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Play Based Learning Workshop Participants

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LISTICLE Agency in the early years from IB

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Lynn Cuccaro's Padlet of Research / Resources about Play

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Lynn Cuccaro's Padlet of Research / Resources about Play

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Unit of Inquiry Planner Template Early Years

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Unit of Inquiry Planner Template Early Years

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Play is central to how children learn: the way they form and explore friendships; the way they shape and test hypotheses; the way they make sense of their world. Much is known about the importance of play in children’s development, yet little empirical research has explored what it might mean to put play at the center of formal schooling. Playful learning involves more than games and fun activities—it entails activating a mindset where experiences are framed as occasions to be curious and creative, and where teachers and learners can experience joy and agency.  Since 2015, the Pedagogy of Play project, a research collaboration between Project Zero and the LEGO Foundation, has been working to redefine play and reimagine learning in schools, exploring three core questions: What does it mean to have a pedagogy of play and why is it important? What does playful learning look and feel like in classrooms and schools? How do educators set up the conditions where playful learning thrives?

Together with teacher-researcher partners, we are mapping the terrain of learning through play in early childhood, primary, and middle school settings. We began our research with the International School of Billund (ISB), in Denmark.  A school where the vision and philosophy are designed around play, ISB was fertile ground for exploring early questions about playful learning in schools. Our research with ISB inspired a working set of playful learning principles, practices, and tools; pictures of practice (ideas in action); and, the beginnings of a pedagogy of play framework.

Because learning through play is contextually determined—what playful learning means and how to nurture it differs from community to community and from school to school—we expanded our investigations to include cultural contexts beyond ISB. Our subsequent research with school communities in South Africa, United States, and Colombia, therefore, further explores how playful learning is shaped by local cultural dimensions, in the process helping schools understand their own vision of learning through play while contributing to a broad understanding of what playful learning looks like in diverse school settings.

The Pedagogy of Play project is in the final years of research, building towards a playful teaching and learning framework; accompanying tools to help administrators, teachers, and teacher educators; and a guide for a new approach to teacher research called Playful Participatory Practice (PPR) that we developed with ISB. As we continue to explore playful learning in more contexts, we will continue to develop culturally specific models of learning through play as well as a meta-model and research guide for schools to develop their own cultures of playful pedagogy. We invite you to check out our blog at popatplay.org, where we present some of our emergent ideas, share pictures of playful practice, and invite our colleagues to share their experiences with and thoughts about learning through play.

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With the goal of supporting educators in bringing more playful learning into their classrooms and schools, the Pedagogy of Play USA project conducted research in six schools in the Boston area in the Northeastern United States (U.S.). Considering the specific challenges and affordances of the local educational context, we examined what playful learning looks and feels like.

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Ready to play?

When children play, they learn. They solve problems, think strategically, relate to others, and manage life's ups and downs. Play helps children learn how to learn - and love learning. We've gathered some of our favourite games. You can play them anywhere - using things you find at home.

More activities

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We're here to convince the grown-ups. Because play is something every child, everywhere in the world can do. It fuels curiosity, sparks creativity, and inspires a lifelong love of learning. Children who play pick up all kinds of skills to thrive today - and lay the foundations for a happier, healthier life tomorrow.

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What’s the Big Idea?

The Monster Engine is one of the best ideas I’ve come across. It’s a book, demonstration, lecture and gallery exhibition created by Dave Devries. The premise is simple: children draw pictures of monsters and Devries paints them realistically. According to the website, the idea was born in 1998 when Devries took an interest in his niece’s doodles. As a comic addict, Devires wondered if he could use color, texture and shading to bring his niece’s drawings to life.

But Devries had a larger goal: he wanted to always see things as a child. Why? In many ways, children flourish where adults fail. Children are more creative and are natural inventors. Their worldview is incomplete and demands discovery. They prosper because they embrace their ignorance instead of ignoring it. And they are willing to explore, investigate and put their ideas to the test because they are willing to fail. Unlike adults, they don’t care how other people perceive or evaluate their ideas, and they’re unconcerned with the impossible or what doesn’t work.

Growing up, to be sure, has its benefits. As we age, our intellect sharpens and willpower strengthens. We come to control our thoughts and desires. We identify goals and hone our skills. But growing up comes at a cost: we lose our naiveté that facilitates creativity and idea generation. A study conducted between 1959 and 1964 involving 350 children found that around 4th grade our tendency to daydream and wonder declines sharply. In other words, Picasso was right: “Every child is an artist. The problem is how to remain an artist once we grow up.”

Age doesn’t necessarily squander our creative juices, but when we make the leap from elementary school to middle school our worldview becomes more realistic and cynical. The question is: what did Jobs and Spielberg do differently? How do we maintain our naiveté?

A study conducted several years ago by Darya Zabelina and Michael Robinson of North Dakota State University gives us a simple remedy. The psychologists divided a large group of undergraduates into two groups. The first group was given the following prompt:

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You are 7 years old. School is canceled, and you have the entire day to yourself. What would you do? Where would you go? Who would you see?

The second group was given the same prompt minus the first sentence. This means they didn’t imagine themselves as seven years old – they remained in their adult mindset.

Next, the psychologists asked their subjects to take ten minutes to write a response. Afterwards the subjects were given various tests of creativity, such as inventing alternative uses for an old tire, or completing incomplete sketches. (As well as other tasks from the Torrance test of creativity.) Zabelina and Robinson found that, “individuals [in] the mindset condition involving childlike thinking…exhibited higher levels of creative originally than did those in the control condition.” This effect was especially pronounced with subjects who identify themselves as introverts.

What happens to our innate creativity when we age? Zabelina and Robinson discuss a few reasons. The first is that regions of the frontal cortex – a part of the brain responsible for rule-based behavior – are not fully developed until our teenage years. This means that when we are young our thoughts are free-flowing and without inhibitions. Curiosity, not logic and reason, guides our intellectual musings. The second is that current educational practices discourage creativity.

As famed speaker Ken Robinson said: “the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they’re not, because the thing they were good at school wasn’t valued, or was actually stigmatized.”

No matter the reasons, the authors stress, adults can still tap into their more imaginative younger selves. And this brings me back to The Monster Engine and Dave Devries.

Devries’ drawings capture the lesson from this enlightening research well. When it comes to being creative and coming up with new and fresh ideas, children are experts. But in order to harness and hone our creative juices the cognitive tool set of an adult is vital. The children’s drawings, after all, couldn’t have come to life without Devries. The important part is that Devries maintained his naïveté by staying true to the original work. He didn’t change the drawing, he enhanced it.

What’s the Significance?

This approach is behind the success of countless intellectuals and inventors thoroughout history, including Picasso. It is the reason Einstein stressed that imagination is more important than knowledge and, striking a very similar cord to Zabelina and Robinson’s research, suggested that “to stimulate creativity, one must develop the childlike inclination for play and the childlike desire for recognition.”

Again, it’s often beneficial to approach life with an adult mindset – you probably don’t want to get too creative with your taxes – but when it comes to using your imagination, thinking of oneself as a child facilitates more original thinking.

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Killing Creativity: Why Kids Draw Pictures of Monsters & Adults Don’t

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A study conducted between 1959 and 1964 involving 350 children found that around 4th grade our tendency to daydream and wonder declines sharply. In other words, Picasso was right: “Every child is an artist. The problem is how to remain an artist once we grow up.”

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Blog: 10 important things I'm still trying to learn

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Blog: 10 important things I'm still trying to learn

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10 important things, that I'm still trying to learn

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A few weeks ago, Margie Clayman wrote a lovely post about 10 things she hopes her readers could learn from her . I loved the idea and be...

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The concept of the 'image of the child' recognises that the ideas that teachers and other adults hold about children and childhood are created by the societies in which they live: ideas and conceptualisations of children and childhood are social, cultural, political and historical constructions[i]. The concept of the image of the child highlights these constructions and the assumptions they engender - assumptions that influence the vision or understanding teachers and other adults hold of the children they live and work with. These constructed ideas about children and childhood act as the foundation that informs teachers' behaviour - the ways they talk to, listen to and observe children[ii]. The images that teachers hold of children determine the actions and interactions they have with them.
Why is it important for teachers to reflect on this idea of the image of the child?

The concept of the image of the child can be imagined as a pair of glasses that adults and teachers unconsciously wear and through which they come to see children in a particular way. It matters which glasses teachers look through because the way they see and understand children informs the curricular and pedagogical choices they make as teachers. How teachers understand children's abilities and competencies guides them as they design learning environments and enact curriculum[iii].

Comparing various images of the child allows teachers to assess both the restraints and affordances that each image offers and empowers them to consider which image of the child they want to foster through their teaching practices and philosophies. Teachers can consciously choose which pair of glasses to wear when working with children. This is not a matter of becoming fixated on a particular image of the child at a particular time, but rather of being cautious that the image of the child does not limit the possibilities or desired learning outcomes of an interaction or activity.

It is important to recognise the unequal power relations between adults and children that are involved in these constructed images[iv]. What this means is that images of the child are strongly influenced by the desires, agendas and interests of adults and the social institutions (such as ECE centres and schools) that adults construct to integrate children into society[v]. It is also important to acknowledge that these unequal power relations between adults and children can be constructed for pragmatic reasons. For example, adults often need to make certain decisions for children, in the interest of their wellbeing and healthy development, that they lack the knowledge and experience to make for themselves.

Some common images of the child and how they manifest in practice

The image of the child as a cute object might lead to an over-emphasis on 'cute' or 'child-like' cartoons and images to decorate the walls and display boards of early childhood settings, or love heart borders to frame assessment documentation, at the expense of a range of other interesting visual imagery. Teachers might be tempted to share assessment documentation images of children with co-workers based on their 'cute factor' rather than their significance in relation to the child's learning and development.

The image of the child as an empty vessel or clean slate might lead to the assumption that the child needs to be filled up by the predetermined knowledge of society. This image assumes that children cannot be left to make their own decisions and must be taken by the hand and led through life by 'wise' adults. If teachers hold this image, they risk ignoring the emergent questions and creative activity that children bring to the learning environment as autonomous individuals. Teachers might feel an impulse to 'correct' children constantly rather than prioritising experimentation and the processof learning and the development of working theories.

The image of the child as the naughty or smart-ass kid might lead to the belief that the child is a kind of wild creature that needs to be tamed into becoming a 'civilised' adult. Certain films and advertising campaigns featuring young children tend to perpetuate this image[vi]. This image of the child might lead teachers to prioritise certain behaviour management techniques over others, such as implementing a kind of 'naughty corner' for children rather than employing a relational teaching practice for resolving conflict that treats undesirable behavior as a learning process and an opportunity for children to take responsibility for their actions.

The image of the child as innocentmight lead to the assumption that childhood is some kind of paradise that is corrupted by growing up in a particular society. This image of the child is constructed through adults' sentimental attachment to childhood[vii]. This image might manifest in practice when teachers feel the need to shelter or protect children from complexity and challenging ideas and topics rather than treating them as an opportunity for learning and creative activity. When adults assume this innocent image of the child, they run the risk of glossing over or ignoring the deeper questions that engage, stimulate and challenge children.
The influence of different theoretical lenses on the image of the child
One of the influences on the image of the child is the field of developmental psychology[viii], which described childhood in terms of clearly defined developmental stages conceptualised as universal and natural passages of life. Viewing children solely through a developmental lens may lead teachers and parents to overlook the impact that diverse socio-cultural contexts have on children's learning, as well as the agency of children to contest these universal boundaries. Research critiquing the developmental understanding of the child explains how adults' reliance on developmental stages may lead them to lose sight of the complexities of children's lives and their actual and potential capabilities[ix]. Images of the child informed by developmental psychology are still very much present in educational contexts. It is important to stress that this is not inherently bad or wrong, but teachers should understand where these assumptions come from so that they can reflect critically on their teaching practice and make informed decisions.

The influence of social-historical psychology[x] has led teachers to focus increasingly on the impact of social and cultural context in relation to children's learning and development. Seeing children as creators of culture is one way that teachers and parents can acknowledge the cultural and social complexity of children's worlds and construct an image of the child that is underpinned by agency and competence. Conceptualising children as active producers of culture who create rather than simply replicate existing cultural constructs will inform the kinds of learning experiences that teachers design for children[xi].

Talking about children as active producers of culture also acknowledges the inherent value and worth of a child's contribution to the learning environment. This image views the child as strong, competent and rich in learning resources. For example, consider the many drawings and paintings that a young child may produce during their time in early childhood education. Adults may have an inclination to gloss over the significance of such expressions, which often include abstractions that are difficult to make sense of, and dismiss the seemingly random squiggly lines, dots and dashes common in the artwork of young children as an immature phase in the child's artistic development towards representational expressions that can be easily identified - 'that is a tree', 'this is a dog', 'here is my dad', and so on. Considering the child as an active producer of culture means taking a step back from this inclination and working towards recognising certain qualities and potential in children's work that present themselves in the moment.

How can we foster positive images of children through teaching practices?

Reflecting on the image of the child allows teachers to consider the possible impact these images have on teaching practice and the children that experience these practices. Considering various images of the child in relation to each other allows teachers to assess both the restraints and affordances that each image offers, making the image of the child a useful tool for critically reflecting on teaching practices and making informed decisions. Teachers can consider and discuss which image of the child they want to foster or create through the teaching practices and philosophies of their settings. Some questions to promote reflection include:

What images of the child are (consciously or unconsciously) generated and reinforced within our local educational settings?

Who do these images serve?

How do these images affect the wellbeing and learning experiences of the children we work with?

How do the images we hold of children inform teaching practice?

How might we come to resist certain (deficit) images of the child and foster others that broaden the possibilities of learning and development in our local contexts?

For example, the image that teachers hold of childrenmay influence the type and nature of material resources that they provide for children. It is common to hear in ECE settings that particular resources and materials are not safe for children of a certain age. While health and safety is always a paramount concern in early childhood settings and something of which teachers should always be mindful, reflecting on the image of the child might help teachers to confront and challenge the assumptions that inform their decisions to deem certain resources or material objects unsafe for children of a certain age. Some questions to consider are:

How does the age of the children I work with determine the kinds of resources and activities I provide within the learning environment?

Do I stop certain children from exploring certain materials?

Do I encourage experimentation or act to regulate children's use of materials?

What types of materials might serve as provocations to encourage children to explore complex ideas?

Another way in which the image of the child influences teaching practices relates to the idea of a pedagogy of listening. This derives from the Reggio-Emilia educational philosophy[xii] and involves being deeply attentive to the thoughts and expressions that children bring to the learning environment as agentic learners. Through deep listening, teachers can foster an open dialogue with children that is neither adult-directed nor completely child-led. Open dialogue and a pedagogy of listening is a collaborative practice that develops a respectful and meaningful relationship between teacher and child. Some questions to consider include:

Do I take children's questions and expressions seriously?

Do I consider these questions and expressions as meaningful provocations for further activity and learning?

What image of the child do I promote if I do not consider such questions and expressions as valuable contributions to the learning environment?

When teachers intuitively disregard a child's contribution to educational environments, they may be assuming the image of the child as an empty vessel to be filled with knowledge that is predetermined and fixed by the teacher. To take children's questions, activity and expressions seriously as valid points of departure for future learning opportunities is to challenge this image of the child and to take the child seriously as a competent and capable learner. When teachers challenge this deficit image of the child, they assume another image - the child as the creator of culture and their own learning trajectories.

[i] Rinaldi, C. (2006). In dialogue with Reggio Emilia: Listening, researching and learning. New York, NY: Routledge.

[ii] McCartney, H., & Harris, T. (2014). The image of the child constructed and transformed by preservice teachers in international contexts. Action in Teacher Education, 36(4), 264-282. https://doi.org/10.1080/01626620.2014.948226

[iii] Malaguzzi, L. (1994). Your image of the child: Where teaching begins. Exchange, 96, 52-56.

[iv] Bourdieu, P. (1990). In other words: Essays towards a reflexive sociology. Polity Press.

[v] Gramsci, A. (2006). Hegemony, intellectuals and the state. In J. Storey (Ed.), Cultural theory and popular culture: A reader (pp. 85-91). Harlow, Essex: Pearson Education; Prout, A. (2005). The Future of childhood. Routledge Falmer; Said, E. (1978). Orientalism. Penguin Books.

[vi] Kincheloe, J. (1997). Home alone and 'bad to the bone': The advent of a postmodern childhood. In S. Steinberg, & J. Kincheloe (Eds.), Kinderculture: The corporate construction of childhood, pp. 31-52. Boulder, CO: Westview Press; Tarr, P. (2003). Reflections on the image of the child: Reproducer or creator of culture. Art Education, 56(4), 6-11.

[vii] Dahlberg, G., Moss, P., & Pence, A. (1999). Beyond quality in early childhood education and care: Postmodern perspectives. Philadelphia, PA: Falmer Press.

[viii] Tarr (2003).

[ix] Canella, G. (1997). Deconstructing early childhood education: Social justice and revolution. New York: Peter Lang; Dahlberg, Moss, & Pence (1999).

[x] Vygotsky, L. (1978). Mind in society. Cambridge, MA: Harvard University Press.

[xi] Rinaldi, C. (1998). The spaces of childhood. In G. Ceppi & M. Zini (Eds.), Children, spaces, relations: Metaproject for an environment for young children, pp. 78-89. Reggio Emilia, Italy: Reggio Children;

Malaguzzi, 1994.

[xii] Rinaldi (1998); Rinaldi (2006).

By Daniel Whitaker

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The image of the child - THE EDUCATION HUB

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The concept of the 'image of the child' recognises that the ideas that teachers and other adults hold about children and childhood are created by the societies in which they live: ideas and conceptualisations of children and childhood are social, cultural, political and historical constructions[i].

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Learning is a Team Sport: Kindergartners Study the Boston Marathon

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Ben Mardell's documentary about teachers' and students' learning while engaging in an MLV-inspired study of the Boston Marathon. This video shares the strategies the teachers employed and what the children learned along the way.

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Concepts (Principles into Practice) see pp. 3-4

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Concepts (Principles into Practice) see pp. 3-4

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The expression "learning through play" seems so common in early years education, and yet the verb's definition found through a quick online search states that "to play" is to "engage in activity for enjoyment and recreation rather than a serious or practical purpose."

In this post, we look at the theme of learning through play by looking at the work of the IB Primary Years Programme (PYP) Development team as they support the PYP community to develop in this area. We also share feedback from Catherine Erpen, Assistant Elementary Principal and PYP and Early Years Coordinator at GEMS World Academy in Abu Dhabi - Catherine attended a session by Cécile Doyen on this theme at the IB regional conference in The Hague, Netherlands.

As the Acting Head of the PYP, Cécile Doyen opened her 2015 conference workshop sessions with the definition of play (pictured above). In response, session participant Catherine Erpen told us, "I felt as uncomfortable as Cécile with this universally-accepted definition. Like many educators with experience in early childhood education, this is not what one wants to hear."

Clearly, Cécile and Catherine are not alone. 81 of approximately 200 of Cécile's participants feel that play as learning is essential, 35 said they wanted more research, and 49 want more professional development for both themselves as educators and also for parents. And in 2014, The LEGO Foundation in Denmark, brought together innovators, opinion shapers, and educational specialists to consider the question: "How will we convince the world to redefine play and reimagine learning?" The group examined the latest research on brain development and play, and discussed how play can contribute to better lives, foster stronger communities and transform the learning experience.

"How will we convince the world to redefine play and re-imagine learning?"

At the time of the LEGO event, the review of the PYP was in the early stages. Cécile found that what she was hearing at the LEGO event seemed to match the feedback that her PYP team were getting from schools. PYP schools were highlighting a demand for increased guidance on play and asking for a clear explanation of the relationship between play and learning in the PYP. "We know that play is a cornerstone of creativity and imagination-characteristics we seek to develop in students as citizens of the world, today and tomorrow" explained Cécile.

As part of an emerging compelling body of evidence, data in a 2012 study by Suggate showed that children who formally learn to read later catch up with children who formally learn to read earlier. Cécile invited the regional conference audience to considerations on the idea that the children who were given the time to develop learning skills through play and learned to read through formal ways of teaching later, at age 7 instead of age 5, were not only likely to have the same reading skills at the age of 11 but with better reading comprehension (see image below), because they were given more time to build meaning by creating connections through their engagement in open and playful inquiries.
So, what can we do to help teachers support their students' learning through play?
At the IB Annual Regional Conference in October 2015 in The Hague, and at the Teacher Skills Forum in Jordan in December 2015, Cécile delivered workshop sessions that focused on teaching strategies to plan for and evaluate learning through play. She highlighted three processes crucial for learning which teachers can focus on when evaluating, monitoring and documenting learning when children play, plus a set of three lenses through which teachers can look in order to design learning experiences and environments that promote play as inquiry-based learning.

Catherine Erpen recalls: "As we considered the research, we reviewed three crucial processes to document/monitor the learning that happens when children play: self-regulation, language and social skills. We then thought about types of play as organized according to developmental stages, relationships and learning environments."

For example, a playful approach to language learning can offer powerful support for the development of literacy skills through:

Language-rich play environments

Narration in play situations

Cognitive-linguistic skills development (phonological awareness, symbolic representation, etc.)

Sequencing of steps to problem-solve (plan for play, etc.)

Adapted from: Christie & Roskos (2006), Hirsh-Pasek & Golinkoff (2003), Konishi et al. (2014)

By looking at photos of children playing, the workshop participants had an opportunity to evaluate both what types of play and what learning processes were taking place. They also had time to think about how the different ways that play is directed/initiated could have an impact on the learning experience/outcome. See table* below.

Child-directed Adult-directed

Child-initiated Free play Co-opted play

Adult-initiated Guided play Direct instruction

Catherine shared her session experience with colleagues when she returned to her school in Abu Dhabi. She said: "It prompted some really rich discussion about the types of opportunities teachers were providing and the ways in which we could enhance student learning by ensuring a greater range of play experiences that promoted growth in all key areas in the context of the units of inquiry. It was interesting to reflect upon how the various types of play were evidenced in our classrooms and the extent to which each of the quadrants [see table above] was represented. We have only just begun to think more deeply about this, but I am confident that through thoughtfully reflecting and sharing with each other we will develop strategies for enhancing play experiences and ensuring that student learning is maximized."
What next?
Tell us what you are doing - As organizations like The Lego Foundation and educators around the world continue to challenge the official definition of "play", we welcome any feedback from the IB community and beyond about their work and experience as they develop their childhood learning through play.

Use the handout and other resources - Here are the slides and handouts outs from Cécile's session at the Teacher Skills Forum in Jordan in December 2015.

Attend a workshop or webinar - Find IB workshops on play-based learning for PYP educators around the world here plus an overview of what to expect here in the 2016 IB Workshops and Resources Catalogue.
And finally,
Learning through play isn't just for children. Here's a parting thought from Catherine: "I have been thinking about "play" from my own personal perspective, reflecting on what kinds of "play experiences" promote the same kind of growth in us as adults both personally and professionally. I believe that our personal representations of 'play' can look very different according to our interests. I am an avid snowboarder. While I have had to develop my skills as an individual in order to develop my muscles and develop control of my board, for me, snowboarding involves connecting with others, it is a social activity. I have learned the language associated with the sport and have developed my cognitive abilities in learning to pay greater attention to my surroundings and reflect on the ways in which I strategize to improve my performance. I believe that the skills I have developed are reflective of those associated with play."

References:

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The expression "learning through play" seems so common in early years education, and yet the verb's definition found through a quick online search states that "to play" is to "engage in activity for enjoyment and recreation rather than a serious or practical purpose."

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Video: Prescription for Play (watch from 7:30 to 17:30)

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Video: Prescription for Play (watch from 7:30 to 17:30)

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About the Talk

Go on a playful journey to explore the role of play in inquiry and understand what it takes to make play come alive for your students. A true advocate for play, Lynn dives into its value and explores loose parts as a tool for thinking. Reflect on what environments and materials elicit delight in your students and how might material exploration be used as a tool for thinking across the school day. Become an advocate for play in your community and take away ideas and strategies to provide access to play and loose parts to all children.

Top Takeaways

Through this workshop, explore:

Play as an authentic vehicle for inquiry

Profound skill development through play

Play as a means of wellbeing for all ages

Explore hundreds of units and learning experience collections on play based learning!

Disclaimer - This event is organised independently of and not endorsed by the IB. Toddle's events and webinars are organised to enable an exchange of practices and ideas within the educator community and are not a replacement for official IB workshops. Views and opinions expressed by the speakers are their personal views and should not be construed as official guidance by the IB. Please seek assistance from your school's IB coordinator and/or refer to official IB documents before implementing shared ideas and strategies in your classroom.

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Go on a playful journey to explore the role of play in inquiry and understand what it takes to make play come alive for your students. A true advocate for play, Lynn dives into its value and explores loose parts as a tool for thinking.

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Article: Learnings from Lynn Cuccaro's "Prescription to Play" session

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Article: Learnings from Lynn Cuccaro's "Prescription to Play" session

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Passionately and playfully led by Lynn Cuccaro, the Prescription for Play session of Toddle's The Inquiry Educator Summit (TIES) was full of wonder and loose parts. With Lynn as our guide, this session opened minds and hearts to the possibility of playful learning for learners of all ages.

" The wider the range of possibilities we offer children, the more intense will be their motivations and the richer their experiences."
- Loris Malaguzzi
Why Play?

The World Economic Forum is one of many global advocates for play. They know that the future of work depends on young people developing the necessary skills and mindsets, not just acquiring knowledge. As educators, we are aware of the tug-o-war between the old and the new, the traditional and the innovative. Sometimes this plays out as convincing parents of the pedagogy we believe in as best for learners and learning. With tools like the 22 Skills Outlook, we are equipped to advocate for why play is a vehicle for inquiry.

If these are the types of skills and dispositions the future workforce must
possess, what is it we can do to help foster this type of global citizen today?

The power of play

Embracing play in learning is not just an act of kindness in the classroom. The
UN Convention on the Rights of Children lists play as a right. This is backed by the American Academy of Pediatrics amongst other advocates. Grounded in research, Lynn explored the necessary conditions for play:
What do these elements mean to you? How do you draw on them in your classroom? From your own practice, what have you observed as the benefits of play?
Lynn advocated for the power of play for all. Although, we may see a bias toward this in the early years, examples of play in upper primary, high school and adult learning abound. From LEGO, to High Tech High to forest schools, many already adopt this stance of the power of play.

Loose Parts as a way of thinking

So what does play look like in practice? Do you imagine a room full of toys or an environment designed with loose parts?

Loose parts are captivating, open-ended and mobile for learners. They are physical invitations to unlock imagination and wonder. They are a way of,
Working Through the Tangles and Knots of Uncertainty
In other words, they are a way to make sense of the world around us and inquire deeply into our place in it. Loose parts come from nature and the human constructed world. Lynn shared some of her favourite classroom must-haves:
Pause and reflect:

How have you used loose parts?

How can the exploration of materials be used as a tool for thinking?

What if...learning spaces offered children multiple tools to inspire thinking and wonder?

Lynn explained that loose parts are not without their challenges. From safety considerations to who tidies up the materials, ever the advocate of the
empowered child, Lynn is aware of the role of the adult and child. The shared
responsibility when our image of the child comes with a spirit of personal
accountability for ourselves and others.

Provocations: Invitations to play

The ability to provoke wonder, choice and delight is an artistic expression of
being an educator. It is these provocations, crafted and seeded in the learning
environment that make clear that play has a fundamental purpose in a child's
development. Without taking away the choice of the learner, the right type of
provocation invites a child to step into the problem and solve the puzzles of life. The inquiry that occurs through and follows playful provocations, demands an appreciation of the 'so what' and 'now what' of learning.

What does this type of playful learning look like and feel like in your classroom?

The Pedagogy of Play developed by Project Zero o!ers some thoughts. How might this inspire you to adapt and explore ways of provoking playful learning?

What if...

You may be reading this, thinking and feeling validated in your shared belief
about the power of play. So what do you do now? As a play advocate, how can
you amplify and celebrate play in your community?

The Toddle Community offers a place to share and discover possibilities. Get inspired and immerse in playful learning engagements by adapting open-ended experiences designed by experienced PYP educators.

Start small - think of how you can use LEGO to create a provocation, learn how to set up a basic digital landscape to inspire children's imagination, and look at the materials you have at your disposal with a different lens. Give children the freedom of space and the gift of time to become scientists, to observe, to investigate, to create, to get messy, and to play!

You can explore entire units designed to inspire play in the early years! Explore Safaa's magical unit on human interaction with the natural world to learn how to weave play in the DNA of a unit of inquiry. Browse Nord Anglia's Unit on Play to discover how their young learners learn. Parita's Unit on Materials integrates lots of simple loose parts, exciting materials, and basic provocations for authentic learning play opportunities of making, experimenting, and building.

You might be wondering about Lynn's title, 'Prescription for play'. As a call to
action, the American Academy of Pediatrics suggests that,

"pediatricians should write prescriptions for play before the age of
two...essentially every life skill can be built up with play, both at home and in
school. Few things beat the power of play." Play project, 2018

Drawing back on Loris Malaguzzi's words as we conclude,
When we truly embrace playful, wonderful learning we discover there is, " Play is our opportunity to learn and discover." - Loris Malaguzzi

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Prescription to Play - Learnings from Lynn Cuccaro's Early Years Workshop - Toddle Learn

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Passionately and playfully led by Lynn Cuccaro, the Prescription for Play session of Toddle's The Inquiry Educator Summit (TIES) was full of wonder and loose parts. With Lynn as our guide, this session opened minds and hearts to the possibility of playful learning for learners of all ages.

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Article: Ten Reasons Why Play is Essential

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Article: Ten Reasons Why Play is Essential

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Play is good to do and good for you! That's why play is universal in humans and widespread throughout the animal world. Here are 10 reasons to play:

1) Play Makes You Smarter

2) Play Strengthens You

3) Play Helps You Make Friends

4) Play Boosts Creativity

5) Play Reduces Stress

6) Play Enhances Attractiveness

7) Play Builds Resilience

8) Play Helps You Solve Problems

9) Play Promotes Discovery

10) Play is Fun

Now if you want to delve deeper to learn the research that supports any of these statements, these articles in The Strong's American Journal of Play provide more information:

5) Play Reduces Stress-Not all stress is bad. Sometimes we need stress to be productive, but too much stress not only makes us unhappy but also can damage our health, relationships, and ability to think clearly. Play offers a respite and a chance to renew ourselves; our recreation can be an important means of re-creation. For more, see Paula Thomson and S. Victoria Jaque, "Visiting the Muses: Creativity, Coping, and PTSD in Talented Dancers and Athletes."opens PDF file

8) Play Helps You Solve Problems-Life is full of surprises, obstacles, and challenges. It's impossible to predict everything that will happen to you, and play makes us more adaptable and responsive to the curveballs life throws at us. Read about this in humans and animals in "How Play Makes for a More Adaptable Brain: Comparative and Neural Perspectives,"opens PDF file by Sergio M. Pellis, Vivien C. Pellis, and Brett T. Him
By Jon-Paul Dyson, Director, International Center for the History of Electronic Games and Vice President for Exhibits

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Ten Reasons Why Play is Essential (for Children AND Adults) - The Strong National Museum of Play

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Play is good to do and good for you! That's why play is universal in humans and widespread throughout the animal world.

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Blog: How environments shape learning in early years

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Blog: How environments shape learning in early years

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Parte de nuestro viaje de indagación hacia el PEP incluye un compromiso con la autoevaluación y por este motivo, hacia fines del pasado año escolar, reflexionamos e identificamos algunos desafíos que estábamos enfrentando en nuestro programa de "Early Childhood".
Descubrimos que nuestros espacios físicos estaban condicionando un enfoque de enseñanza - aprendizaje que limitaba la implementación de un enfoque basado en el juego y la indagación, así como otras prácticas que son parte de la filosofía PEP.

Una oportunidad de sintonización importante fue la colaboración con Andrea Muller, educadora de la primera infancia con vasta experiencia en el IB y en el PEP. Con ella pudimos explorar distintos recursos y profundizar en los temas respecto los que nos estábamos preguntando.

Hicimos una lluvia de ideas sobre nuestros conocimientos previos. Sabíamos que la manera en que organizamos nuestra sala de clases, los materiales y las decoraciones tiene un impacto directo en la motivación de los niños por explorar, preguntarse y crear. Conocíamos la importancia del espacio de aprendizaje como el "tercer educador", y estábamos conscientes de que el espacio físico puede promover o dificultar una enseñanza - aprendizaje en sintonía con la misión y visión de nuestro colegio, así como la del PEP.

Continuamos reflexionando sobre nuestros espacios actuales y cómo éstos daban forma a la indagación.

Usamos distintos recursos para motivar nuestras reflexiones, y luego usamos los conceptos clave del PEP para formular las preguntas que nos ayudarían a continuar con nuestra indagación:

¿Por qué son nuestras prácticas de enseñanza - aprendizaje como son, y de qué maneras influyen los espacios físicos en ellas?

¿Qué dice la investigación actual sobre los espacios de aprendizaje y cómo podemos usar esto para reflexionar sobre nuestros espacios?

¿Cuáles son las distintas perspectivas en cuanto al diseño y organización de espacios de aprendizaje para la primera infancia?

¿Qué conexiones existen entre los espacios físicos y las indagaciones de los niños?

¿Cómo son los espacios de aprendizaje que promueve la indagación?

¿Cómo podemos usar el espacio físico y los materiales para motivar a los niños a hacerse preguntas y aprender?

¿De qué manera es el espacio físico responsable del tipo de enseñanza - aprendizaje, y qué podemos hacer nosotros al respecto?

¿Qué cambios debemos hacer a nuestros espacios físicos para que éstos promuevan una enseñanza - aprendizaje acorde a la misión y visión de nuestro colegio, y acorde a la del PEP?

Estas preguntas nos llevaron a la etapa de investigación de nuestra indagación, y realizamos un búsqueda exhaustiva respecto estos temas.

Después de nuestra investigación, llegamos a distintas generalizaciones sobre cómo los espacios físicos afectan la enseñanza - aprendizaje, y sobre cómo deben ser los espacios de aprendizaje para promover la indagación con niños pequeños. Algunas de estas generalizaciones incluyen:

Los niños necesitan espacios donde puedan participar del juego físico activo y también de actividades tranquilas, donde puedan aprender tanto de manera individual como en pequeños grupos y en grupos grandes.

Los materiales deben estar accesible para promover que los niños formulen preguntas e indaguen.

El espacio físico en el que los niños interactúan debe ofrecer un ambiente calmado, donde tanto niños como adultos se sientan bienvenidos, seguros y valorados.

La naturaleza y la estética son componentes importantes del ambiente de aprendizaje y deben considerarse tanto en el interior como en el exterior.

Estas generalizaciones nos llevaron a tomar acción y comenzamos a trabajar con arquitectos, constructores y diseñadores para planificar nuestros nuevos espacios de aprendizaje. Prontamente, comenzaron a caer los muros y comenzamos a crear planos.

En septiembre ya estábamos listos para inaugurar nuestras nuevas secciones de "Nursery" y "Early Childhood".

Comenzó el año escolar y vimos cómo el rediseño de los espacios de aprendizaje realmente ayudaron a dar forma a la enseñanza - aprendizaje. Algunos de los cambios que observamos son:

Las experiencias de aprendizaje se organizan en torno a áreas de aprendizaje o rincones, donde se ofrecen oportunidades, materiales e interacciones que promueven la indagación.

Gracias a la planificación colaborativa, se están diseñando provocaciones para la indagación en torno a la alfabetización y las matemáticas iniciales.

El arte está naciendo en todas partes, como una manera en que los niños comunican y comparten su aprendizaje y comprensión.

Se están usando activamente tanto espacios interiores como exteriores para el descubrimiento y la indagación.

Estamos contentos con los cambios que están sucediendo, pero somos conscientes de que para asegurar cambio consistente en el tiempo debemos mantener un compromiso continuo hacia la reflexión, la autoevaluación y la capacitación. Por estos motivos, varios de nuestros profesores se han apuntado a talleres oficiales del PEP y a otras oportunidades de formación y esperamos que con la planificación y reflexión colaborativa podamos continuar tomando acción.

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Daniela Kemeny ha enseñado en colegios del Mundo del IB tanto en América como Europa, donde también ha sido líder de taller, miembro de delegación visitante y consultora del PEP. Considera que es audaz e indagadora, ya que disfruta aceptando desafíos y desarrollando su propia investigación para explorar y profundizar su filosofía de enseñanza y aprendizaje. Judith Canning es profesora de Infantil y de Primaria, especializada en la enseñanza de phonics y del Inglés como segunda lengua. Tiene también un grado en arquitectura. Judith también cumple el rol de Coordinadora de Infantil en su colegio, donde actualmente pone en práctica su actitud de innovación hacia la educación y es audaz e indagadora al asegurar las buenas prácticas dentro de su colegio. This article shares an inquiry into the way that the physical space influences teaching and learning with young children. It describes what provoked the inquiry, the questions that were asked, the research done and how the action was taken to re-design learning environments to better support child friendly inquiry.
Part of our inquiry journey into the PYP includes a commitment to self-assessment, which is why towards the end of the last school year we reflected and identified some challenges that we were facing in our early childhood programme.

We discovered that our physical learning spaces were conditioning a certain approach to teaching and learning that limited the implementation of a play-based, inquiry approach and other practices within the PYP philosophy.

Collaborating with Andrea Muller, an experienced IB PYP early childhood educator, was an important opportunity for tuning in: we were able to explore different resources and gain insight into the topics we were wondering about.

We brainstormed to uncover our prior knowledge. We knew that the way we set up classrooms, materials and exhibitions has a direct impact on children's motivations to explore, wonder and create. We acknowledged the importance of the environment as the "third teacher" and we were aware that the physical spaces can either promote or hinder teaching and learning in line with our school's mission and vision, and that of the PYP.

We began by reflecting on what our current spaces looked like and in what ways these were shaping inquiry.

We used different resources to push our reflections forward and then used the PYP key concepts to shape the questions that would drive our inquiry:

Why are our teaching and learning practices the way they are and in what ways does the physical space shape them?

What does current research say about learning spaces and how can we use this to reflect on ours?

What are the different perspectives in regards to the organization of physical space in early childhood education?

In what ways does the physical space connect to children's inquiries?

What do effective learning spaces that promote child friendly inquiry look like?

How can we use the physical space and materials to truly provoke children's wondering and learning?

How is the physical space responsible for the type of teaching and learning that goes on? What can we do about this?

What changes do we need to make to our physical space for it to truly promote teaching and learning in accordance to our school's mission and vision, and that of the PYP?

These questions led us to the finding out stage of our inquiry as we began comprehensive research and study of literature around the topic of learning spaces and their role in teaching and learning.

After our research we came up with different generalizations about the way that spaces influence teaching and learning and what spaces need to look like in order to promote child friendly inquiry. Some of these generalizations include:

Children need spaces where they can engage in active physical play as well as quiet and calm activities and where they can learn individually and in small and large groups.

Materials need to be readily available in order to provoke children's wondering and inquiry.

The physical spaces within which children interact must offer a calming and nurturing environment, where children and adults feel welcome, safe and valued.

Nature and aesthetics are important components of the environment and should be considered both indoors and outdoors.

These generalizations helped us take action and we began by working with architects, construction workers and designers to plan our new learning spaces. Soon, walls were being torn down and floor plans were being created.

By September we were ready to inaugurate our new nursery and early childhood learning spaces.

As the school year began, we saw how the re-design of the learning environment truly helped shape the teaching and learning. Some of the changes that took place:

Learning engagements are organized around learning centres, which provide for opportunities, materials and interactions that promote inquiry.

Collaborative planning has resulted in the creation of appropriate emergent literacy and numeracy provocations and inquiries.

Art is sprouting up everywhere as a way in which children communicate and share their learning and understanding.

Outdoor and indoor spaces are being actively used for discovery and inquiry.

We are happy with the changes that have taken place, yet we realize that in order to ensure sustainable change we need an ongoing commitment to reflection, self-evaluation and training. Because of this, we have enrolled many of our teachers in official PYP workshops as well as other training opportunities, and we hope that through our collaborative planning and reflection we can continue to take action.

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Daniela Kemeny has taught in IB World schools both in America and Europe, where she has also been a workshop leader, site visitor and consultant. Considering herself an inquirer and risk taker, she enjoys taking on challenges and conducting her own research to explore and broaden her teaching and learning philosophy. Judith Canning is an Early Years and Primary teacher, specialized in the teaching of phonics and English as a second language. She also holds an architecture degree. Judith has also been appointed the Early Childhood Coordinator at her school, where she is currently using her innovative attitude towards education as well as her risk taker and inquirer attributes to ensure high quality practices within the school.

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How environments can shape inquiry and learning in the early years

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Parte de nuestro viaje de indagación hacia el PEP incluye un compromiso con la autoevaluación y por este motivo, hacia fines del pasado año escolar, reflexionamos e identificamos algunos desafíos que estábamos enfrentando en nuestro programa de "Early Childhood".

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ATL in the Early Years - Principles into Practice

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Thinking about Assessment in the Early Years

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Thinking about Assessment in the Early Years

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thinking about assessment in the early years

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Assessment in the PYP (Principles into Practice)

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Assessment in the PYP (Principles into Practice)

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Cycle of Observation, Documentation, Interpretation, and Planning (Anne Van Dam)

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Cycle of Observation, Documentation, Interpretation, and Planning (Anne Van Dam)

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25 days of relationships building with people, spaces and materials is now behind us. There has been time to play; to discover shared interests, new possibilities with materials and develop friendships.

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Principles into Practice Early Years (See pg 1 through middle pg 3)

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Principles into Practice Early Years (See pg 1 through middle pg 3)

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This short documentary--created as an introduction to the Documentation Studio at Wheelock College--is a conversation with several leaders of Reggio Children and the municipal infant-toddler and preschools in Reggio Emilia, Italy about the practice of documentation and its role in teaching and learning.

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A story is powerful and meaningful to families and can often communicate more than a number, a score, or a checklist of skills.

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Play helps us learn, innovate, and relate. Explore the science of play at the National Institute for Play.

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Kath Murdoch and Anne van Dam - Co-designing learning spaces

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Here are eight Learning Stories for you to download, discuss, and offer to others in order to spread ever more widely the practice of pedagogical narration following Margaret Carr and Wendy Lee's exemplars of Learning Stories.

These examples use the convention I adopted to craft the final product. In this form, the story teller spins a tale of an event from a novelist's perspective (with maybe a bit of loving bias sprinkled in). The afterwards sections include (1) an attentive and compassionate discussion of meaning from the educator's experience, told directly to the child(ren), and (2) possibilities in the child(ren)'s future and for the school, voiced to these communities.

If you want to see the ultimate, much more nuanced source, I invite you to go to Kei Tua o Pae at the Ministry of Education of New Zealand / Aotearoa.
Each can be downloaded by clicking the link under the player.
Josie's Drip

Josie's drip was recorded on videotape. The camera was pointed at the entire table of children, so images were taken from the video, cropped and enlarged to focus only on her. Here is Pre-K Science for those of you who are politically enamored of STEM for children under age 6, who, by the way, are naturally scientists.
Josies Drip

Priyankaa Draws

Priyankaa Draws, told by Sunita Bhandri, is an example of a story about a younger child photographed with a digital camera.

Fragile People Play

The Fragile People Play, told by Sarah Gese at Giddens School, shows all six Passages of The Learning Frame in one story of a group of girls creating a performance from their play with dolls. I invite you to read this and see if you don't agree that moving through all six passages is transformation. Those children are changed forever by this experience. They now view themselves as storytellers and playwrights.
FragilePeople

Riley and Mateo

Riley Visits Mateo is a story of a playdate told by Mom, Birgit Laurent, an early childhood educator. I include it to give you a glimpse into my educational program for teachers called Connecting to Children an entirely constructivist, locally conducted, year-long investigation into how one behaves with children at the most fundamental level. Mastery of each module is demonstrated to everyone in a Performance of Understanding, proving your own learning. In the final module, D4, the performance is to create a Learning Story that begins with children's initiative and uses narrative documentation to tell a story specifically about either cooperation or perseverance, which were two of the three concepts studied. The third basic disposition studied was initiative.
RileyMateo

Henry's Bus

Henry's first day of moving up to the older toddler classroom becomes a Welcoming Story, told by Rob Nessly. Wendy Lee clued me into the challenge of creating a Learning Story in the first two weeks of a child's enrollment. It is always possible to take at least one photo of each child that shows engagement, the second passage.

Joy with the Marble Run

Joy with the Marble Run, in English, or Alegría con la ejecución de Mármol , in Español, highlights cooperative action, the kind of story when retold to the class helps develop a cooperative democratic cooperativa y democrática culture in the school, one of the topics covered elsewhere here. Stories of altruism or cooperation can be used in group times to create a shared mythological playbox ( Joseph Campbell Foundation).

Marble Run

Sascha and the Mirror

Here is an example of how a Learning Story is created from raw documentation-the reality of the traces of an event that happened one morning in play with the pattern blocks with Sascha, the five-year-old protagonist, as gathered by Emilly Hillsten Kays. Before showing you the final Learning Story, I review the options we have in using the raw traces in ways that are NOT a Learning Story, which challenges our view of best pedagogical practice. When we use facts we have gathered to retell the event from the point of view of the observer, with specific reflection pieces added, we have a Learning Story.

The Sascha story also highlights how play materials are an expressive language in which the child can represent experience. With experience over time a language can step deeper into the discovery of ideas and relationships. Oral language (English, here) does not communicate as well as the materials do themselves. Geometric shapes not only represent the known, Rafiki, but also step beyond to offer the discovery of ideas and meanings beyond what we see.

The basic documentation, images and transcribed speech, are facts-traces of a physical reality at one moment in time. What do we do with these traces?

Shall we keep them in a computer file?
Shall we show them casually to someone?
Shall we put them in a file or notebook as evidence for licensing?
Shall we send the pictures home?
Or shall we take the time to write a Learning Story?

Sascha Pattern Blocks

Jolene Brushes Paint

Below are three resources for people to write their own learning story of Jolene at the easel. After watching the video multiple times, people can write on pages that have printed images of Jolene. They can compare their versions and possibly work together in teams to pull the best ideas together to make a cooperative story, which can then be shared with others. After! that sharing people can read the Learning Story Tom and Holly wrote that Jolene took home to her family.

1′ 42″ Video of Jolene painting (below) which you can download from VIMEO,

Link to a PDF file to use with the video, JoleneBlank (four pictures per page without text), for workshop participants to try their hand at writing a Learning Story after watching the video over and over again.

Learning Story which you can also download Jolene Brushes Paint, provides the "answers" to the JoleneBlank exercise, which aren't really answers. The Learning Story Holly and I created together is what we sent home with the child. It represents as completely as possible our perspectives from years of experience with tempera, knowing Jolene, and knowing her family. This is a unique story at a unique time by unique people, which could never be replicated by anyone else. Jolene, by the way, loves squirrels.

We all get to write from our unique perspectives; when combined with the perspectives of others, we become more careful observers and more capable authors.

Video

Exercise

Slide Show (view after exercise completed)

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Examples of Learning Stories - Tom Drummond

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Examples of Learning Stories Here are eight Learning Stories for you to download, discuss, and offer to others in order to spread ever more widely the practice of pedagogical narration following Margaret Carr and Wendy Lee's exemplars of Learning Stories. These examples use the convention I adopted to craft the final product.

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Learning Environments Principles into Practice

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Learning Environments Principles into Practice