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Part I
Researching young childrenâs play and creativity
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Chapter 1
Reflecting on children âplaying for realâ and âreally playingâ in the early years
Deborah Albon
Chapter introduction
The observations in this chapter by Deborah Albon, Senior Lecturer in Early Childhood Studies at London Metropolitan University, are drawn from her research looking at âfood eventsâ (as in meals and snack times) in four early years settings over a three-year period. Using the narrative observations as a basis for reflection on play, she proposes it might be categorised on a continuum of âplaying for realâ and âreally playingâ. She concludes that both categories of play are valuable, and encourages further reflection as the key to considering childrenâs own experiences and the role of practitioners.
Introduction
There is a range of ways in which to categorize types of play. Indeed, the topic âplayâ has undergone thorough examination and continues to do so, such is its importance in the field of early years education and care. Examples of such categorizations include Hutt et al.âs (1989) taxonomy of play as involving either âepistemic behaviourâ, which relates to activity that involves problem solving and exploration, and âludic behaviourâ, which is more playful, repetitive and/or symbolic. In thinking about young childrenâs pretend play, Hendy and Toon (2001) make a distinction between âsocio-dramatic playâ and âthematic-fantasy playâ, arguing that the former involves the child in pretend activities such as cooking a meal and the latter relates to imaginary worlds that children have invented for themselves, sometimes drawing on cultural narratives available to them and other times derived purely from their imaginations.
This chapter draws on five observations from three early years settings. It should be noted from the outset that I do not claim that all play episodes can be categorized exclusively as falling within one of the terms I have called âplaying for realâ or âreally playingâ and will also include play episodes that are not food-related. Possibly these terms are best thought of as opposite ends of a continuum with the observations discussed here viewed as towards the two opposite extremities of this continuum. In addition, as play is often shifting in its focus, a play episode that starts as âplaying for realâ can turn into something akin to âreally playingâ in a moment â such is the beauty of play.
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âPlaying for realâ
The episodes of play that I am characterizing as âplaying for realâ are those that seem highly imitative of real life, where the conventions that children may have witnessed at home, nursery, cafĂŠs or elsewhere are often highly recognizable to the observer. Hendy and Toon (2001) describe such activity as âsocio-dramatic playâ. I have often observed this type of play when children have access to real objects such as real food or cooking equipment and when they have access to a range of materials that they use to stand very directly for something else (as noted in Vygotsky, 1978). Children engaged in episodes of âplaying for realâ tend to appear to be âpurposefullyâ engaged â sometimes for long periods â and seem to be performing an activity in their play at a higher level than might be expected from someone of their age and experience, such as cooking the dinner. I use the term âpurposefullyâ in inverted commas because it is the type of play that practitioners I have observed and spoken to tend to view highly. It is the kind of play where children seem to want to encounter reality (Moyles, 1989) rather than playfully pushing the boundaries of what is ârealâ as we will see in the play episodes I am describing in terms of âreally playingâ.
In âplaying for realâ, children are able to explore aspects of the ârealâ world from different angles but without the emotional stress that goes with real life. This is not to say that strong emotions are absent from play but that children are not really trying to feed a small baby and get it to sleep and can choose to come out of role when they wish to. When âplaying for realâ, children may take on different but recognizable roles. In so doing, they are able to experience the world from different vantage points, particularly those of people who have control over them such as parents (Mead, 1967).
In order to illustrate what I mean by âplaying for realâ, I will now reflect on two observations. The first involves a group of 3-year-old children, one of whom is making roti using play dough in the home corner. The second observation involves a group of 4-year-old children who are using real potatoes as part of their play in the home corner. We will see in these two observations that the play is very recognizable from the real world of cooking and serving food.
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Observation 1: Making roti (observation of children aged 3 in a nursery class)
Sarbjeet takes a lump of play dough into the home corner and uses it to make roti, speaking to me in Punjabi but interspersing it with âspecial for youâ. She demonstrates a high level of skill in forming the flat, round shapes with her hands. Sarbjeet increases the heat on the cooker by turning the knob. Then she stands with her hands on her hips as if waiting for time to pass by, seemingly annoyed at the length of time the roti are taking to cook. To cook them, she places the dough directly onto the âheatâ, pressing them down slightly as if they are bubbling up. As she does this, she piles the cooked roti onto a plate very carefully and carries on cooking.
Daspurnima comes over to join her and they both stand at the cooker cooking roti, saying âwaitâ as the roti cooks. Sometimes they have their arms folded, chatting together as if gossiping. When all the dough is cooked and a huge pile of roti is made, they bring it over to the table and I am invited to join the group (a group of five children including Sarbjeet and Daspurnima). Sarbjeet gives me a roti on a plate and spoons an imaginary blob next to it saying âchutneyâ. She is concerned her roti are too hot to eat at the moment and says âcareful â hotâ to make sure we all take care.
Observation 2: Play with potatoes (observation of children aged 4 in a private day nursery)
Today there are real potatoes in the home corner. This is interesting because the children run over to the cook in the kitchen with them and say they have found them and they belong in the kitchen. The cook seems a bit confused about this initially but then laughs and says âThatâs OK!â It is very noticeable in this setting that the kitchen is visible to all the children and the children are able to watch the meals being cooked or engage in conversation with the cook about the food they are going to eat.
The children seem to have a very strong sense of real and pretend in the home corner as evidenced by the potatoes. Once they realize that they can have the real potatoes in the home corner, I notice a marked change in the play. Mary gets the toy knife and starts to cut one of the potatoes into pieces and puts the pieces into a saucepan. This is tricky given the lack of a sharp edge. Other children do this too but with a lesser degree of ability and there is a very purposeful air in the home corner. The cook supplies extra potatoes at the request of the children, who run over to the kitchen and tell her what they are doing.
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The nursery manager brings over some real knives from the kitchen and the children become engrossed in cutting the potatoes and filling pans. Once full, Mary and Eva say that they need water in the pans to boil the potatoes. They have clearly seen this being done. A practitioner does not question this and puts some water in the water tray to enable the children to fill their pans with water (on top of the cut potatoes). The children are unable to access water from taps themselves owing to the building design. The children spend a long time at play â preparing, cooking and serving up food. The children comment on how the water is dirty now and talk about the need to peel the potatoes. Later, Mary says that she needs to get the water out of the pan like her mum does at home and takes the pans over to the water tray. Mary selects a sieve from a couple offered to her by the cook and takes it over to the water tray and drains her potatoes successfully. She then returns to the home corner.
What follows are some questions to reflect on in relation to these observations:
⢠How willing are practitioners to allow materials to be moved from one part of the room to another, even if it causes a degree of mess?
⢠How ârealâ are practitioners willing to make play activities? In a play situation â one that is likely to be less regulated than a cooking activity, for instance â how willing are we to allow real knives, real sieving and real food, for example, in the home corner?
We might also question the extent to which the second observation, in particular, constitutes play. Arguably, these observations could be likened to an âin-between activityâ (Gura, 1996: 60) as they share many elements from the world of work as much as play. Certainly the skills developed in cutting the potatoes in Observation 2 appear more work-like than play-like (Wing, 1995; Gura, 1996).
⢠How willing are practitioners to allow children to eat food that has been placed in a play situation? My many observations in this area show that inevitably some children eat what is there.
⢠If we do allow such activity but are worried about the potential risks for health and safety, are we in danger of regulating such play to the extent that it becomes something that is not play?
⢠Can staff other than early years practitioners become involved in childrenâs play as in Observation 2? In this example, the cook was involved in the childrenâs play.
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⢠Should real food be used as a play material? There are decisions to be made regarding whether this is ethical, given the experience of some people in the world of food insecurity. Alternatively, by having the opportunity to play with real food, children may be able to alleviate any anxieties they experience in relation to food and eating in a relaxed environment (Albon and Mukherji, 2008).
In my observations, the use of real food tends to result in children âplaying for realâ whereas plastic food tends to result in play that might be regarded in terms of âreally playingâ. Maybe this points to the need for both real and pretend items in play situations alongside the ability to mix media from around the play space(s). An example of this might be the child I observed putting dried pasta onto a plate that was available in the home corner and then carefully selecting a piece of red fabric from the workshop area to act as tomato sauce on top of it.
âReally playingâ
âReally playingâ, I wish to argue, differs from âplaying for realâ because here, children appear to be stretching conventional boundaries. In my data this relates to what food is eaten, but more usually, how it is eaten and the kinds of unwritten cultural rules that exist about what is acceptable behaviour during food events. It is play that can be likened to Hendy and Toonâs (2001) thematic-fantasy play, but more than this, it is often characterized by its humour and playfulness. For Parker-Rees (1999: 61), playfulness enables us to cope with âthe tension between personal freedom and social constraints that characterizes all forms of interactionâ. Further to this, âreally playingâ can be linked to âludicâ behaviours (Hutt et al., 1989) and Kallialaâs (2006) notion of âdizzyâ play that turns the world upside down. It should be noted that the Early Years Foundation Stage (EYFS) (DfES, 2007) lacks reference to such humour and playfulness â the few references there are seem to relate to babies.
âReally playingâ can be contrasted with âgoodâ play, which is encouraged by practitioners as it emphasizes turn-taking and following approved rules (e.g. King, 1992). Bakhtin (1984) discusses the important role played by the carnivalesque in subverting and making fun of authoritarianism, order, officialdom, narrow-minded seriousness, dogma and âall that is finished and polishedâ (p. 3). Carnival is a time when there is temporary liberation from the established order of things and it is always accompanied by laughter. Thus, my conceptualization of some play episodes as âreally playingâ seems to fit well with this.
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Such playfulness is important as we can see in many examples in this book. Corsaro (1997) argues that playful activity is indicative of childrenâs ability to create and participate in their own peer cultures. In addition to this, the sharing of comic situations and the ...