Through reading this chapter, you will gain insights into Vygotsky’s cultural-historical conception of play and the range of contemporary models of play that have been informed by cultural-historical theory.

What is play? How does play develop? What is the relationship between play, learning and development? This book looks at these central questions from the perspectives of children, families, educators and what is known from research. You are encouraged to read and reflect on the content as you progress through the book. Although each chapter brings in different dimensions, the approach taken is interactive, with most chapters (but not all) inviting you to consider specific research into play practices, and to generate your own ideas/data to discuss or critique. We begin the journey in this first chapter by looking at your ideas and the writings of others on the topic ‘What is play?’

As advocates for play, teachers need to have a clear definition of play, a model of play used to guide their practice and a theory of play that underpins their philosophy of teaching and learning. This chapter brings together insights gained about play from all the chapters in this book and invites you to take a position on your own philosophy of play. We then ask you to become an advocate for children’s play.

In this chapter, we seek to examine how play supports children’s overall development. We specifically take the child’s perspective in planning for play development.This chapter has been designed to provide a strong theoretical sense of the concepts of play, learning and development in early education; the capacity to analyse and support play development; a look at planning for play and learning outcomes, drawing on the The Early Years Learning Framework for Australia (V2.0) or Te Whāriki.

At the beginning of this book, we examined your own play memories and those of other people. We concluded that play really matters to children. But what do we really learn about children’s learning and development when we observe and analyse play? We begin this chapter by looking at a play memory of a 16-year-old boy whose parents used play to support their son in dealing with the arrival of his new baby sister.

In this chapter, we will look at how children play in families, and the diversity of roles that parents may take in children’s play. We begin this chapter with details of the play practices of two families living in the same community. We argue that play is learned in families, and in early childhood centres and classrooms, rather than being something that arises naturally within the child. Through reading this chapter on families at play, you will gain insights into how some families play and how play is learned in families, and an understanding that play practices learned at home lay the foundation of children’s play and learning, and that as teachers we should consider how to build upon these early experiences in our early childhood centres and classrooms.

This chapter has been designed to help you learn about: how others plan for play-based learning and intentionality in the The Early Years Learning Framework for Australia (V2.0); what a Conceptual PlayWorld looks like for three groups – infants and toddlers, preschoolers, and children transitioning to school; how to design a Conceptual PlayWorld to support cultural competence; and how to plan a Conceptual PlayWorld for a range of educational settings.

Taking the child’s perspective means looking at the world through the eyes of the infant or the child. This can help us to better understand play practices and better plan for children’s learning and development. But how do we do this in practice? In this chapter we explore these ideas and help you design programs where you gain insight into the importance of documenting infants’ and young children’s perspectives on their play and identify a range of practical ways to find out children’s perspectives on their play.

In this chapter, we look at how play can support children’s learning in schools. We begin by examining how teachers can support children’s learning in play by exploring a range of playful approaches to learning curriculum content. A case study of a play-based approach from the Netherlands is also presented, followed by a range of practical suggestions and resource ideas to support the setting up of a play-based inquiry approach using the Australian Curriculum.

As a result of reading the first five chapters, you are now in a position to argue for the view that studying play is a serious and academic endeavour. To further support your learning, in this chapter and the next we turn our attention to the main theories that have informed the key models of play upon which teachers have increasingly drawn in contemporary times. In this chapter, we show how post-structuralist theory can inform thinking about children’s play.

Children’s play reflects the culture and cultural tools of a community. Digital play and digital tools have evolved over time. Described by Susan Edwards as three generations: First generation: 1980 to early 2000s with the focus was on children’s use of digital technologies; Second generation: 2010 with the availability of the iPad and independent digital activity by children; Third generation: the integration of technologies with children’s socio-material activities and everyday lives.

Play is a key dimension of early childhood education. How play is conceptualised and how a teacher uses play to support curriculum activities have a bearing on what a child experiences. We know from research that play is discussed in different ways in different countries, and also that play is presented in different ways in education curricula around the world.

The objective of this chapter is to define socio-dramatic play from a cultural-historical perspective and to describe how teachers can become co-players with children in their play. To do this we present case studies from research and a pedagogical toolbox to support children’s participation, learning and development. The chapter begins by outlining children’s socio-dramatic play using a cultural-historical perspective to focus on interactions in shared play. In socio-dramatic play, imagination and creativity are central as children create narratives together. Play creates conditions for children to express and construct meaning with others and to become co-players in a shared imagined world. Adults in early childhood settings traditionally support children’s play by planning, resourcing and observing, although their role as co-player is less understood.

For early career educators, it can be challenging to navigate and orient themselves within the field of early childhood education. Increasing demands on, and accountability for, early childhood educators around the provision of a high-quality curriculum and clear learning outcomes for children are significant in their own right; however, for early career educators the lack of clarity around ‘how we know’ children are learning can be uncomfortable. In Australia, the Early Years Learning Framework supports early childhood educators to shape their pedagogy, providing a high-quality early childhood curriculum in a holistic way that outlines what children’s learning could look like, and not what it will look like. This is an important distinction, as it reinforces that early childhood education must focus on context and not content; learning opportunities are influenced by the learner, and early childhood educators need to be aware of the role they adopt in supporting learning.

Play is an innate need. It’s a biological behaviour all humans engage in and is essential for children’s wellbeing and development across all domains: social, cognitive, emotional and physical. While play has long been seen as the key vehicle through which young children explore the world, researchers have now recognised the benefits of play to learning 21st century skills such as innovative thinking, problem-solving and collaboration. Intrinsic motivation is an inherent quality of play and a vital aspect of learning; without it, children can lack enthusiasm and willingness to engage, lack effort and persistence in tasks, give up easily and fail to develop independence in their learning. So how can we motivate and inspire learners so they become passionate advocates of their own development through self-driven exploration, questioning, problem-solving and discovery? Play is the key. This chapter discusses the benefits of play and explores how a ‘playful’ pedagogical approach enhances creativity, problem-solving and critical thinking, and can be used to effectively engage, motivate and stimulate learners from early childhood to adolescence in the HASS learning area.

Chapter 10 returns to broader issues of the cultural politics of metaphor, examining the tensions between ethics and aesthetics in illness experience and healing. While the focus on language allows us to mobilize the richness of literature to explore illness experience, in doing so we may inadvertently downplay the material circumstances that determine health disparities and inequities. Against this apparent opposition, I argue that attention to the aesthetics of language and the creative functions of imagination and poeisis can help us understand the mechanisms of suffering and affliction and devise forms of healing that better respond to the needs of individuals within and across diverse cultures and contexts. Every choice of metaphor draws from and points toward a form of life. The critique of metaphors that begins with an appreciation of the qualities they confer on experience, and then moves out into the social world to identify ways that systems and structures are configured, rationalized, and maintained. A critical poetics of illness and healing can contribute to efforts to improve our institutions and achieve greater equity not only by recognizing and respecting difference and diversity but also by engaging with the particulars of each person’s experience.

Humans have historically devised, and continue to devise, various strategies to make their gods present in the mortal realm. The introduction explains how technologies should be understood as one such strategy employed in ancient Greek religion to solve the ‘problem of divine presence’. Key terms including technology, mechanics, art, and technē are explained, and the relationship between these terms is discussed. Various themes important to the book are also introduced: theoretical frameworks to access the agency of technological objects which conditioned ancient religious experience (including a reassessment of Alfred Gell’s theory of art objects); what we should make of apparently conflicting epistemologies in a topic such as this which combines ‘rational’ scientific knowledge and sacred experience; and how concepts of play and the playful were crucial both to religion and to technology in Classical antiquity.

On 18 October 1932, the young Samuel Beckett, highly uncertain about his poetry, wrote a letter to his friend, the poet and critic Thomas McGreevy, drawing a distinction between conscious, agential events, and reflex actions. The tension between the conscious, agential subject, and automatic bodily events comes to constitute a key concern in Beckett’s writing, which dedicates meticulous attention to those bodily functions that fall between intentional and non-intentional acts, such as sexual reflexes, breathing, habitual actions, and even, at times, the production of speech itself. In staging this tension, Beckett is in search of a literary form to accommodate an emerging understanding of the self that has its origins in a finding of late-eighteenth- and early-nineteenth-century neurology: the discovery of the autonomous nervous system as independent or near-independent from the conscious, intentional subject.