尖挖起橡皮圈套到腳上 然後抬起腳用手去把橡皮圈拿到手 雖然這一連串的過程看起來是那麼的簡單 但是卻可以看出懌恆正在對自己有限的能力和認知 完全地運用並拓展 這種觀察真的是很有趣 也才發覺我們忙碌之中 原來錯過很多懌恆自己develop的能力 懌恆~ 在你搖搖擺擺地在兩歲的人生裡往前邁進時 希望你一路上都這樣興致勃勃的探究身邊的世界~~ 爸爸媽咪給你拍手加油加加油!