6 Kasım Pazar: Bremen
Mızıkacıları 1/4 – Prömiyer (4-9 yaş)
13 Kasım Pazar: Bremen
20 Kasım Pazar: Bremen
27 Kasım Pazar: Bremen
Masal anlatıcı: Reyhan Conte, Ali Paolo'nun
Müzik: Hande Başaran
(Lir, Flüt ve Rebab), Bengisu'nun annesi
Resim: Locan Ata
Çocuk Reyhan, masalları hep sevdi. Bunda şaşılacak bir şey yok, bütün
çocuklar masalları sever! Sever sevmesine de, o masalların peşine de düştü…
Amsterdam’da oyunculuk ve senaryo eğitimi aldı. Televizyon ve tiyatro
oyunculuğu yaptı. Günün birinde çocuk tiyatrosu ile tekrar yolu kesişti ve
kendini masalların kucağında buldu! Kuklalı çocuk oyunu yazdı oynadı, sonra
kendi çocuk oyununu da yazdı oynadı. Arkadaşı kanun çaldı, o anlattı da
anlattı. Çocuklarla, gençlerle, bağımlılarla atölyeler yaptı. Bebeği olunca
masallar Reyhan’ın içinde kendilerine bir yol açtı ve peşine düştü. Reyhan'a
kalanda onları dinlemek, izlemek ve takip etmek oldu.
haftalık programımızda yaratıcı drama tekniklerini kullanarak geliştirmeyi
amaçladığımız becerileri; ileriki haftalarda tiyatro çalışmalarında kullanmayı
planlıyoruz. Tiyatro ve metin çalışmadan önce yaratıcı drama sürecini yaşamak,
çocuklara hem yaratıcılıklarını keşfetmekte hem de kendilerini tanımakta olumlu
drama; tiyatro yöntemlerini kullanarak, hazırlanan tekniklerin uygulanmasıdır.
Yaratıcı dramanın özü, “oyun” ve “canlandırma”dan oluşur. Çocuk, işlenen konuya
dair yaşantı ve bilgilerini; yeniden canlandırarak yaratıcılık gücünü ve farklı
bakış açılarını değerlendirme fırsatı bulur. Yaratıcı drama “tiyatro” değildir,
çocuklardan oyunculuk performansı beklenmez. Belirli bir metin üzerine
çalışılmaz, uygulamada özgür, kuralsızdır. İşlenen program içindeki konunun
anlaşılması için canlandırmalar ve oyunlar kullanılır. Bu yüzden esas olan
gösteri değil, yolculuktur. Çocuğun kendine ve grubuna olan güvenini
güçlendirmek amaçlanır. Kendini ve grubunu anlaması, iletişim becerilerini
güçlendirmesi, ifade edebilmesi, sorumluluk becerisini geliştirmesi ve ekip
çalışmasını kavraması, problem çözme becerisini kullanması, yaratıcı ve estetik
gelişimin sağlanması ve hepsinin önyargılardan arındırılarak, olumlu bir
düşünmeyle sağlanması amaçlanır.
Kontenjan: 12 çocuk
Yaş arası çocuklar arasından seçilecektir)
ve Bilgi için:
Tarih: 5 Kasım Cumartesi ve sonraki 5
Saat: 14:00 – 16:00
Adres: Bamyacı Sok. No:26 Kuzguncuk,
Katılım payı çocuk başına 300 TL (5 hafta için)
Özkan; HSBC Bank, Merkez Şube
Demirel 24 Ekim 1989’da İstanbul’da doğdu. Tiyatroya olan ilgisi çok küçük
yaşlarda başladı. İlk gençlik zamanlarında Semaver Kumpanya’nın tiyatro
kurslarına, ardından Yıldız Kenter’in Kenter Akademisine devam etti. Müjdat
Gezen Sanat Merkezi Konservatuar Tiyatro Bölümü’nü burslu kazandı ve mezun
oldu. Aktif olarak oyunculuğa devam etmenin yanı sıra İstanbul Çağdaş Drama
derneğinde “Yaratıcı Drama Liderliği” kurslarına katıldı. Yaratıcı drama
yöntemiyle, çocukları tiyatroyla tanıştırmayı amaçlayarak ilk eğitmenlik
deneyimini Tan Sağtürk Akademi’de yaşadı. Bu işi severek yaptığını gördüğü için
zamanının bir kısmını eğitmenliğe ayırmaya karar verdi. Özel bir anaokulunun
yaz okulunda 3-6, 6-8, 8-12 yaş gruplarından çocuklarla çalıştı. Şuan Moda
İlköğretim Okulu’nda ve Tan Sağtürk Akademi Göktürk’te eğitmenliğe devam etmektedir.
2 Ekim Pazar günü prömiyeri yapılan Masal Sofrasını hem çocuklar hem de anne babalar tarafından çok beğenildi. Anneler ve Babalar çocuklarıyla çocukluklarına geri döndüler.
Çocuklar bahanesiyle masal dinlemeye gelen anne ve babaları tekrar bekliyoruz. Çocuklar için taklit ve tekrar bu yaşlarda çok önemli
Masalları evde anlatmaya mutlaka devam edin.
“Üç Keçi masalı” Kuklalı Masa tiyatrosu
Açlığın ve Susuzluğun yanı sıra bizim en temel insani ihtiyacımız masallardır.
Kontenjan: 10 çocuk
Rezervasyon ve Bilgi için:
(507) 114 4738
(532) 221 7395
Not: Katılım payı çocuk başına
Aşağıdaki hesaba gönderebilirsiniz.
Ömer Özkan; HSBC Bank, Merkez Şube
IBAN: TR 370012300763016477527000
Masal anlatıcı: Reyhan Conte, Ali Paolo'nun annesi
Başaran (Lir, Flüt ve Rebab), Bengisu'nun annesi
masalları hep sevdi. Bunda şaşılacak bir şey yok, bütün çocuklar masalları
sever! Sever sevmesine de, o masalların peşine de düştü… Amsterdam’da oyunculuk
ve senaryo eğitimi aldı. Televizyon ve tiyatro oyunculuğu yaptı. Günün birinde
çocuk tiyatrosu ile tekrar yolu kesişti ve kendini masalların kucağında buldu!
Kuklalı çocuk oyunu yazdı oynadı, sonra kendi çocuk oyununu da yazdı oynadı.
Arkadaşı kanun çaldı, o anlattı da anlattı. Çocuklarla, gençlerle, bağımlılarla
atölyeler yaptı. Bebeği olunca masallar Reyhan’ın içinde kendilerine bir yol
açtı ve peşine düştü . Reyhan'a kalanda onları dinlemek, izlemek ve takip etmek
Oyun Grubumuzda Dikkat Etmemiz Gerekenler:
grubumuzdaki serbest oyun zamanı, çocuklarımızın müdahalesiz ve yönlendirmesiz
oyun oynama imkânı bulmaları açısından oldukça önemlidir.
Ailelerimizden ricamız; olası
güvenlik tedbirlerini dikkate alarak ancak “zorunlu”
olmadıkça, serbest oyun zamanında çocuklara müdahale etmemeleri ve
yardım istemedikleri sürece yönlendirme yapmayarak katılımları konusunda
Bu süreçte çocuğunuzun kendi başına keşfetmesine ve
sosyalleşmesine fırsat vermeniz gerektiğini hatırlatırız.
‘Birlikte’ zamanlarında ise isteğe ve duruma göre
çocuğunuzla beraber çembere katılabilir, etrafı toplayabilir ve sofra düzenine
oynanan oyuncakların evde bırakılmasını rica ederiz.
yiyecekler organik ve vejetaryendir, zorunlu olmadıkça yanınızda yiyecek
getirmemenizi rica ederiz.
geçirdiğimiz zamanlarda cep telefonuyla konuşulması, fotoğraf çekilmesi ve yüksek
sesle sohbet edilmesi çocuklarımızın dikkatinin dağılması açısından
sakıncalıdır, gerekli hassasiyeti göstermenizi rica ederiz.
ØRahatınız ve sağlığa uygunluk
için hem çocuğunuz hem de kendinize ev çorabı ya da ev ayakkabısı getirmeyi
ØÇocuğunuz okula rahat hareket
edebildiği kıyafetlerle gelmeli. Dar kıyafetler, kemerler, takılar, uzun
etekler veya parti kıyafetleri çocuğunuzun oyun oynamasını engeller.
Çocuğunuzun giyeceği resimli ve yazılı kıyafetler, genellikle oyun sırasında
arkadaşlarının dikkatini dağıtır. Bu yüzden, bu kıyafetlerin giyilmemesi
gerekir. Çocuğunuzun özellikle çizgi film karakterleri içeren kıyafetler,
prenses ve süper kahraman kostümleri, okula getirmemenizi rica ediyoruz.
3-6 yaş arası çocuklar için Masal tiyatrosu. Üç Keçi masalı Kuklalı Masa tiyatrosu yapılacak. Masallar insanı hayat boyu taşır. Ninelerimizin anlattığı masallar peşimi bırakmaz ve hep erdemi anlatır bize. Sürekli daha insan olma yolculuğumuzun Hızırlarıdır masallar. Musa ile Yuşa peygamberin yolculuğu gibi asla seni terketmezler en zor en çaresiz günlerinde, kırmızı başlıklı kızın kötü kurttan kurtulmasını hatırlatır ve iyiler hep kazanır. Güzel dünyanın temelinde masallar vardır ve masallar bize umut ve yaşama sevinci verirler. Tarih: 2 Ekim PazarSaat 14:00-16:00 arasında, Kontenjan: 10 çocuk Adres: Nisan İmece Anaokulu Bamyacı Sok. No:26 Kuzguncuk, Üsküdar www.nisanimece.net Masal anlatıcı: Reyhan Conte: Ali Paolo'nun annesi
Rezervasyon ve Bilgi için: email@example.com (507) 11 44 738 (532) 221 7395 En temel insani ihtiyacımız Masallardır. Halil Cibran
Masal anlatıcı: Reyhan Conte, Ali Paolo'nun annesi Çocuk Reyhan, masalları hep sevdi. Bunda şaşılacak bir şey yok, bütün çocuklar masalları sever! Sever sevmesine de, o masalların peşine de düştü… Amsterdam’da oyunculuk ve senaryo eğitimi aldı. Televizyon ve tiyatro oyunculuğu yaptı. Günün birinde çocuk tiyatrosu ile tekrar yolu kesişti ve kendini masalların kucağında buldu! Kuklalı çocuk oyunu yazdı oynadı, sonra kendi çocuk oyununu da yazdı oynadı. Arkadaşı kanun çaldı, o anlattı da anlattı. Çocuklarla, gençlerle, bağımlılarla atölyeler yaptı. Bebeği olunca masallar Reyhan’ın içinde kendilerine bir yol açtı ve peşine düştü . Reyhan'a kalanda onları dinlemek, izlemek ve takip etmek oldu.
Serbest oyunlar, sosyal ilişkilerin sağlıklı gelişimini destekler. Doğal malzemeden yapılmış basit oyuncaklar ile el yapımı bebekler, hayvanlar vb. çocuğun hayal gücünü harekete geçirir.
Serbest oyunun önemli rolünü anlatan bir makale.
The Vital Role of Play in Childhood
“The ability to play is one of the principal criteria of mental health.”
Over thirty years of working with children, families, and teachers in Waldorf kindergartens all over
the world, I have observed one overwhelming similarity: creative play is a central activity in the lives
of healthy young children. It helps children weave together all the elements of life as they experience
it. It allows them to digest life and make it their own. It is an outlet for the fullness of their creativity,
and it is an absolutely critical part of their childhood. With creative play, children blossom and
flourish; without it, they suffer a serious decline.
I am hardly the first to note this fact. The central importance of creative play in children’s healthy
development is well supported by decades of research. And yet children’s play, in the creative, openended
sense in which I use the term, is now seriously endangered. School children no longer have the
freedom to explore woods and fields and find their own special places. Physical education and recess
are being eliminated; new schools are built without playgrounds. Informal neighborhood ball
games are a thing of the past, as children are herded into athletic leagues from age five on.
From all sides—parents, teachers, psychologists, and psychiatrists—one hears tales of young children
who do not play. Some seem blocked and unable to play. Others long to play, but busy schedules
outside school or an overemphasis on focused learning in school have driven play out of their lives.
Add to this mixture the hours spent sitting still in front of screens—television, video game, and
computer—while children absorb other people’s stories and imaginations but can’t act out their
own, and the result is a steady decline in children’s play. This decline will certainly have serious
consequences for children and for the future of childhood itself.
In this article I will focus on the play of children before first grade, especially from three to seven.
During these years, when play should be flourishing, its development has been thwarted. We may
not intend to drive play out of children’s lives, but our policies and practices in schools and at home
discourage children from pursuing their own open-ended, self-directed play.
The Nature of Play
If we are to save play we must first understand its nature. Creative play is like a spring that bubbles
up from deep within a child. It is refreshing and enlivening and is a natural part of the make-up of
every healthy child. It is so fundamental to the make-up of the child that it is often hard to separate
play from learning. Whether children are working on new physical skills, social relations, or cognitive
content, they approach life with a playful spirit. As a friend said of her eight- month-old recently, “It
just seems that she’s working all the time.” But is it work or play? In childhood there is no
Adults are convinced that we need to “teach” young children. It is certainly true that we need to set
an example in all kinds of activities. We also need to create appropriate spaces where children can
play and learn, and we need to lend a helping hand—and at times even intervene when things are
going wrong. But mostly we need to honor the innate capacity for learning that moves the limbs and
fills the souls of every healthy young child. The child’s love of learning is intimately linked with a zest
Nathan at one year came with his parents to the summer house we share as a family. He was
delighted to find several staircases in this house, for in his own home there was only one step, and he
had long since mastered it. Now he gave full vent to the young child’s wish to climb stairs. Over and
over he would climb up and down. We took turnsstanding guard, but he rarely needed our help. He
was focused and concentrated and did not like to be taken away from this activity. He gave every
sign of being a happy, playful child while climbing, yet he was also clearly exploring
and mastering a new skill and one that was important for his long-term development. Most
important, it was a task he set for himself. No one could have told this one-year-old to devote hours
to climbing. And no one needed to. He did it himself, as will every healthy child whose sense of
movement has not been disturbed.
Another example: Ivana at age four came to kindergarten one Monday morning and proudly
announced that she could tie shoes. I must have looked skeptical, since most children at four can’t tie
a real bow. Ivana was determined to show me, and she sat down on the floor and untied her shoes.
She then retied them into perfect bows, looked at my astonished face, and beamed. Later in the day I
asked her mother how Ivana had learned to do this. Her mother laughed and described how over the
weekend Ivana had pretended that she was going to a birthday party. She used all the scrap paper
she could find and folded it into little birthday packages. She raided her mother’s yarn basket and
used scraps of yarn to tie the packages with bows. She probably tied 60 or 70 packages during the
weekend until she had at last mastered the art of tying bows.
Again, no one could have assigned Ivana such a task. She clearly felt ready, and what was important
was that she did her work in the spirit of play, pretending to go to a birthday party. Learning to tie
was not a tedious task but something she enjoyed doing.
The simple truth is that young children are born with a most wonderful urge to grow and learn. They
continually develop new skills and capacities, and if they are allowed to set the pace with a bit of
help from the adult world they will work at all this in a playful and tireless way. Rather than
respecting this innate drive to learn, however, we treat children as if they can learn only what we
adults can teach them. We strip them of their innate confidence in directing their own learning, hurry
them along, and often wear them out. It is no wonder that so many teachers complain that by age
nine or ten children seem burned out and uninterested in learning. This is a great tragedy, for
the love of learning that Nathan and Ivana displayed is meant to last a whole lifetime. Furthermore, it
is intimately bound to our capacity to be creative and purposeful.
The psychologist Mihaly Csikszentmihalyi speaks about the creative state in adults he calls “flow.”
Referrring to Csikszentmihalyi’s work, Daniel Goleman and his co-authors in Creative Spirit describe
flow as the time “when people are at their peak. Flow can happen in any domain or activity—while
painting, playing chess, making love, anything. The one requirement is that your skills so perfectly
match the demands of the moment that all self- consciousness disappears.” (Goleman et al., p.
46) In just the same way, children’s play is characterized by an absence of self-consciousness.
The depth of concentration that children display when they are immersed in play is astounding. I
think of five-year- old Peter watching intently as two girls in the kindergarten were creating an
especially beautiful play scene on a tabletop. They were deeply engrossed and so was he. It
happened that on that day the fire department descended on us, for one of the teachers had called
them after noticing an electrical smell in her room. Three fire engines roared up our driveway.
Peter’s friend Benjamin ran up to him, crying, “Peter, Peter, the fire engines are here!” But Peter was
intent on watching the play scene that he did not respond. Benjamin tried again with the same
result. He shrugged and rushed back to the window to watch the firemen arrive. Finally, Peter
emerged from his concentration, saw the fire engines, and hurried to the window.
Peter’s state of mind seems very close to that of a neurosurgeon described by Csikszentmihalyi. He
was engrossed in a difficult operation. When the procedure was finished, the surgeon asked about a
pile of debris in the corner of the operating room. He had not noticed it before. He then was told that
part of the ceiling had caved in during the operation. He had been so engaged in the flow of his work
that he had not heard a thing. (Goleman et al., pp. 46– 47)
This state of flow experienced by scientists, physicians, artists, and others may seem a bit scary or
intimidating to us. Do we want to enter so wholeheartedly into life and learning? It does not fit the
contemporary picture of multi- tasking where one is doing many things at once, but usually none of
them very deeply. Yet it is an important state of being if we want to flex our inner capacities to the
fullest and offer our greatest gifts to the world. These are the skills children are prepared to develop,
and even long to develop. In their education, however, children increasingly find classrooms filled
with scripted teaching, computerized learning, and assessment through standardized testing. All of
this trivializes children’s real capacities for life and learning and leaves many with a deep sense of
disappointment and frustration.
The Development of Play
The secret to helping young children thrive is to keep the spirit of creativity and of playful learning
alive and active. An important ingredient in this is our own work as adults, for children naturally
imitate grown-ups. This inspires their play. Their learning is a combination of their own deep inner
drive to grow and learn coupled with their imitation of the adults in their environment. These two
elements interweave all through early childhood. They provide the underlying basis for play, yet their
outer expression changes year by year as children develop.
One of the milestones in play is the development of make-believe play, also known as fantasy play,
around age 2 1/2 or 3. Before that, children are more oriented to the real world: their own bodies,
simple household objects like pots, pans, and wooden spoons, and simple toys like dolls, trucks, and
balls. In their play, toddlers imitate what they see around them; common play themes include
cooking, caring for baby, driving cars or trucks, and other everyday events. These themes continue
and expand after age three but now children are less dependent on real objects and create what
they need from anything that is at hand. Their ability to enter into make-believe allows them to
a simple object into a play prop. A bowl becomes a ship, a stick becomes a fishing pole, a rock
becomes a baby, and much, much more.
It is fascinating to watch the force of fantasy enter the lives of children. The three-year-old becomes
so engaged in make-believe play that objects seem to be in a constant state of transformation. No
play episode is ever finished; it is always in the process of becoming something else. The playful
three-year-old often leaves a trail of objects as her play evolves from one theme to the next. In
contrast, four-year-olds are generally more stationary and thematic in their play. They like to have a
“house” to play in, which might also be a ship or a shop, and many enter the “pack-rat” stage where
they fill their houses with objects so that it seems they cannot freely move around. This does not
them at all, however. Like three-year-olds, they are inspired in the moment by the objects before
them. They are quite spontaneous in their ideas for play.
It is always exciting to watch the change in play in the five-year-olds as they enter the kindergarten
and announce what they want to play. Their mothers sometimes report that the children wake up in
the morning with an idea for play in mind. Sometimes they play out the same theme for days or even
weeks on end, developing it differently each time. One can see them gain focus as they come in
touch with their own ideas and have the will to carry them out in playful detail.
There is one more important aspect to the development of make-believe play that usually does not
occur until children are six. At this age they still love fantasy play but often will play out a situation
without the use of props. They may build a house or castle but leave it unfurnished, then sit inside it
and talk through their play, for now they are able to see the images clearly in their minds’ eyes. This
stage can be described as imaginative play, for the children now have the capacity to form an inner
image. It is around this time that a child will say something like “I can see Grandma whenever I want.
I just have to close my eyes.” Or she may set up a play scene with her toys but close her
eyes and play it out “inside.”
Dorothy and Jerome Singer, both psychologists at Yale University, have devoted their lives to the
subject of children’s play. They summarize their experiences in this way: Over many years of
observing children in free play, we have found that those who engage in make-believe, what
Piaget calls symbolic play, are more joyful, and smile and laugh more often than those who seem to
be at odds with themselves—the children who wander aimlessly around the nursery school or
daycare center looking for something to do, who play in a preservative way with a few blocks, or who
annoy their peers by teasing them or interrupting their games. (Singer and Singer, p. 64)
The Social, Emotional, and Intellectual Benefits of Play
When children are happily at play in a kindergarten there is a wonderful hum in the room. A deep
sense of well being emanates from the children. This should be reason enough to foster and protect
play, but research also points to a number of important gains linked to a child’s ability to engage in
healthy, creative play. Sara Smilansky, an Israeli researcher, studied children at play in Israel and the
United States. She defines dramatic play as taking place when a child pretends to be someone else
and sociodramatic play as those times when two or more children cooperate in such role–playing.
She summarizes her research as follows: “The results point to dramatic and sociodramatic play as a
strong medium for the development of cognitive and socioemotional skills.”
Here is summary of the gains she found directly linked to a child’s ability to engage in dramatic and
Gains in Cognitive-Creative Activities
Higher language comprehension
Higher language level
Better problem-solving strategies
Better ability to take on the perspective of another
Higher intellectual competence
Gains in Socioemotional Activities
More playing with peers
More group activity
Better peer cooperation
Better ability to take on the perspective of others
Better control of impulsive actions
Better prediction of others’ preferences and desires
Better emotional and social adjustment
Longer attention span
Greater attention ability
Performance of more conservation tasks
(Smilansky, p. 35)
Smilansky concludes, “Sociodramatic play activates resources that stimulate emotional, social, and
intellectual growth in the child, which in turn affects the child’s success in school. We saw many
similarities between patterns of behavior bringing about successful sociodramatic play experiences
and patterns of behavior required for successfulintegration into the school situation. For example,
problem solving in most school subjects requires a great deal of make-believe: visualizing how the
Eskimos live, reading stories, imagining a story and writing it down, solving arithmetic problems, and
determining what will come next. History, geography, and literature are all make-believe. All of
these are conceptual constructions that are never directly experienced by the child.” (Smilansky, p.
For the elementary-school child imagination is as important a medium for learning as make-believe
play is for the pre-schooler. Through imagination and the art of storytelling every subject in the world
can be taught, and elementary- school children become enthralled with learning. Without
imagination learning is a dull affair for children. If a child has been allowed to engage in make-believe
play during the nursery-school and kindergarten years and to develop inner imagination before
entering first grade, she is then ripe and ready to learn. While one or another may have a learning
difficulty, their enthusiasm for learning—and for overcoming difficulties—is enormous.
How do we help children enter into learning with imagination and enthusiasm? My own experience
has been that the children who were the most active players in the kindergarten were also the most
active learners in elementary school. This experience is supported by a study done in the 1970s in
Germany, at a time when many kindergartens werebeing transformed into academic rather than
play-oriented environments. The study compared 50 kindergartens where children played with 50
where the children focused on early academics. The children were followed until fourth grade, and at
that point the children from the play-oriented kindergartens excelled over the others in every
area measured—physical, emotional, social, and intellectual development. The results were
especially striking among lower-income children, who clearly benefited from the play-oriented
approach. The overall results were so compelling that Germany switched all its kindergartens back to
being play-oriented. (Der Spiegel) They have continued in this mode until the present time, although
during recent visits to Germany I hear more of the rhetoric one hears in this country: that to prepare
children for a globalized economy they must get a head start on literacy, numeracy, and other
The benefits of play-oriented programs were also documented in the research of the High/Scope
early childhood programs based in Ypsilanti, Michigan. In one study, 69 low-income three- and fouryear-old
children, who were at high risk of school failure, were randomly assigned to one of three
types of programs: the High/Scope program and a traditional nursery school both included childinitiated
activities, while the Direct Instruction approach did not. I.Q. scores rose in all three
programs, but various social indicators showed a large difference between children in the more
academic, direct instruction program and those in the programs encouraging self-initiated activity,
including play. The children were followed until age 23, and the following results were noted:
Initially, all three curriculum approaches improved young children’s intellectual performance
substantially, with the average IQs of children in all three groups rising 27 points. By age 15,
however, students in the High/Scope group and the Nursery School group Öreported only half as
much delinquent activity as the students in the Direct Instruction groupÖ Findings at age 23 continue
to support the conclusion that the High/Scope and Nursery School groups are better off than the
Direct Instruction group in a variety of ways. Either the High/Scope group, the Nursery School group,
or both, show statistically significant advantages over the Direct Instruction group on 17 variables.
Most important, compared with the Direct Instruction Group, the High/Scope and Nursery School
groups have had significantly fewer felony arrests of various kinds and fewer years of special
education for emotional impairment. In addition, compared with the Direct Instruction
group, the High/Scope group aspires to complete a higher level of schooling, and has more members
living with their spouses. It thus appears that preschool programs that promote child-initiated
activities (such as the High/Scope and Nursery School programs) seem to contribute to the
development of an individual’s sense of personal and social responsibility. (High/Scope, 2002)
What Is Happening to Children’s Play
Given the strong evidence of the importance of self-initiated creative play, it is alarming that play has
lost so much ground in young children’s lives during the past thirty years. Since the 1970s it has
become common for publickindergartens in the United States to focus so strongly on academic
achievement that there is little or no time devoted to self-directed play. Kindergarten teachers in
Pennsylvania told me that in their school district the kindergarten curriculum had been
prescribed by the state legislature. Each morning children were to spend 20 minutes each on reading,
writing, arithmetic, social studies, science, and so on. One teacher looked nervously over her
shoulder and whispered, “I break the law every day and let my children play for fifteen minutes.” The
other kindergarten teacher sadly admitted that she only managed to bring in play twice a week for
That was in the mid-1980s. Since then the situation has become more grim. The first-grade
curriculum has become entrenched in the kindergarten. With standardized testing starting ever
earlier—for five-year-olds in some districts— an atmosphere of hurry and pressure pervades the
kindergarten. To ease the pressure a bit many states have raised the entrance age for kindergarten
so that the youngest children are usually five when they enter rather than four years and nine
months, as was the case when I was a child. On the other hand, there is such concern about fiveyear-olds
learning enough that many school districts are switching to full-day kindergartens. One might hope
that half the day would be devoted to play and the arts, but I have not heard any reports of that
being the case.
In 'What Happened to Recess and Why Are Our Children Struggling in Kindergarten'? Susan Ohanian
takes a hard look at what is happening to young children in school today. She mentions New York’s
Public School 9 where kindergarten children have at least some recess: “In a seven-hour day, they get
25 minutes free from academics.” (Ohanian, p. 11) Anyone who knows five-year-olds will know that
this will not work.
Ohanian also describes the situation in Chicago’s public schools, referring to a report in the New York
Times by Jacques Steinberg:
The teacher knows it’s the 53d day because ”Day:053” is printed at the top of the recommended
lesson plan open on her desk, a thick white binder crammed with goals for each day and step-by-step
questions given to her and the city’s 26,000 other teachers by the school system’s administrators at
the start of the school year. The page also identifies the section of the Iowa Test of Basic Skills to
which that day’s entry corresponds. Every teacher in Chicago gets this day-by-day outline of what
should be taught in language arts, mathematics, science and social studies.
The New York Times reporter notes that some see this as the logical outcome of the standards
movement, providing ”an almost ironclad guarantee that all students will be exposed to the same
material and that all teachers, regardless of qualification, will know exactly how to present it.”
(Steinberg 2000; also in Ohanian, p. 11–12)
In the face of such demands on five-year-olds and their teachers, to speak of play seems almost
frivolous. Yet five- year-olds are young children. Where did we ever get the idea that they should be
on the fast track to high scores and global careers? We are on a slippery slope heading downhill, and
the pace is accelerating. Must we find our children broken on the rocks of our fears and ambitions
before we call a halt?
We’re not at the bottom yet. In the name of early literacy, plans are being developed to refocus
nursery school children away from play and toward early reading. There are aspects of early literacy
that young children need: a rich experience of language spoken by caring adults, nursery rhymes and
verses, storytelling and puppetry, and books read aloud. All these lay a vital foundation for a lifetime
love of language and reading. But the term “early literacy” is coming to imply something much
narrower than that.
As this is being written in the fall of 2002, Head Start is scheduled for reauthorization by Congress
next year. Many Head Start teachers are already feeling considerable pressure to give up play time
and focus on early literacy. Ohanian describes the current situation:
With all good intentions the current Bush administration is advocating a rigorous skill model for Head
Start preschool programs across the country. Three- and four-year olds are drilled about letters,
dividing words into syllables and spelling. The plan is that this will prepare poor children to learn to
read when they go to kindergarten. The Department of Health and Human Services, which oversees
Head Start, is developing a curriculum that every Head Start teacher will be expected to follow.
(Ohanian, p. 10)
Head Start serves about one million children, but there are millions more whose programs are
unfunded by the federal government. This will change if federal legislation that is currently in
Congress passes. It will provide much- needed funding for states to support early childhood
programs for children from birth to five. On one hand it will emphasize physical, social, and
emotional development. But with the other it will stress early literacy. What might
well tip the scale toward the latter is a plan to give bonuses to states that can show gains in
children’s school preparedness as measured in kindergarten. In practice, this will mean a sharpened
focus on early literacy activities for three- and four-year-olds. Much more time will be spent on
learning the alphabet, breaking words into parts, basic reading skills, and the like. We have seen this
pattern before: soon there will be no time left for play.
Children are not machines. You cannot simply add more fuel and speed them up. They are governed
by internal processes that are sometimes called the laws of child development. These processes
cannot be sped up without doing serious harm to children. This harm touches many areas of their
lives—physical, emotional, social, and mental.
The Alliance for Childhood, of which I am the U.S. coordinator, submitted a position statement to the
Senate committee that was drafting the new birth-to-five legislation. The statement was endorsed by
some of the leading experts on child development in the U.S., including Dr. T. Berry Brazelton, David
Elkind, Jane Healy, Dr. Stanley Greenspan, and Dr. Alvin Poussaint. It read, in part:
The key to developing literacy—and all other skills—is to pace the learning so that it is consistent
with the child’s development, enabling him or her to succeed at the early stages. Ensure this initial
success and the child’s natural love of learning blooms. Doom him to failure in the beginning by
making inappropriate demands and he may well be unable to overcome the resulting sense of
inadequacy. This is especially true of children whose families are already under social and economic
stress. (Alliance for Childhood)
There are many individuals and organizations committed to restoring play to young children’s
lives. One reason it is difficult to make progress, however, is that many parents misguidedly prefer
that their children focus on early academics. Their concern about their children’s future easily turns
to fear. They then place considerable pressure on teachers.
When parents and kindergarten teachers were asked what five-year-olds should know when they
enter kindergarten, the parents had very different expectations than did the teachers. An October
1995 report by the National Center for Education Statistics (NCES) entitled Readiness
for Kindergarten: Parent and Teacher Beliefs.
Parents of a majority of preschoolers believe that knowing the letters of the alphabet, being able to
count to 20 or more, and using pencils and paint brushes are very important or essential for a child to
be ready for kindergarten, while few kindergarten teachers share these beliefs. Compared with
teachers, parents place greater importance on academic skills (e.g., counting, writing, and reading)
and prefer classroom practices that are more academically oriented. One reason for this may be that
parents perceive that there are specific activities they can do to teach their children school-related
basic skills, whereas ways of changing the social maturity or temperamental characteristics of their
children are less apparent. (NCES)
If there is one piece of advice I would offer parents regarding play and early academics, it would be
to relax and stop hurrying their children. Children have such deep resources for growth and learning
that with good nurture and reasonable help most will succeed wonderfully. Some will need special
help and can be given it. This is a hard message to convey, however, especially in America, where we
are committed to growing our children faster and better than anyone else.
There is a story that Piaget, the great Swiss psychologist, did not like to speak to American audiences.
After he had described the natural pattern of children’s development, Americans would invariably
ask, “Yes, but how can we get them to do things faster?”
An important quality of being human is that it takes quite a long time for children to grow up and
develop all the capacities that are part of human nature. Compared to the young of other mammals,
our children take much longer to mature. Our children deserve the right to grow and ripen at a
human pace. A major part of this is allowing time for play.
_________________________________________________________________ Joan’s article is an excerpt from her chapter in an anthology called 'A Crisis in Early Childhood
Education: The Rise of Technologies and the Demise of Play' published in 2003 by Greenwood (a
division of Praeger)as part of their Child Psychology and Mental Health series. Other contributors
include Frank Wilson, Jeff Kane, Stanley Greenspan, Jane Healy and Christopher Clouder
Alliance for Childhood. Children from Birth to Five: A statement of first principles on early education
for educators and policymakers. Retrieved October 29, 2002 from
Der Spiegel (German news magazine, No. 20, 1977). p. 89-90.
Goleman, D., Kaufman, P. & Ray, M. The Creative Spirit. Dutton Books. 1992
High/Scope Summary. Different Effects from Different Preschool Models: High/Scope preschool
curriculum comparison study. Drawn from works by Schweinhart, L. J., & Weikart, D. P., et.
al. Retrieved October 29, 2002 from http:// www.highscope.org/Research/curriccomp.html).
National Center for Education Statistics (NCES). Report entitled Readiness for Kindergarten: Parent
and Teacher Beliefs, 1995. Citation retrieved October 29, 2002 from http://www.educationworld.com/a_curr/curr027.html.
Ohanian, Susan. What Happened to Recess and Why are our Children Struggling in Kindergarten?
New York: McGraw- Hill, 2002.
Singer, Dorothy and Singer, Jerome, The House of Make-Believe. Cambridge, MA: Harvard University
Smilansky, Sara. “Sociodramatic play: Its relevance to behavior and achievement in school.” In E.
Klugman & S. Smilansky (Eds.), Children’s Play and Learning. New York: Teacher’s College. 1990.
Steinberg, Jacques. “Student failure causes states to retool testing.” New York Times, December 22,