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Birth to three matters - Communities and Local Government

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a fast-moving sce n e. When the process ofp l ay is ri c h ,it can lead children in<strong>to</strong> cre at i n grich prod u cts in their s<strong>to</strong> ri e s, p a i nt i n g s,d a n ce s, music maki n g, d raw i n g s, s c u l p t u re s<strong>and</strong> co n s t ru ct i o n s, or in the solving ofs c i e ntific <strong>and</strong> mat h e m at i cal pro b l e m s.’Some learning in young children occursthrough imitation.They will try <strong>to</strong> do whattheir carer does, sometimes after a timelapse, which indicates how memory isassisting that learning, but usually that‘imitation’ is actually a re-construction –the child’s own version of what s/he hasobserved <strong>and</strong> noted, constructed <strong>and</strong>transformed – in just the same way apainter like Picasso would transformexperiences, ideas, feelings <strong>and</strong>perceptions in<strong>to</strong> a work of art. Bruce (2001)provides a detailed overview of learningthrough play in the years before six,commenting that during the <strong>to</strong>ddler yearschildren begin <strong>to</strong> rehearse roles, pretend<strong>and</strong> create play props, as their ability <strong>to</strong>imagine accelerates rapidly, along withlanguage <strong>and</strong> play with symbols.Meanings are made, not mere ly dispatc h e d<strong>and</strong> co n s u m e d, as Meek arg u e s,‘The most strenuous period of imaginativeactivity is that time in childhood when weplay with the boundaries of our view ofthe world:sense <strong>and</strong> nonsense, the real<strong>and</strong> the fictive, the actual <strong>and</strong> the possible,all within the cultural domain we inhabit.’(Meek 1985: 53)Observing children when they play infamiliar surroundings is not onlyenjoyable, it is essential, because it isduring play that children are relaxedenough <strong>to</strong> ‘perform’ in ways whichdemonstrate the amazing extent of whatthey know <strong>and</strong> can do (see Lindon 2001).BEING CREATIVERobinson, <strong>and</strong> others, claim that‘creativity is in crisis’ (Robinson 2001: 195)as instruction <strong>and</strong> information giving<strong>and</strong> gathering overwhelm the timeavailable for nurturing <strong>and</strong> valuingdifferent intelligences <strong>and</strong> ways of being<strong>and</strong> belonging.And yet the curi o s i ty of ve ry yo u n gc h i l d ren <strong>and</strong> their ability <strong>to</strong> take risks ind i s cove ry, p rovide a firm basis on whichc re at i v i ty can be deve l o pe d. By about eightm o nths of age, when children can movere a s o n a b ly indepe n d e nt ly, away from thefamiliar l<strong>and</strong>sca pes of the adult faces whoe nte rtain <strong>and</strong> co m m u n i cate with them,c h i l d ren will range around their homel a n d s ca pe, seek out <strong>and</strong> ex p l o re object sco n s t a nt ly. Anything reachable can bet u rned in<strong>to</strong> a play t h i n g. Ma ny pare nts arefamiliar with the idea that, in this, t h ec h i l d’s re s e a rc h ,p l a ces such as ki tc h e nc u p bo a rds be come play sites (Pi e rce 2000).Such ex p l o ration satisfies curi o s i ty but it isalso helping the child develop pe rce p t u a l<strong>and</strong> spatial awa re n e s s. Ag a i n ,the re s t ri cte da b i l i ty <strong>to</strong> move <strong>and</strong> <strong>to</strong> ex p l o re of their ow na c co rd, ex pe ri e n ced by children withce re b ral palsy or those not motivated <strong>to</strong>m ove, l i ke some children with Dow n’ss y n d ro m e, means that these children willnot develop pe rceptual <strong>and</strong> spat i a lawa reness as effe ct i ve ly as other childre n .93

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