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| 回顾野果三年的工作 | Date ：2023-08-13 | From ：iamlimu.org |
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以前我一直是作为职业艺术家来工作，一些作品和项目中虽然涉及了教育的内容，但最终走向还是以我的艺术作品为核心和目的。我没有主动地要去做教育，或是想要在教育中改变什么。我考虑最多的是艺术的语言、形式的探索、艺术观念和想法的推进、作品之间的递进关系以及我的艺术事业的发展。
在整理关于“野果”的工作过程中，我觉得这个工作不再是一个艺术项目，它一直在变化，我无法掌握它的走向。每一堂课都像一次艺术练习，都可以独立存在，但是课与课之间又是一个相互连接和生长的过程。最终走向哪里，都是无法计划，也是未知的。
第一阶段：多余的知识
时间：2019.4——2019.12
学生：6人
年龄：6-10岁
上课地点：MF工作室 户外
这一个阶段的课，有树叶、种子、花、果实以及关于植物猎人为主题的学习，还要做一个工作室开放展览。
（1）不要想象，观察，观察，如实地描绘
刚开始我读了很多植物学的书，我觉得孩子们到这里来应该学习很多知识，在绘画技法上有所提高，但这些知识恰恰成为我们上课的障碍。
第一次课是让孩子们采集树叶，然后对着树叶写生。在成年人看来这是很简单的，可是孩子不会去观察手里的树叶，只是很笼统地把树叶的形状画出来，然后再画一些想象的图像。
这个情况就反映出观察的重要性，因为孩子们喜欢想象着画。家长看到孩子天马行空地画那些符号的时候，只会看到孩子呈现出的想象力。在我们看来，其实就是将学校里教的简笔画，或者在其他某些地方看到的、储存在记忆中的形象，不太准确地画出来。不是用自己的眼睛去观察一个真实的事物，只是脑子里的概念的、不太准确的、缺乏逻辑性的再现。我们看来，这恰恰是我们学习艺术的障碍——学习艺术首先要做的一件事情就是观察。
所以在我们的课上，张芳就开始训练孩子们的观察能力。她所做的工作是把一个事物最小的单元，比如种子、树叶，拿在手上，把你眼睛看到的东西在纸上画出来。不要去夸张，不要去想象。孩子们要做观察的练习，观察完之后，先用语言描述你所观察到的，下一步的工作才是去画这个事物。
上课过程中我们也遇到很多挫折。刚开始上课时，有的孩子像放出笼子的小野兽，在工作室里东奔西跑，因为我们告诉他们在这里很自由。在我讲课和分享彼此的想法时，他们不会聆听，总是打断别人说话，抢着表达自己。所以我时常感到特别劳累。张芳说，“李牧你可能不适合教学，更适合做艺术家。”但是我想了想，其实我也不适合做艺术家。我之所以有几件作品还能拿得出手，是因为我把整个人都投入进去了，当我把整个人都投入到教学里时，我相信我也能做出样子。
（2）沉默练习
之后我们开始使用“沉默练习”的方式——在每一次开课之后，不直接进入教学环节，而是首先进行沉默练习。沉默练习有很多种方式，我们使用过玛丽娜·阿布拉莫维奇的方式：两个人一对，相互你看着我、我看着你，不说话、只呼吸。但是大多数的孩子连三分钟都做不到，就开始抓耳挠腮、坐不住了。于是我们对这些孩子说，“五分钟你能做到吗？”下一次变成六分钟，再从六分钟变成七分钟、十分钟，最多的时候延长到十五分钟。还有我们去抓一把米，去数一把米里面到底有多少米粒，一粒一粒地数，用十分钟、十五分钟让孩子安静下来。这样的练习就像一个仪式，能让孩子们相对顺利地进入课堂。
（3）身体的加入
在工作室里上课更多是以观察、绘画和制作的工作为主，后来我们慢慢就意识到对于这个年龄段的孩子，仅仅是锻炼大脑和动手能力是不够的，需要身体的加入。于是我们就开始上户外课，在户外的课程是非常难以控制的，但是孩子们可以用他们的身体去感知事物，不再只是用眼睛、大脑和手了。这样的体验也会影响到在工作室里的课程，比如说有一次上关于浆果的课，一般我们会先观察，然后在纸上去画。但是在我们意识到身体的参与的重要性之后，我们让他们用浆果在纸上来画画，可以边画边吃。用这种方式时，大家都可以很投入、很专注地去做一件事情，孩子们之间专注和耐心上的差异性没有了。
在真正对孩子起作用的事物中，我们的课程占比很少，更多的则是他的家庭、学校等外在环境。我们开始意识到，我们的工作是在大环境里面的一个小的环节，而不是孤立存在的。我们开始鼓励家长也参与进我们的课程中来，一起讨论教育和艺术。
通过一年的训练，孩子们的作品基本上不再是想象的、随心所欲的绘画，而是能老老实实地观察一个物体，然后去画。
当时我们感到很开心，但是后来这个想法又被我们推翻了，因为我们觉得这种教学限制了孩子的可能性。或许我们取得了一些成绩，但实际上这个成绩对孩子来说并不完全是一个好的东西，因为我们太看重知识，太看重绘画技能，然而绘画技能和知识并不重要。
（4）自然对孩子成长的影响
通过在户外对孩子的观察我们发现，生活在城市里的孩子和自然是完全割裂的，他与自然不发生任何关系，也对植物没有兴趣。有的家长会在周末的时候把孩子带到公园里去，但是城市里的公园不是真正的自然，是伪自然。因为公园的植被被人工修剪得整整齐齐，更多体现的是人的意志，而非植物本身的意志。即使我们偶尔会带着孩子去野外参观和露营，但是我们都是在消费自然，没有和土地真正发生关系。那么真正的自然会对孩子的成长产生什么样的影响？与之相对的，城市里消费社会的环境，给孩子们带来又是什么样的影响？
在我们工作室里所呈现出的问题，就是孩子没耐心、回避有难度的工作，会在老师不注意的时候对任务作出删减。这个问题我们观察了很久，其实孩子就是害怕难度，这与消费主义的影响是分不开的。在城市里什么东西都是花钱买的，连去大自然都是需要花钱消费的。在这种消费社会里，制作一件物品的过程从孩子的生活中剥掉了，只能花钱买到一个结果。而这个结果又可以不断通过消费更新。在这种情况下孩子就没有机会去体验一件事物，没有机会体验创造一件事物过程的艰辛。
于是我们开始去思考消费和我们的关系。2020年暑假，我们一家人在重庆巴南区的一座山里住了28天。那里有一座两层的石头房子，是当地一位艺术家带着两个村民从山谷里捡石头，一块一块搬过来，用两年的时间建起来。这个房子里没有电灯，没有冰箱，没有煤气，也没有自来水，甚至没有窗户。我在那里展开了一些关于植物的考察工作，除此之外很重要的工作是观察我五岁的儿子如何在自然里面自处。
通过将近一个月的体验和观察，我非常肯定，这样的自然环境对孩子的成长非常有利。他能从泥土、石头、树叶中找到乐趣，对虫子、鸟儿、青蛙、蚂蚁的观察锻炼了他的专注力，他在遍地乱石的山坡上奔跑锻炼了他的平衡力，这是非常理想的教育场所。大自然可以进入孩子的灵魂，不仅仅是锻炼他的行为或者专注。
所以我们的课程就进入第二个阶段。
第二阶段：自由的梅湾里
时间：2020.9——2021.6
学生：12人
年龄：6-10岁
上课地点：梅湾里 MF工作室
(1)关于虫子的课程
在距离我们家三公里的地方有一片巨大的荒地，这里叫梅湾里，曾经是个村庄。村庄拆迁后，荒了五年，杂草丛生，每到秋天的时候，加拿大一枝黄花、小蓬草、鬼针草，都长到近两米高。这就是我们的教室，在这里我们不再是老师，自然就是我们的老师。
在梅湾里上课的时候，许多孩子不愿意往野餐垫上坐，就在那里站着，原来他们害怕昆虫。既然大家那么害怕虫子，那我们就上关于虫子的课。第一次课是在梅湾里捉虫子，养着虫子；第二次课是回到工作室，观察虫子，画虫子。这样，再回到梅湾里，孩子们就不再恐惧虫子了。
在野外可以打开孩子们的身体和心灵，去感知自然环境和学习具体的植物；回到封闭的空间里（工作室）就可以更理性地思考、分析和消化前面的体验。这样，我们的课程就在户外和室内交替。
（2）1平方米的土地：对植物的持续观察
对于植物的持续观察也非常重要，当在一个固定的范围里对植物进行长时间的观察时，就能看到它的变化了。我们设计了一个课题，每个人在梅湾里拥有一平方米土地，把它围起来。回到工作室后我们开始设计这一平方米土地的围栏，画设计稿。然后带着设计稿和材料到荒地里实施，自己动手把设计变成现实。
有一天热到了33度，强烈的阳光下，有孩子热得难受就不愿意工作，有孩子坚持把工作做完才到大树下休息。当时我的理解是，自然有它美好的一面，但也有它非常残酷的一面，这都是自然。我们给孩子的应该就是这样一个真实的自然，而不是图片里的那种，只有春天或秋天。无论多么炎热和寒冷，自然都不会怜悯你，人唯一能做的就是强化自己的意志力，能够更好地适应自然。
（3）只有在身心自由的状态下，自然才会对孩子产生影响
当我们来到一个非常自由的地方时，孩子们好像并不自由，因为他们的所作所为，都是我们设计的，都写在备课计划里。于是我们推翻了之前的课程设计，决定只向孩子们提供工具——在这个荒野里，他们可以使用这些工具，做什么都可以。于是他们拿着这些工具做各种各样的事情，下课的时候仔仔跑来说，“老师我们什么时候上课”，我说“我们正在上课”，他说“我们一直在玩儿，没有上课啊。”听到这句话，我和张芳都感到特别开心。这个感觉就对了，这就给了孩子们自由。
在这种状态下，不需要老师告诉他们干什么，只需要到时间告诉他们要下课了，因为天要黑了。但是孩子们都不愿意走，因为他们进入了工作状态。只有在身心自由的状态下，孩子才会沉浸在自然里，自然才会对孩子产生影响。
后来在梅湾里的课上，我们设计了很多张任务卡片，由他们来进行选择，拿着自己选择的任务卡片去工作。有些孩子会觉得这些工作都不喜欢，于是我就准备了很多空白卡片，让他们把自己愿意做的事情写在卡片上，然后去完成。再后来，孩子们都不需要我的工作卡片，更喜欢自己去设计自己的工作。
（4）展览
第一阶段的展览是我和张芳布置，孩子来参开幕式。而这一阶段的展览我们让孩子来布展，让展览成为课程的一部分。我们一共用了三天的时间，第一天梳理我们的工作，看看我们这一年都做了什么；第二天我们学习了什么是展览，艺术史上别人是怎么做展览的，再讨论我们该做一个什么样的展览，根据自己的作品讨论合适的展陈方法；第三天孩子们自己布置展览，我们只是提供工具和一点帮助。
第三阶段：没有老师的课堂
时间：2021.10——2022.6
学生：3人
年龄：6-10岁
上课地点：梅湾里 石湖湿地
第二阶段展览做完时我们和家长说，接下来我们一家人可能会暂时离开苏州，去云南生活，所以我们的课就需要暂时停下来，不做了。这时有几个孩子的家长提出，这个课停下来太可惜了，他们希望我们能给孩子们上网课，让他们在大自然里面把手机打开来上课，我没有同意。
经过这几年的教学，我发现这些家长都是非常爱学习的，他们在各自的领域里也都非常突出和优秀，完全有能力带领孩子在大自然里展开学习和研究的工作。除此之外我还想到是否可以由几个孩子和家庭组成一个教育的社区，大家相互帮助形成一个团体。第一，城市里孩子需要自然，我们找到了这样一片地方；第二，孩子还需要一个群体、一个社区的关系。
以前我们每一个家长面对的是自己打算怎么教育自己的孩子，有钱就让孩子上更好的学校，孩子们之间是一个相互竞争的关系。但如果是一个社群在一起的话，大家就是相互帮助的关系，这对孩子的成长非常有利，家长也不再是孤立的。家长要求我们上网课其实是出于对老师的依赖，如果突然把老师抽走，那这个事情就有点难以进展。所以我们提出继续设计课程，由家长来执行——这其中家长的角色就变了，从陪伴者转变为观察员、学习者。
每个星期他们上完课，我们会跟家长一起线上开会，听他们讲述他们的观察，再一起讨论下一节课的内容是什么。这种情况下老师的角色是隐藏的，直到家长们自己就能做的很好，能把这件事情持续推进。这时候我们在与不在，对他们也不会再产生任何影响。
一开始的课程是我设计，家长拿着就可以去执行。这样大概进行了三次，到第四次的时候，9岁的高畅说他很想设计这个课程，于是我们通过协商决定把设计课程的任务交给了他。如果他遇到问题，由我来提出一些意见和建议，他不仅要设计课程，还要主持这个课程。刚开始我以为他只是想过一下瘾，但是没想到就一直这么坚持下来了。每次主持完课程之后，家长和孩子们会对他提出很多意见，之后每次课前都要和另外几个小朋友开一次线上会议，讨论下节课的内容，然后由他来备课。
虽然不知道之后这些孩子和家长能不能走得更远，但我能感觉到，我们真正想做的事情在以一些方式得以推进。我在构想，如果这群家长不再需要老师，自己也能展开这样的自然和艺术教育，那我想另外一群家长也可以独自进行这样的活动，我们的自然和艺术教育可能会惠及更多的人，进而建立起这样一个教育互助的社区。
李牧 2022
I have always worked as an artist, and although some of my works and projects involve
educational content, in the end, my artwork is still the core and purpose. I didn't take
the initiative to do education or want to change anything in education. What I think
about the most is the language of art, the exploration of forms, the advancement of
artistic concepts and ideas, the progressive relationship between works, and the
development of my artistic career.
In the process of sorting out the work on "Wild Fruit", I felt that this work was no
longer an art project, it was always changing, and I couldn't grasp its direction. Each
class is like an art exercise, which can stand on its own, but it is a process of
interconnection and growth between classes. Where it will end up is impossible to plan
and unknown.
Stage 1: Excess Knowledge
Time: 2019.4-2019.12
Students: 6 people
Age: 6-10 years old
Class location: MF studio outdoors
At this stage, there are leaves, seeds, flowers, fruits, and the theme of plant hunters,
and a workshop is open to the public.
(1) Don't imagine, observe, observe, and depict truthfully
At the beginning, I read a lot of botany books, and I thought that the children should
learn a lot and improve their painting skills, but this knowledge became an obstacle for
us to attend classes.
The first lesson was for the children to collect leaves and then sketch on them. It
seems very simple to an adult, but a child does not look at the leaves in his hand, but
simply draws the shape of the leaves in a very general way, and then draws some
imaginary images.
This situation reflects the importance of observation, because children love to imagine
drawing. When parents see their children drawing those symbols in a whimsical
manner, they will only see the imagination of their children. In our opinion, it is actually
a simple drawing that is taught in school, or an image that we have seen in some other
place and stored in our memory, which is not very accurate. It's not about observing a
real thing with your own eyes, it's just a not-so-accurate, illogical representation of the
concept in your head. In our opinion, this is precisely the obstacle to learning art – one
of the first things to do to learn art is to observe.
So in our class, Zhang Fang began to train the children's observation skills. What she
does is take the smallest unit of an object, like a seed, a leaf, in her hand, and draw
what you see with your eyes on paper. Don't exaggerate, don't imagine. Children
should practice observation, and after they have done it, describe what you have
observed in words, and then the next step is to draw it.
We also had a lot of setbacks during the lesson. At the beginning of the lesson, some
of the children ran around the studio like little beasts released from their cages,
because we told them that they were free here. When I lecture and share each other's
ideas, they don't listen, always interrupting others and rushing to express themselves.
That's why I feel very tired all the time. Zhang Fang said, "Li Mu, you may not be
suitable for teaching, but you are more suitable for being an artist. "But when I think
about it, I'm not actually suitable to be an artist. The reason why I can still get my
hands on a few pieces is because I put my whole body into it, and when I put my whole
body into teaching, I believe I can make a difference.
(2) Silent practice
After that, we started to use the "silent practice" method – after each lesson, we did
not go directly to the teaching session, but started with silent practice. There are many
ways to practice silence, and we have used Marina Abramovich's method: two people
in a pair, you look at me and I look at you, without talking, only breathing. But most
children can't do it for even three minutes, and they start scratching their ears and
cheeks and can't sit still. So we say to these kids, "Can you do it in five minutes?" "The
next time it becomes six minutes, and then it goes from six minutes to seven minutes,
then to ten minutes, and at most to fifteen minutes. And we go to grab a handful of
rice, count how many rice grains are in a handful of rice, count them one by one, and
use ten or fifteen minutes to calm the child down. This kind of practice is like a ritual
that allows the children to enter the classroom relatively smoothly.
(3) Addition of the body
Classes in the studio are more about observing, drawing, and making, but later we
slowly realized that for children of this age, it is not enough to exercise their brain and
hands-on ability, but also to participate in the body. So we started outdoor classes,
which were very difficult to control, but children could use their bodies to perceive
things, not just their eyes, brains and hands. This experience also affects the classes
in the studio, such as a class on berries, where we usually observe and then draw on
paper. But after we realized the importance of the body's involvement, we let them
draw on paper with berries that they could eat while drawing. In this way, everyone can
be very engaged and focused on doing something, and the differences in
concentration and patience between children are gone.
Among the things that really work for the child, our curriculum accounts for a small
proportion, and more of his external environment such as home and school. We are
beginning to realize that our work is a small part of the larger environment, not in
isolation. We started encouraging parents to get involved in our curriculum and talk
about education and the arts.
After a year of training, the children's works are basically no longer imaginary,
freewheeling paintings, but can honestly observe an object and then paint.
We were happy at the time, but then we overturned the idea because we felt that this
kind of teaching limited the possibilities of the child. Maybe we have achieved some
results, but in fact this result is not exactly a good thing for children, because we value
knowledge too much, we value drawing skills too much, and drawing skills and
knowledge are not important.
(4) The influence of nature on children's growth
Through the observation of children in the outdoors, we found that children living in
cities are completely separated from nature, they have no relationship with nature, and
they have no interest in plants. Some parents take their children to the park on
weekends, but the park in the city is not real nature, it is pseudo-nature. Because the
vegetation in the park is artificially trimmed, it is more a reflection of the will of man
than the will of the plant itself. Even though we occasionally take our children to the
wilderness and camp, we are all consuming nature and not really having a relationship
with the land. So what kind of impact does true nature have on a child's development?
On the other hand, what is the impact of the environment of the consumer society in
the city on children?
The problem in our studio is that children are impatient, avoid difficult tasks, and cut
tasks when the teacher is not looking. We have observed this problem for a long time,
in fact, children are afraid of difficulty, which is inseparable from the influence of
consumerism. In the city, everything is bought for money, and even going to nature
requires spending money. In this consumer society, the process of making an object is
stripped from the child's life, and only money can be spent to buy a result. And this
result can be constantly updated through consumption. In this case, the child does not
have the opportunity to experience a thing, and does not have the opportunity to
experience the hardships of the process of creating a thing.
So we started thinking about the relationship between consumption and us. In the
summer of 2020, our family lived in a mountain in Chongqing's Banan District for 28
days. There is a two-story stone house, which was built by a local artist and two
villagers who took two villagers from the valley to pick up stones and move them one
by one. There were no electric lights, no refrigerators, no gas, no running water, not
even windows in this house. I did some research on plants there, and the most
important part of this was to observe how my five-year-old son behaved in nature.
After nearly a month of experience and observation, I am very sure that such a natural
environment is very beneficial to the growth of children. He finds pleasure in dirt,
stones, and leaves, his concentration in the observation of insects, birds, frogs, and
ants, and his balance in running on rocky hillsides, which is an ideal place to educate.
Nature can enter the child's soul, not just to exercise his behavior or concentration.
So this brings us to the second phase of our course.
The second stage: the free Meiwanli
Time: 2020.9-2021.6
Students: 12 students Age: 6-10 years old
Class location: MF Studio, Meiwanli
(1) Lesson about bug
Three kilometers from our house there is a huge wasteland, called Meiwanli, which
used to be a village. After the village was demolished, it was deserted for five years,
overgrown with weeds, and every autumn, the Canadian goldenrod, small fluffy grass,
and ghost needle grass all grew to nearly two meters tall. This is our classroom, where
we are no longer teachers, but naturally our teachers.
During the class in Meiwan, many children did not want to sit on the picnic mat and
stood there, because they were afraid of insects. Since everyone is so afraid of bugs,
let's take a lesson about bugs. The first class was to catch insects in Meiwan and raise
insects; The second lesson is to go back to the studio, observe the bugs, and draw
bugs. In this way, when they return to Meiwan, the children are no longer afraid of
bugs.
In the wild, children's bodies and minds can be opened to perceive the natural
environment and learn about specific plants; Returning to the enclosed space (the
studio) allows you to think, analyse and digest the previous experience more rationally.
In this way, our classes alternate outdoors and indoors.
(2) 1 square meter of land: continuous observation of plants
It is also very important to keep an eye on the plant, as it can be seen when the plant
is observed for a long time in a fixed area. We designed a project where everyone had
one square meter of land in Meiwan and fenced it off. When we returned to the studio,
we began to design the fence of the square meter of land and draw the design draft.
Then take the design draft and materials to the wasteland to implement it, and turn the
design into reality by yourself.
One day, when the heat reached 33 degrees Celsius, under the strong sun, some
children were reluctant to work because of the unbearable heat, and some children
insisted on finishing their work before resting under the big tree. At that time, my
understanding was that nature has its beautiful side, but also its very cruel side, and
it's all nature. What we should give our children should be such a real nature, not the
kind in the picture, only spring or autumn. No matter how hot and cold it is, nature will
not pity you, and the only thing man can do is to strengthen his willpower and be able
to adapt better to nature.
(3) Only in a state of physical and mental freedom can nature have an impact on the
child When we come to a place where we are very free, the children don't seem to be
free, because what they do is designed by us and written in the lesson plan. So we
reversed the previous curriculum design and decided to just give the kids the tools
they could use and do whatever they wanted in the wilderness. So they used these
tools to do all kinds of things, and when they got out of class, they came and said,
"Teacher, when are we going to class?" and I said, "We're in class," and he said,
"We've been playing, we're not in class." Hearing this, Zhang Fang and I were very
happy. It feels right, and it gives the kids freedom.
In this state, they don't need the teacher to tell them what to do, they just need to tell
them that it's time to end the class because it's getting dark. But the children were
reluctant to leave because they were in a working state. Only in a state of physical and
mental freedom will the child be immersed in nature, and nature will have an impact on
the child.
Later, in the class in Meiwanli, we designed a lot of task cards, and they made
choices, and went to work with the task cards they chose. Some children don't like
these tasks, so I prepare a lot of blank cards and ask them to write down what they are
willing to do and complete it. Later, the children didn't need my work cards and
preferred to design their own work.
(4) Exhibition
The first stage of the exhibition was arranged by Zhang Fang and I, and the children
came to attend the opening ceremony. At this stage, we let the children set up the
exhibition and make the exhibition a part of the curriculum. We spent three days
together, the first day combing through our work and seeing what we had done this
year; On the second day, we learned what an exhibition is, how others have done
exhibitions in art history, and then discussed what kind of exhibition we should make,
and discussed the appropriate exhibition methods according to our own works. On the
third day, the children set up the exhibit on their own, and we just provided tools and a
little help.
Stage 3: Classroom without a teacher
Time: 2021.10-2022.6
Students: 3 people
Age: 6-10 years old
Class location: Meiwanli Shihu Wetland
At the end of the second phase of the exhibition, we told our parents that our family
might leave Suzhou for a while and go to live in Yunnan, so we needed to stop our
classes for a while. At this time, several parents of children suggested that it was a pity
that this class was stopped, and they hoped that we could give online lessons to the
children, so that they could turn on their mobile phones in nature to class, but I did not
agree.
After several years of teaching, I found that these parents are very fond of learning,
and they are also very outstanding and excellent in their respective fields, and they are
fully capable of leading their children to study and research in nature. In addition to
this, I also thought about whether it would be possible to form an educational
community with several children and families, and everyone could help each other to
form a group. First, children in the city need nature, and we have found such a place;
Second, children also need a relationship with a group and a community.
In the past, every parent was faced with how to educate his children, and if he had
money, he would let his children go to a better school, and the relationship between
children was one of competition. But if it is a community together, everyone is in a
relationship of helping each other, which is very beneficial to the growth of children,
and parents are no longer isolated. Parents ask us to take online classes out of
dependence on teachers, and if the teachers are suddenly withdrawn, then this matter
is a bit difficult to progress. Therefore, we propose to continue to design the
curriculum and let the parents implement it - in which the role of the parent has
changed, from the companion to the observer, the learner.
Every week after their lessons, we will have an online meeting with parents to listen to
their observations and discuss what the next lesson will be. In this case, the role of the
teacher is hidden until the parents themselves can do a good job and can continue to
push the matter forward. Whether we are there or not at this time will have no effect on
them anymore.
At the beginning, I designed the curriculum, and parents could carry it out with it. This
was done about three times, and by the fourth time, 9-year-old Gao Chang said that he
really wanted to design the course, so we decided to give him the task of designing the
course through negotiation. If he has a problem, I will give some comments and
suggestions, and he will not only design the course, but also conduct the course. At
first, I thought he was just trying to have a good time, but I didn't expect to stick to it
all the time. After each lesson, parents and children will give him a lot of opinions, and
then he will have an online meeting with several other children before each class to
discuss the content of the next lesson, and then he will prepare the lesson.
I don't know if these children and parents will be able to go further in the future, but I
can feel that what we really want to do is moving forward in some way. I was thinking
that if this group of parents could carry out this kind of nature and art education by
themselves without the need for teachers, then I thought that another group of parents
could also carry out such activities on their own, and our nature and art education
might benefit more people, and then build such a community of mutual education.
Li Mu 2022
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