CHCFC508A: Foster children’s aesthetic
and creative development
Provide developmentally appropriate dramatic
and imaginative play experience for children
Contents
Present play areas both indoors and outdoors which provide
children with opportunities to enjoy dramatic and imaginative
play
3
What is dramatic and imaginative play?
3
Plan/design developmentally appropriate experiences to
stimulate children’s involvement
9
Overview of dramatic and imaginative play development
9
Theories of dramatic and imaginative play
12
Effects of dramatic and imaginative play on other areas of
development
12
Planning developmentally appropriate play experiences
13
Provide inviting, stimulating and safe experiences for individual
children and small groups of children involved in imitative,
dramatic and imaginative play
Superhero play
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Drama experiences
18
Imaginative play
23
A diverse range of materials and resources to use in dramatic play
experiences indoors and outdoors
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Practical considerations for dramatic play experience
27
Provide adult support through facilitation and extension of
children’s imitative, dramatic and imaginative play experiences
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Observing and supporting children’s play
29
Role of the responsive educator
30
Present play areas which are culturally rich and reflect the
diversity of families using the service
Diversity of materials and gender equity
References
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Present play areas both indoors and
outdoors which provide children with
opportunities to enjoy dramatic and
imaginative play
What is dramatic and imaginative play?
What do you think dramatic play is? What is imaginative play? Can you think back
to your childhood and recall your first imaginary or fantasy experience?
Dramatic play essentially involves role playing—children develop the ability to
engage in a role that is meaningful to their lives and the world around them. At
times, children may be involved in socio-dramatic play and this involves role
playing with another child or adult.
Imaginative play is where children immerse themselves in fantasy, combining reallife situations and make-believe. Imaginative play may involve the use of props.
Dramatic play
Imaginative play
Both dramatic and imaginative play are essential facets of children’s
development, as they search for understanding about their reality. Piaget believes
it is the most important form of symbolic thought and is critical to a child’s
language and cognitive development.
Statements and actions like ‘Look at me Mummy, I am a lion, roar roar’, or ‘Anne,
let’s play with our dollies’ demonstrate children role playing.
All of these fantasies are real in the minds of children who are engaged in this
wonderful, dramatic or imaginative play. Children can switch roles—from animate
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to inanimate object—with a blink of an eye. To many of us this is what childhood
is all about: the ability to be anything we want without a worry in the world.
Dramatic and imaginative plays are also known as pretend play, make-believe play
and socio-dramatic play.
Activity 1
Creating space
The location of the dramatic play space is vital to the organisation and the
effectiveness of the dramatic and imaginative play experience. It can determine
how well children use this space, the length of time that the children are
immersed in the experience, the interactions of the children and the richness of
the experience.
Dodge and Colker (2002) suggest educators should ask the following questions to
assess the effectiveness of the play space:
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How often is the play space used?
Which children tend to select the play space regularly?
Who rarely or never wants to play in the play space, and how can I involve
them in dramatic play?
Are both boys and girls using the space? If only girls use the area, have I
included props for boys? How is gender equity encouraged?
Are children imitating TV characters or recreating their own experiences?
Which props are most frequently used? Never used? Do they need to be
changed?
How are props used?
Are children able to tidy the play space independently?
When designing the space, there are specific considerations:
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Enclose the space on three sides. It should be a clearly defined area, with
the props and equipment well organised. This will encourage children to
return props to their original position during pack away. Depending on the
design of the environment, dramatic play is ideally suited to a corner so
the walls can serve as dividers. It also creates an open but enclosed feel.
Avoid setting the space near quiet learning spaces such as book or
creative areas. It is best near the construction, block or manipulative
areas. This also encourages children to merge the two areas and
promotes a sense of fun and imagination which increases the richness of
the experience.
Create a homelike atmosphere—displaying photos of the children and
educators, providing home-like props such as cushions and pictures. Also
if there is space, divide it into different sections—one section for the
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kitchen, another area for the bedroom and then another for a ‘shop’
experience.
Types of spaces
Educators can create magical spaces that promote children’s imaginations and
make-believe play by creating spaces or themes that promote the skills and
interests of the child. Some possible topics for both indoors and outside include:
Kitchen
Vet clinic
Hospital
Shop—supermarket, clothes, shoes
Bedroom—child or adult
Transport vehicle
Restaurant
Hairdressing salon
Lounge room
Laundry
Beautician
Camping
Bank
Beach
Post office
Picnic
The list is endless! Using children’s current experiences and exposure to the
community will help educators choose the most appropriate play topic or theme.
Home corner 1
Home corner 2
Each of these spaces requires specific amounts of furniture, equipment and props.
The diversity of furniture available to purchase is endless—just check out toy
shops and discount chains for many ideas. Try to keep furniture and props simple,
yet authentic. Children are perfect at improvising. They do not need the latest in
digital fridge technology or microwave magic. Simple, timeless items work best.
Furniture that is required for a well-equipped house corner includes:
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stove and fridge
child-size table and chair
doll’s high chair
microwave
sink and cupboard
kitchen dresser.
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Furniture for a bedroom:
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rocking chair
doll bed
bedroom dresser
cupboard with clothes
full-length mirror
linen.
Activity 2
Hairdressing salon 1
Hairdressing salon 2
Educators often feel that they must constantly design new and innovative ways of
creating and organising the space: ‘We must do something different, we have had
a Hairdressing Salon set up for a week now!’ Resist this temptation and give
children the opportunity to choose the furniture, props and equipment for the
space and create their own scene. Allow children to extend and challenge their
dramatic and imaginative play-thinking processes. Let their play emerge gradually
and naturally.
Wright (1991, p 82) suggests educators should consider the following scenarios:
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be prepared to allow children to use an upturned table as a boat
allow outdoor construction materials indoors and in the dramatic play
space
let children turn the home corner into a cave
allow playdough to be used in conjunction with a ‘campfire’.
Props for dramatic and imaginative play experiences
The following table will help you to prepare and provide age-appropriate dramatic
play experiences.
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Interest area
Props
Shops
paper bags, pens, stickers for prices, shopping bags,
posters, trolleys, cash register
Shoe shop
shoes, variety of sizes and types, eg thongs, boots,
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sports shoes, tap shoes, slippers, high heels; boxes, foot
measure; shoe-cleaning kits, laces
Supermarket
selected shelves for specific items, empty packages and
cartons, clothing racks, hat racks, cards and papers,
frozen section using boxes for freezers, turnstiles cable
reel to walk around, scanners to read prices of items.
Familiar stories
props related to the story, eg ‘Caps for sale’—provide
children with a variety of caps
Culturally diverse
environments
props related to specific cultures, e.g. chopsticks,
Chinese crockery, different cultural musical instruments
and clothes or wraps (traditional and contemporary)
Post office
envelopes, labels, letterbox, stamps, string, boxes, bag
for delivering letters, scales, telephone book, telephone,
paper, pens, street directory
Doctor or dentist’s surgery
syringes without needles, stethoscope, thermometer,
bandages, bandaids, bowls, cottonwool, cotton buds,
bottles, blankets, sheets, masks, apron, pad, paper,
pencil, magazines, gowns, gloves
Painter, plumber or mechanic
equipment catalogues, magazines, overalls, appropriate
tools and equipment, eg paint brushes, spanners,
screwdrivers, taps, old engine parts, plastic pipes
Dramatic and imaginative play in the outdoor
environment
The outdoor space is an integral component of the children’s environment. It can
be often overlooked in providing dramatic and imaginative play experiences. The
outdoor space is focused on provision of motor and physical experiences, which is
certainly valid, yet many opportunities for enriching children’s dramatic and
imaginative play can be found outdoors.
When providing outdoor dramatic play experiences it is worthwhile to consider if
what you are providing is an authentic experience to have outside? It often is - we
spend much of our lives outside in the warmer months, eating, dining and even
cooking. There are markets and shops outside as well in many towns on the
weekend, not just indoors. Always consider how you might bring children’s
culture and social experiences into your provisions in an authentic and meaningful
way.
Consider shifting part of your dramatic play space outdoors, on the veranda or
under the tree. A picnic perhaps? Make a cubby house and include a selection of
kitchen or dining items. Think of it like a summer house or a pergola. How else do
children use outdoor spaces at home?
You can also combine spaces such as the sand pit, water play, construction
equipment and woodwork. You will need to consider developmental ages and
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stages of the children, levels of supervision, the interests of the children and the
objectives of your experience.
Building outdoor space
Environments that include manufactured loose parts and natural materials such
as sand or soil, leaves, flowers, branches and water also encourage dramatic play.
Loose parts and natural materials give children more abundant choices when it
comes to materials for dramatic play. They often carry natural materials and other
loose parts with them onto play structures in order to initiate or maintain
dramatic play episodes. Loose parts have been found to be integral to children’s
dramatic play.
Activity 3
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© NSW DET 2010
Plan/design developmentally
appropriate experiences to stimulate
children’s involvement
Overview of dramatic and imaginative
play development
If we are to plan appropriate dramatic and imaginative play experiences for
children we need to consider their development and emerging skills. Let’s review
a little here.
The infant 0–12 months
Development: Explores by putting everything into the mouth. Enjoys putting
things onto the head.
Setting and materials: Developmentally appropriate material such as containers
to fill and empty. Baskets and cups to balance on the head.
Role of adult: Be a role model for appropriate behaviour. Use language, name
items; discuss with children what they are doing.
Value of experience: Begins to enjoy cuddly toys, which later leads to imaginative
play; teaches children to concentrate in their own company.
The toddler
Development:
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12–18 months: Plays alone, has a short attention span.
18–24 months: Carries toys from place to place; plays with objects in a
repetitive way; experiments with everything.
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Setting and materials:
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12–18 months: A range of objects for exploration—pots and pans, spoons,
pegs, cotton reels, plastic cups. Small containers to fill and empty. Plenty
of materials, one for each child (minimum). Baskets, bags, teddies, dolls,
small blankets, sheets, pillows, cradle, hats.
18–24 months: Sensory experiences—water, cellophane, wet and dry
sand, paint, textured materials, leaves, bark and mud. Provide trolleys and
prams.
Role of adult: Show children how to fill and empty containers. Initiate play where
needed—‘May I have a cup of tea, please?’ Be aware of short concentration spans
and redirect and comfort children who become frustrated. Allow children to cart
things around the playroom and set up their play in various spots.
Value of experience:
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12–18 months: Begins to copy adult behaviour, which is the beginning of
understanding the world. Begins to give objects their correct name.
Exploring leads to knowledge.
18–24 months: Repetition leads to making sense of how things function—
problem solving, understanding how things work, how they feel.
The two-year-old
Development: Begins to use objects for purposes other than intended. Symbolic
play is emerging—imitates everyday activities.
Setting and materials: Hats, scarves, fabric, telephones, tea sets, blankets, empty
cartons, boxes, prams, pushers, carts, wagons. Mirrors, full length at children’s
level, in play room and bathroom. Plenty of space and materials on the floor.
Provide more than one space set for pretend play—two or three areas for ten
children.
Role of adult: Plan for uninterrupted time for play to develop. Encourage role
play—show a doll and say: ‘Here is the baby. Let’s take the baby for a walk.’ Place
the baby in the pram.
Value of experience: Allows the use of objects as other objects, for instance a doll
as if it were a baby. Provides an effective medium through which children learn
about the world around them.
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The preschooler
Development:
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The three-year-old: Begins to play close to another child (parallel play).
The four-year-old: Works jointly with others. Cooperative play is
emerging. Can play out several actions in a sequence.
The fiver-year-old: Can play without props. Suggests imaginative and
elaborate ideas. Can be somewhat ‘rigid’ about the correct way to do
something. Is often unable to foresee danger.
Setting and materials:
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The three-year -old: Dress-up clothes in separate containers: coats,
trousers, dresses, capes, hats, fabrics, child-sized shoes, boxes, containers,
gloves, aprons, bags, baskets.
The four-year-old: Prop boxes, kitchen utensils: chair, table, furniture,
mirror, storage, baskets, and telephones. Provide plenty of time for play.
Provide space surrounded by shelves or plants.
The five-year-old: Add a non-specific area—cubby corner, holiday corner,
picnic corner as well as home corner. Plenty of time and space for children
to move freely from one area to another and develop their play. Puppets,
masks, children to make their own ‘stage’ for puppets—wooden box,
clothes horse, TV cabinet. Props to develop children’s interest—tent for
camping, picnic baskets, beds, billy, logs, straw and backpack.
Role of adult:
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The three-year-old: Ensure that you do not expect children of this age to
share or take turns, prosocial skills are developing here.
The four-year-old: Encourage the play with resources, props and
language: ‘How can we pitch our tent?’ Play both indoors and outdoors.
Actively encourage role reversal—‘Sally can be the Police Sergeant.’ Be
open to many ideas and help initiate and provide for these.
The fiver-year-old: Observe closely and evaluate the play. Review and
bring in new materials and equipment as needed. Avoid gender-specific
areas for play and consciously work towards gender equity: ‘We can all
play in home corner.’
Value of imaginative and dramatic play experiences:
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The three-year-old: Helps a child solve problems about the world and
understand adult roles. Develops prosocial skills, making friends, turn
taking, allowing others to be the leader.
The four-year-old: Encourages negotiating skills—‘What if Eleanor is the
doctor, then Peter can be next?’ Teaches about real life by re-enacting
experiences. Encourages sharing of materials, ideas and roles. Teaches
how to handle materials with respect, putting things away in the correct
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place when finished, or leaving things for the next day to continue the
play. Extends the child’s imagination.
The fiver-year-old: Enriches language. Fosters gender equality. ‘Michael’s
dad is a cook, he works in a restaurant’, Monica’s mum is a plumber.
Remember she came to the centre to fix our leaking tap?’
Playing with water in the sandpit
Theories of dramatic and imaginative
play
To gain an accurate understanding of how, what, when and why we plan,
implement and evaluate dramatic and imaginative experiences, we need to have a
sound understanding of the theories and stages of development of this type of
play.
To refresh your skills here read Chapter (6) Play and the Development of the Child,
(pp116-127) from: Emerging: Child Development in the First Three Years, 2nd edn
by Nixon and Gould. Note what Early Childhood theorists such as Piaget, Vygotsky,
Garvey, Parten and Smilansky say about play and play environments.
Activity 4
Effects of dramatic and imaginative
play on other areas of development
Listed below are influences that dramatic and imaginative play can have on other
areas of the young child’s development:
Physical: Small muscles, large muscles, eye-hand coordination.
Social: onlooker, solitary, parallel, associative, cooperative, playmates and
friendships, problem-solving and conflict-resolution skills.
Language and literature: expressive language, receptive skills, written
communication, literacy, grammar, pre-reading and pre-writing skills.
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Cognitive: physical knowledge, social knowledge, logic-mathematical reasoning,
memory, imagination using props, materials, imagined props and transformed
props, concept development.
Emotional: identification, self-esteem, self-confidence, expressing emotions and
feelings in role play. (Adapted from Nilsen, 2001)
Planning developmentally appropriate
play experiences
Once we have established a child’s or small group of children’s dramatic play and
imaginary play needs, we can design the play environment to stimulate and
extend on children’s experiences and interests.
Think back to your childhood—do you recall any special times when you
immersed yourself in fantasy and pretend play? Did you have a magical place that
you created for these wondrous experiences? Had you any favourite props that
you created and used in play?
Dramatic and imaginary play can be one of the most important and valuable
experiences that young children enjoy and participate in within the indoor and
outdoor environment. We have discussed briefly how to create a magical and
exploratory dramatic and imaginary environment but we now need to look at the
‘how and what’ of dramatic play experiences.
There are many factors to consider when planning developmentally appropriate
and challenging experiences and these include:
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provision of familiar household equipment and materials
opportunities for dramatic play and imitation in routines and familiar
events
changing dramatic play in accordance with children’s interests
creating spaces that children can feeling confident in exploring different
roles and using their imagination to create and challenge their knowledge
and skills
combining dramatic play equipment with other areas of the environment
using natural, everyday materials in the experiences
role of the adult within the dramatic play space
assessing whether the dramatic play area is a topic of interest for the
children
assessing whether the children are developmentally ready for the
experience
providing an experience that will challenge and extend their interests,
knowledge and skills
engaging the children in the play
opportunities for play in routines
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provision of small individual play spaces
provision of unstructured and inviting spaces.
Dramatic and imaginary play experiences can evolve from everyday experiences.
Mirrors and telepones—familiar household equipment
Being open to spontaneous opportunities
Dramatic and imaginary play experiences can evolve through ideas such as:
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hearing the sounds of fire engines
talking on the phone
cooking dinner
watching an adult complete the ironing
watching a favourite character on television
bathing a sibling.
All children come to the environment and program with their own ideas and
understandings. It is the role of the educator to facilitate, extend and build upon
the child’s competence, interests and knowledge.
Carefully helping a parent wash a sibling at home can evolve into a dramatic
experience at the centre of washing and dressing infant dolls
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Monitoring developmental readiness
We know through our readings and knowledge that children’s dramatic and
imaginary play follows a sequential and developmental framework. Our
observations and other documented information can also give us the evidence to
assess a child’s dramatic and imaginary play skills.
These crucial pieces of information are essential in ensuring the educator provides
appropriate but challenging experiences for the young child or a group of children
within the environment.
Creaser (1990) suggests that educators should also consider the following factors:
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evidence of the child’s developing imitation, then imagination
development of memory skills
development of social skills in group play and sharing
evidence of skills to enable imaginative and complex use of materials and
equipment
depth of children’s past experiences
information from parents about children’s dramatic play interests and
abilities.
Learning and developing with dramatic and imaginary
play
Dramatic and imaginary play is a world that provides so much fun and enjoyment
for young children. As we have briefly discovered, it holds a wealth of opportunity
for growth, development, acquisition of new skills and learning for the ‘whole’
child.
The following table outlines specific dramatic and imaginative play experiences
that can assist children’s development.
Dramatic and imaginative experiences
Developmental area
Planning ideas
Emotional development
Encourage children to express emotions in their play.
When reading to a child, ask how they think the character
feels.
Listen for the emotions that children express.
Accept children’s play themes without questioning the
realism.
Play along with fantasy.
If you are unsure how to participate, ask the child for
assistance.
Physical development
Provide plenty of materials that children can use to create
their own props.
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Provide writing materials.
Use Velcro fasteners on clothes for young children whose
fine motor skills are still developing.
Provide a variety of props that will suggest different roles .
Social development
Help children put themselves into a character’s role such as:
‘How does a doctor help a sick baby?’
Guide children who tend to play the same roles to try new
roles.
Encourage discussion of roles.
Encourage children to share their feelings when others upset
them.
Coach a child in ways to enter a group: ‘Tyson. Let’s ask the
group what they are playing and if you may play too.’
Brainstorm with a child to find an ancillary role to add to a
play situation occurring.
When children disagree, ask questions that will help them
resolve the problems.
‘Candice and Olivia, what can you do so that both of you can
paly with the hat?’
Provide props that are specific to the culture of children
within the centre.
Focus on similarities among people.
Creative Development
Expose children to imaginative characters and events
through picture books.
Contribute to an imaginary situation as a play partner.
Encourage children to describe imaginary play situations.
Invite children to draw pictures or dictate stories about play
themes to expand their creativity.
Cognitive development
Encourage children to use ‘pretend’ props when the real
prop is unavailable.
Pretend through songs, finger plays and music.
Provide opportunities for children to use written symbols to
describe their play.
Guide children to solve a problem.
Attach words to young children’s play to develop their
language skills.
Use vocabulary related to specific themes.
If you are assuming a role, ask children questions to
encourage them to talk about their play.
(Adapted from Hereford and Schall, 1991)
Activity 5
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Provide inviting, stimulating and safe
experiences for individual children
and small groups of children involved
in imitative, dramatic and imaginative
play
Superhero play
Olivia (five years) bolts into the toilet while several toddlers are washing their
hands and yells at one of the toddlers: ‘I’ll get you tangled up in my web’. She
then proceeds to pull the toddler away from the sink.
This type of interaction can be a most enjoyable experience for a young child and
quite a common scenario for educators working with young children. Essentially,
young children take on the role of their favourite (or in some cases, not-sofavourite) superhero cartoon or TV character and imitate their actions, words and
situations. Children’s role play can be as simple as wearing the costume during
play or physically imitating specific ‘superhero’ actions.
'Superhero' costumes
The development of children’s ‘superhero’ play is closely aligned with the amount
of television and other technology media (including games, X-boxes, play station,
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the Internet) that the child may be exposed to and the levels of adult support and
facilitation.
Adult response to superhero play
Mayer (1993, citied in O’Brien, 2004) recommends educators, adults and
practitioners need to:
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observe children’s superhero play before intruding
act as facilitators, a role which includes impacting on the quality of play
(ensuring it is positive as opposed to negative play)
reinforce limits and boundaries: ‘We love playing Ninja Turtles, but we
need to be gentle with our friends.’
change the perception of the superhero—focusing on the positive
qualities (like friendships, loyalty, justice and community service) as
opposed to the violence
introduce real-life heroes into the child’s knowledge base
discus possible alternatives to violence in solving conflicts and problems,
encouraging children to make decisions about how and when they would
like problems to be solved
help children develop positive goals for superheros
explore related concepts
limit the time and place for superhero play
talk about the nature of acting
foster a sense of control and mastery into the play
reinforce the unacceptable nature of aggression
provide appropriate modelling strategies
provide other experiences and activities that foster and enhance selfesteem and self-confidence.
Activity 6
Drama experiences
The foundations for drama experiences lie in the dramatic and imaginative play of
young children. Drama is a unique and valuable method of role play but often
requires thoughtful adult support and facilitation.
Drama is beneficial to child development because it:
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develops creativity, imagination and flexible thinking
requires concentration, focus and attention to detail
develops the ability to communicate effectively through language
encourages awareness of inner thoughts, feelings and values
builds self-esteem, confidence and the ability to work with others.
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Many educators avoid planning drama experiences for young children and may
rely on dramatic and imaginative play as a means of fulfilling this void. Heathcote
(1967 cited in Warren, 1993, p 6) defines this situation:
Drama is not stories retold in action. Drama is human beings confronted by
situations which change them because of what they must face in dealing with
those challenges. An open-ended situation is easier for teachers who feel
themselves to be novices than a story where the beginning and the end are preknown.
A very useful tool for educators who are most unfamiliar and uncomfortable with
the concept of drama in Early Childhood is Hooked on Drama: The theory and
practice of drama in early childhood by Kathleen Warren (1993). Warren seeks to
explore in detail enriching drama experiences that educators can implement
within the environment and the program.
Drama experiences can include:
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pantomime—speaking without words; an example is a child raking leaves
and the group guessing what the child is doing
re-enacting a story—using actions, sounds and props to retell a story
imaginary journey—for example, taking the children on a journey that
focuses on their five senses. (Listening to the birds in the sky, the smell of
the grass, the cool touch of water ..........the sweet smell of the
flowers......the gentle caress of the breeze......)
Planning the drama experience
Warren (1993) suggests the following strategies when planning a drama
experience. Do consider that some of these strategies will need to be developed
over time.
Choose a topic as a starting point, for example stories (Rosie’s Walk by Pat
Hutchins, Possum in the House by Kirsten Jensen, Caps for Sale by Esphyr
Slobodkina), folk tales, fairy tales (The Great Big Enormous Turnip, Red Riding
Hood), rhymes and songs. It might even be a topic that is of interest to the
children such as how trees are formed. Now:
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consider the objectives or goals of the experience
choose a focus for the experience—it must be challenging and exploratory
to sustain the children’s interest
use the children’s ideas throughout the experience
use different roles during the experience
promote the idea of ‘bonding’ with the character.
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During the experience
It is best to use the children’s familiar room even if furniture has to be moved to
accommodate space.
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Remove distractions. It is a good idea to remove or turn around anything
which may distract the children’s attention from the task at hand.
Constant interruptions can hamper the flow of the drama.
Talk about drama props. If you feel props are necessary to the drama
being carried out then you will need to devise ways of encouraging
children to use items with care and consideration.
What about costumes? Sign and symbol are the two most important
elements of the art form of drama. One of the earliest tasks in drama is
for the children to be able to create and use simple signs to denote
people, objects and places and to be able to respond to simple signs by
appropriate activity within the drama. Think simplistically—a silver crown
for a king, a cloak for a wizard, a witch or an old woman.
Costumes, objects or pictures as a stimulus to drama: Although concrete
objects should be used in moderation these can provide useful stimuli
that will help the drama unfold, for example a necklace: ‘I wonder who
would wear a necklace like that?’
Useful beginning: Begin with an adult in the role. Sometimes the adult
might decide to begin the drama by being asleep. This allows the children
to accept the character in their own time. The other educator can ask
questions like ‘I wonder who she is and where she comes from?’ Someone
will certainly suggest waking up the character and the drama experience
can begin.
Encourage the children to take on the many roles of the characters in the
book to assist in developing their confidence and self-expression.
Work in the present: A drama experience should always be set in the here
and now.
Using narrative: The use of narrative acts as a control device and it can be
used to move the drama to a later time or event.
Showing a scene: Sometimes the adults in the drama might like to show
the children a short scene of what went before. For example in a drama
about the kitten who lost his mittens, you could ask the children if they
would like to see what happened when the kitten told their mother that
her mittens were lost.
How long a drama experience should be: this depends on children’s
interests and focus; as well as their developmental skills.
How many children can you think needed for the experience: Work with
as many children as you wish. Small groups often work best.
Activity 7
What to do and what to avoid
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What to do
What to avoid
Do plan carefully.
Do avoid forcing children to take part.
Encourage, but never force participation.
Acknowledge all contributions made by
every child.
Do ensure that the information within the
drama is accurate. If children’s
understanding and knowledge is to grow, it
is inappropriate to present them with
inaccurate information.
Do consider the values that are
incorporated into a drama experience. For
example, if the children decide that a
dolphin that is lost should be taken to an
aquarium where it can learn tricks, should
you, the educator, take the role of the lost
dolphin and beg to be returned to the sea?
Some children may not have thought about
it themselves, thinking only that dolphins
are connected with dolphin shows. Be
thoughtful and sensitive in your
provocations.
Do be willing to stop the drama when
necessary. Sometimes the educator might
need to step out of role to refocus some of
the children.
Avoid feeling anxious if the children make
seemingly irrelevant responses to
questions, but treat the contribution with
the respect it deserves.
Avoid, as a rule, using individual children in
individual roles. The child may go off on his
own agenda and leave the educator
struggling to maintain the plan.
Avoid correcting children if they bring the
wrong information to the drama. By
correcting children in a drama situation you
may dent their confidence so they will be
less eager on the next occasion.
Avoid overreacting when children suggest
violent ends for some of the roles.
Educators do not have to agree with their
suggestions. Educators have a responsibility
to encourage children to consider different
responses based on thoughtful alternatives
and conflict resolution.
Do regard an unsuccessful drama from the
adult’s perspective, as a positive
experience. Even if it did not go to plan, if
the children were involved and interested
then it did have some successful moments.
Successful drama experiences take time,
practice and patience. (Warren, 1997)
Dramatic play
Dodge and Colker (2002) use the framework devised by Smilansky and this can be
used by educators to determine the characteristics of dramatic play. It also assists
in planning developmentally appropriate play experiences and characterising the
type of adult interaction.
Imitative role play
•
•
•
•
•
What role does the child play?
What type of role is this?
Does the child select the same role day after day?
Does the child experiment with a variety of roles?
How many different aspects of the role does the child play?
In make-believe with props
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•
•
•
•
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Does the child use props?
Which props does the child use?
How does the child use the props?
Is the child interested in play with the prop, or does the prop serve as a
part of make-believe?
How many different props does the child use?
Does the child think of symbolic and inventive uses for props?
Can the child perform in the role using movements and/or words instead
of objects?
In make-believe actions and situations
•
•
•
•
Does the child pretend with make-believe actions or situations?
Does the child‘s play include fantasy?
Are the elements of fantasy used by the child simple or complex in
structure?
Do the child’s ideas for make-believe come from stories, TV or the child’s
imagination?
Increase in time
•
•
•
•
How much time does the child spend in a dramatic play episode?
How much of the child’s time is spent in group play?
Which play themes hold the child’s attention longest?
How persistent is the child in carrying out the role selected?
Interaction
•
•
•
•
Does the child play alone? With one child? As part of a group?
Who initiates group play? Is it always the same child who assigns roles and
get things started?
How does the child let other children know of his or her interest in group
play?
How does the child resolve problems in sharing props, selecting roles and
giving directions?
Verbal communication
•
•
•
22
What does the child say during play?
Does the child use language to communicate ideas? Give directions?
Explain things?
Does the child’s voice change when she or he is taking on a role?
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Children enjoy being involved in a range of dramatic play experiences
Imaginative play
Beaty, in Observing Development of the Young Child, p 343, Table 9, outlines the
development of imagination as follows:
Development of imagination
Age
Child’s pretend play behaviour
1–2 years
Goes through pretend routines of eating or other brief actions, in
some cases.
2–3 years
Replays fragments of everyday experience (eg putting baby to bed)
Repeats routine over and over in ritualistic manner.
Uses realistic props (if at all).
3–4 years
Insists often on particular props in order to play.
May have imaginary playmate at home.
Uses family, doll-play, hospital, cars, trains, planes and fire fighting
as themes.
Assigns roles or takes assigned roles.
May switch roles without warning.
4–5 years
Uses exciting, danger-packed themes (eg superheroes, shooting
and running).
Is more flexible about taking assigned roles during play.
5–6 years
Plays more with doll house, block structure.
Includes many more details, such as dialogue.
Carries play over from one day to next sometimes.
Plays more in groups of same gender.
Beaty’s imagination checklist
This is a practical observational method that can be used to assess children’s
imaginative skills within the framework of the ‘whole child’. Several components
of the checklist include:
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•
•
•
•
•
•
•
•
pretends by replaying familiar roles
needs particular props to do pretend play
assigns roles or takes assigned roles
may switch roles without warning
uses language for creating and sustaining plot
uses exciting, danger-packed themes
takes on characteristics and actions related to the role
uses elaborate and creative themes, ideas and details.
Dramatic and imaginative play materials
Just as we have discovered the importance of setting the right stage for dramatic
and imaginary play, materials and resources are also an essential aspect. As
caregivers, our role is to enrich the dramatic play of the children in our care.
Dramatic play materials can be found everywhere—indoors, outdoors, in the
kitchen, in the block area, in the creative area, in stories, in music and so on. The
list is endless! It is the role of the educator is to ensure the materials are wellutilised, flexible, provide an abundance of rich imaginary experiences, maintain a
healthy and safe aspect and are readily accessible.
It is also important to provide materials and equipment that are realistic and
familiar to young children. As they become older, the children can rely on their
imaginations in using materials that are less realistic and more abstract.
Choosing the right quantity of materials can contribute to any successful dramatic
play experience. Insufficient amounts of materials can often cause frustration,
boredom, be unstimulating and lead to disruption (for both educator and
children) during the experience. Through careful observations and planning (and
their knowledge of child development), educators will be able to select an
acceptable amount of materials that will meet the needs of individual and groups
of children.
These strategies can reduce any incidences of boredom and frustration and
encourage the children to engage in the experience for longer periods of time.
Most importantly, it promotes a sign of respect for materials and equipment.
Role modelling appropriate and careful use of the materials is essential to
children’s play behaviour. There is nothing more unsightly to the educator and
children than using old and broken pieces of equipment and materials such as a
broken handle on the tea pot, dirty play shoes, ripped books—it can influence the
way the children handle the equipment and it may reinforce a lack of respect and
also promote the misuse of the equipment.
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Presentation, organisation and storage of play
materials
Presentation of materials is important in ensuring children enjoy the richness of
the dramatic or imaginary play experience. Ensuring materials are attractively and
aesthetically presented, such as dress-up clothes in a basket or hanging on coat
hangers on a clothes airier, as opposed to sitting in a box on the floor.
The materials should be organised in a logical and safe manner—utilising baskets,
cupboards and attractive boxes. Placing labels on the storage compartments will
encourage children to maintain the dramatic play area in an organised fashion.
Using visual representation such as photos of the equipment on the storage
compartment (just cover the photo with contact or a plastic sleeve for durability)
will ensure materials and equipment are returned to their correct place.
Use of wicker baskets as storage
Use of shelves, baskets and boxes for
storage
Activity 8
A diverse range of materials and
resources to use in dramatic play
experiences indoors and outdoors
Water
Water is an excellent addition to any play area, in particular to the dramatic play
space. Try a squirt bottle in the hairdressing centre, some soap and towels in the
housekeeping area, cups and a teapot full of water in the restaurant and a basin
and flannel in the baby centre. A squirt bottle, for example, can help children
develop small muscle strength and eye-hand coordination.
Empathy and an understanding of personal hygiene are enhanced when children
are able to bathe their dolls. Pouring and measuring water gives children a basic
understanding of maths and science. For example, comparing a dish full of water
with one that is empty helps children understand the concept of weight. Pouring a
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cup of tea helps children estimate quantity as they discover how much water the
cup can hold.
Earth
Children need to play with earth. A special digging patch gives them a chance to
dig holes and make mud pies and rivers without getting mud all over the garden.
Children also need to work with the earth and know that it is not just ‘dirt’. They
should be taught how to nurture growing things. There needs to be growing
places, even if they are just tubs, pots or window boxes. Children can help prepare
soil, plant seeds and tend flowers and shrubs. They can grow, harvest, prepare
and eat some of their own vegetables.
Sand
Playing with sand is a pleasant and relaxing experience—children love the feel of
sand. It is creative because children are free to do things in their own way. They
can change or extend what they are doing as their imaginative, symbolic play
develops. Digging, scooping, patting, smoothing and lifting are all good activities
for developing muscles and coordination. Social development can be fostered as
children learn to share, take turns, cooperate on projects and learn safety rules
about sand play.
Clay
Clay is a natural, earthy material which is soft and easily manipulated by children.
Children do not always need to produce objects made from clay. They may enjoy
just getting the feel of the material, rolling it about their hands. Young children
probably get most from the activity when they are only using their own hands.
Playing with clay allows children to express ideas in a multidimensional way.
Pushing, pulling, moulding and squeezing, develops children’s muscles and
coordination. Children talk to others as they share the clay and share ideas,
developing their social abilities and their language.
Books
Books can also provide children with inspiration for their dramatic play as they
recreate and alter stories they have heard or read.
Boxes
Boxes of all sizes are another budget-wise addition to any play area. A box can
become anything a child’s imagination allows it to be. Allowing children to use art
materials to produce a make-believe world enhances their planning and problemsolving skills as well as their creativity.
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Boxes may also be used to enhance a theme-based dramatic play area. For
example, a box can be used to make a cage for a stuffed animal pet store by
cutting a small door on one side and a window on the other side. A box may also
be fashioned into a ‘ride-em’ toy by closing the flaps, cutting out the bottom and
making a hole in the top that is large enough for a child to climb through. Then
attach strings (ensure appropriate levels of supervision) to make shoulder straps
and use paint or other pieces of cardboard to give the box animal-like
characteristics.
Practical considerations for dramatic
play experience
Your preparation for a dramatic or imaginative play experience will involve the
collecting and preparing of the appropriate props, ensuring that there will be
sufficient items to meet the children’s needs. Here are some of the practical
considerations.
Hygiene and safety
•
•
•
All props need to be clean, sanitary and hygienically presented, e.g. combs
and brushes cleaned before and during the Hairdressing Salon experience
All props need to be in good repair and checked constantly; be careful of
small beads, ties and scarves which may cause the children injury if
inappropriately used.
Dress-up clothes should be adjusted to fit comfortably and safely.
(Children can easily trip in long pants, dresses, gowns.) Check clothing for
sharp fastenings, buttons, brooches, which might scratch children. Stiletto
shoes are very dangerous and should not be used. Shoes with closed-in
toes are the safest.
Location and setting
•
•
•
•
•
Location—if possible set up in a defined space (by using dividers—shawls,
tents, cupboards, plants, etc). This will lessen distractions from other play
experiences.
Setting—consider the atmosphere that you wish to create for the type of
dramatic play experience you are providing.
The setting can be enhanced by the provision of pictures, photographs,
posters, paintings, rugs, cushions, wall hangings, pot plants, mobiles,
paper lanterns, hammocks, hanging bells and chimes.
The arrangement of props is an intrinsic part of the setting and will assist
in keeping the area attractive and orderly:
clothes can be easily selected and returned if displayed on individual
hooks
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•
•
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picture labels can be used so that children will know where to return
props and materials to cupboards, shelves, bins and containers
storage—the use of ‘prop boxes’ will assist the organisation of your
dramatic play aids and materials. Prop boxes will relate to specific interest
areas, e.g. camping, picnic, jewellery store, monsters......
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Provide adult support through
facilitation and extension of children’s
imitative, dramatic and imaginative
play experiences
Observing and supporting children’s
play
Children display an abundance of skills and knowledge during dramatic play
experiences. Through careful observations you will be able to determine the level
of skill the child or a group of children are displaying, and what they require to
challenge and extend their abilities, interests and skills.
There are many useful methods we can use to record and interpret children’s
dramatic and imaginative play skills. Some of these methods you may already be
familiar with through your work experience or study of other topics within this
course. They include:
•
•
•
•
•
•
•
Anecdotal record—recording in past tense children’s interactions and
involvement in dramatic and imaginative play experiences.
Running record—recording in present tense children’s interactions and
exploration of the environment.
Videos or sound recordings—these can capture a wealth of information
about the young child or a group of young children. (Remember, if you
choose to observe and document in this manner, ensure you seek
permission from the child and families.)
Photography—this is a fantastic method of documenting children’s
dramatic and imaginative play skills. (Remember again to seek permission
from the families and the child.)
Collection of creative mediums such as paintings and drawings which can
present a real picture of the young child’s thoughts and ideas.
Work samples—could include a drama acted by the children and
costumes and other dramatic play materials that were created.
Time samples—documentation of a young child or group of children over
a duration in the dramatic play area. This may also help determine a play
theme.
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•
Checklists—an observational tool that gives a guide to ‘typical’ children’s
developmental skills according to developmental norms. This could be use
to note a child’s involvement in dramatic play experiences.
Implementing a range of observational tools and methods will give us useful
information on a child’s interests, development and emerging skills. This in turn
will shape and inform the provisions and environments we provide.
Children busy in the sandpit
Activity 9
Role of the responsive educator
Nilsen (2001) emphasises the importance of creating a rich and meaningful
environment that fosters and enhances children’s learning abilities. In the
following table Nilsen describes the educator’s role in facilitating and supporting
play.
Educator’s role
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Because we know
We do
Children learn through their senses
We provide real, three-dimensional
objects for them to manipulate.
Children are making associations with
previous knowledge
We provide materials that are familiar.
Children need time to organise their
thoughts
We provide long periods of
uninterrupted time for them to explore.
Children cannot share
We provide duplicates of popular
materials.
Children cannot wait
We do not require them to all do the
same thing at the same time.
Children have different attention
spans
We provide a flexible schedule so
children can move at their own pace.
Children are egocentric, only seeing
things from their own point of view
We do not force them to internalise
someone else’s point of view.
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Children learn what they want to know
We listen to them and provide ways for
them to learn.
Children learn from making mistakes
We allow the mistakes to happen..
Children are frustrated easily
We provide an environment and
materials that are accessible and easy
for them to manage themselves.
Children learn from accomplishing
hard tasks
We let them try without rushing in with
solutions.
Children construct their own
knowledge
We provide a way for them to teach
themselves.
Strategies to support and facilitate children’s play
There are many strategies that educators can use to support young children’s
involvement and engagement in dramatic and imaginative play experiences.
Essentially, educators need to:
•
•
•
•
•
•
•
•
•
•
let the children take the lead in the play (the educator will take on the
role of a play partner by getting down to the child’s level and commenting
on what the child is doing.) “Sebastian, I really like the way you have set
up the cups and plates for morning tea, they look very inviting. Is
someone coming for tea?”
provide time for satisfying play to develop (giving children blocks of
uninterrupted times of play.)
provide the place and, if needed, the props.
pick up on children’s interests and then provide subtle ways to help them
develop the play.
provide shared experiences such as educators talking about their
breakfast routine while the children are involved in ‘preparing breakfast.’
demonstrate negotiation skills—children might be involved in a conflict
and need assistance to sort out the problem.
accept children’s play for what it is rather than making it adult focused.
support rather than take over the play, using lots of encouragement and
praise; ensure that the educator’s interactions are meaningful.
enter the play, observing when is the best time to intervene and facilitate
the play; this can be imperative to the continuity and success of what is
happening. “Have you thought of this, Henry?”, “That’s a great idea,
Myfanway; the scarves make wonderful table cloths!”
focus on the play, not the rules, allowing children flexibility in the play, for
example moving the dress-up clothes to the block area.
Dockett (1995) further outlines these strategies:
•
providing opportunities to build upon those experiences in play
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•
•
•
•
•
•
•
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•
providing time, space and materials to engage in complex play
providing a mixture of familiar and different materials
accepting children’s play scripts and ideas wherever possible
modelling appropriate negotiation and mediation strategies
providing opportunities for children to negotiate and practise conflictresolution skills
ensuring children’s understandings are challenged and extended
observing and documenting the play in its entirety
appreciating and valuing complex play
encouraging complexity within the play (suggest a prop, suggest a theme,
ask questions about the theme to develop and expand the play, become a
play partner, observe rather than assume, model how to interact with
others in pretend roles and encourage the use of language).
The role that educators provide in dramatic and imaginative play is an important
component of the experience. It communicates to the children that their dramatic
play is valued and creates a positive experience for both educator and child.
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Present play areas which are
culturally rich and reflect the diversity
of families using the service
Diversity of materials and gender
equity
The richness and beauty of the world takes many forms—the craftsmanship of a
basket, the feel and drape of a sari, the sounds of a lullaby. When we bring bits
and pieces of the world into the daily life of our programs, the unfamiliar becomes
familiar; what was outside our experience becomes part of our frame of
reference.’ (Neugebauer, 1992 citied in Crook, 2004)
We can create environments that embrace diverse practices and provide natural,
open ended materials that reflect the many cultures, gender, races, physical and
family differences and similarities of those who attend our service and are
representative within our diverse communities.
Materials should include:
•
•
•
•
•
•
•
•
•
•
interest centres that reflect the different cultures of the children
open ended dramatic play materials
literature including books, posters, photo albums, magazines, newspapers
and songs that provide children with the underpinning knowledge of
other cultures and diversity
puzzles, games and other cognitive materials
dark and light colour for painting and other creative experiences
art projects including jewellery making, sand paintings and ethnic clothing
music, musical instruments and dance
puppets and other dolls
artefacts and other cultural objects that will assist in children’s
understanding of diversity
containers, baskets and other storage items that depict images that
represent the diverse nature of the community.
Refer to Chapter 4 of Crook (2004) Just Improvise: Innovative play experiences for
children under eight, Tertiary Press, Victoria for some beautiful images of diverse,
natural play materials and environments.
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If you are able to borrow the below two videos/DVDs from your TAFE library they
will also provide a wealth of information and ideas on providing beautiful,
thoughtful and sensory rich child focused play spaces.
•
•
Macquarie University. Institute of Early Childhood Studies, 1995, Mia-Mia
a new vision for day care: Infants program (under twos), Summer Hill films
for the Institute of Early Childhood, Macquarie University.
Macquarie University. Institute of Early Childhood Studies, 1995, Mia-Mia
a new vision for day care: Program for 2-5 years olds, Summer Hill films
for the Institute of Early Childhood, Macquarie University.
Resources, materials and provisions that authentically present the diverse nature
of our communities should be presented in play experiences on an everyday basis.
This may include:
•
•
•
•
•
Dress-up clothes from a range of cultures; including wraps and scarves
that can be used in different ways
Kitchen utensils, table settings, crockery and play food from a diverse
variety of cultures. For example: Chinese crockery, table ware,
placements, chop sticks and different samples of play food, including sushi
and rice noodles.
Baskets and carrying items from different cultures, using natural
materials, such as cane, hessian, tapestry cloth.
Posters, prints, art works and written language examples supporting
different cultures and gender roles. For example a poster could be
displayed in the dramatic play area depicting both genders involved in
domestic chores.
Dolls, dolls clothes and associated props that a representative of a diverse
range of cultures
Play area set up in a Japanese restaurant
Play area set up in a hospital
The use of persona dolls in dramatic play
There are several valuable programs and resources available to educators that
assist children in developing an awareness of diversity and social justice. The most
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useful and developmentally appropriate is ‘Persona Dolls’. Even though these
programs do not necessarily involve role playing, the underpinning knowledge is
similar. The aim of persona dolls is to:
•
•
•
•
reflect the cultural, physical, socio-economic and lifestyle differences of
the group so that each child can feel good about who they are
present scenarios that stimulate discussion and exploration of stereotypes
expose children to human diversity so that each child can feel comfortable
with similarities and differences in others
provide stories that encourage children to practise activist strategies so
that each child can stand up for themselves and others when bias occurs.
(Derman-Sparks, 1989 cited in Jones and Mules)
Activity 10
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References
Beaty, Janice J (2008) Observing Development of the Young Child, 7th ed, Prentice
Hall, Upper Saddle River, NJ.
Creaser, Barbara (1990) Pretend Play: A Natural Path to Learning, Australian Early
Childhood Association, Watson ACT.
Dockett, Susan (1995) You make me alive!: Developing Understanding Through
Play, Australian Early Childhood Association, Watson ACT.
Dodge D T, Colker L J.& Heroman, C (2002) The Creative Curriculum for Early
Childhood. 4th edn, Teaching Strategies Inc, Washington DC, USA.
http://www.flipkart.com/observing-development-young-childjanice/0130271535-kow3f9us3fHeathcote (1967 cited in Warren, 1993, p 6)
Nilsen, Barbara (2001) Week by week: Plans for Observing and Recording Young
Children 2nd ed, Delmar/Thomson Learning, Albany NY.
Warren, Kathleen (1992) Hooked On Drama: The Theory and Practice of Drama In
Early Childhood, Macquarie University of Early Childhood, Sydney.
Wright, Susan (ed) (1991) The Arts in Early Childhood, Prentice Hall, Australia.
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