| 1) Loris Malaguzzi founded the Reggio Emilia | | | | children to undertake exploration and problem |
| approach at a city in Italy called Reggio Emilia. | | | | solving. By observing the children, she learns what |
| 2) Newsweek Magazine hailed them the best | | | | they are interested in and uses that information |
| preschools in the world in 1991. | | | | to act as a resource for them, asking them |
| 3) Their approach sees children as being | | | | questions, discovering their ideas, helping them |
| competent, resourceful, curious, imaginative and | | | | crate hypotheses and theories to test. |
| inventive. | | | | 8) There is no pre-set curriculum. Teachers and |
| 4) In a Reggio Emilia school, educators play close | | | | parents are seen as partners in learning with the |
| attention to the look and feel of the classroom, | | | | children. |
| which is often referred to as the "third teacher." | | | | 9) Teachers document the children's discussions, |
| The goal is to create a room that is beautiful, | | | | remarks and activities through notes, videos and |
| joyful, inviting and stimulating. | | | | photographs. This makes learning visible, helping |
| 5) Children's work is on display along with | | | | parents understand what their children are doing, |
| collections of leaves or rocks they have gathered | | | | teachers understand the children better, and |
| from field trips. There is natural light, plants, | | | | children see that their work is valued. |
| mirrors, photographs and children's work to | | | | 10) Long-term projects emerge out of |
| capture the attention. | | | | spontaneous play and exploration with children. |
| 6) Different centers are located throughout the | | | | They may last from days to several months. |
| classroom. They are devoted to dramatic play, | | | | Depending on children's interests (and with their |
| art, writing, sand/water, reading, math, | | | | input), topics for projects are decided. Teachers |
| manipulatives, blocks and science. Much thought | | | | bring in materials, books, questions, and |
| goes in to the design of a Reggio Emilia classroom | | | | opportunities for the children to explore the topic |
| in order to support their multi-sensory approach | | | | further. Exploration may take place through field |
| to learning. | | | | trips, discussion, drawing, sculpture, puppetry, |
| 7) After the teacher organizes the classroom in a | | | | drama, shadow and dramatic play, and writing. |
| way that is rich with possibilities, she invites the | | | | |