During crisis times, what children are playing and what grown-ups think their games signify can become a focus of adult anxiety. The Play Observatory, a COVID-19 research project, drew on folklore studies and cultural histories of childhood to collect, document and understand what children were playing and doing during extraordinary times, in ways which were meaningful to children themselves. This article discusses some of the children’s and families’ contributions, juxtaposed with children’s contributions to the archive of childhood folklorists Iona and Peter Opie, to highlight and contest adultist interpretations around children’s play during difficult times. We suggest that these interpretations are rooted in particular social constructions of the child, of childhood and of play that reflect themes of innocence, purity and vulnerability, and the need for adult protection from contamination, both material and symbolic. We introduce the idea of ‘inflection’ to suggest how habitual and perennial forms of play may be made to temporarily accommodate contemporary issues by the players as opposed to the play (and hence the child) being ‘infected’ with troubling or distressing themes which detract from idealised constructs of childhood.

Children in many parts of the world commonly play games of touch chase, in which the chaser catches the other players by tapping them, the role of chaser often then transferring to the caught player. At the time of the global spread of the Covid-19 pandemic in early 2020, reports began to crop up, especially on social media, of children playing chasing games with names like Coronavirus Tag, Corona Tip, Infection and Covid Tiggy. In these, the chaser was the virus and had to chase the others who, when caught, then ‘got the virus’. Games with ‘corona rules’ also emerged, in which children adapted the chase games to circumvent or accommodate social distancing measures imposed on them. The chapter draws on children’s testimony and adults’ observations of these coronavirus tag games, particularly Twitter posts, to trace their rapid emergence on an international scale, their varied and ingenious forms and potential functions. The focus is on the players’ perceptions and experiences in order to emphasize the fluidity and dynamism of this play and to trouble adults’ tendency to adult-centric and monolithic interpretations. The chapter argues that it is essential to consider such games both in the context of the pandemic and from a comparative and historical perspective. This highlights that what children did in making their games of coronavirus tag is in fact just one example of what they do on a day-to-day basis when there is no pandemic, drawing on mediascapes, and the material, environmental and temporal resources available to them, in often overlooked and undervalued acts of everyday creativity and resourcefulness.

This paper outlines the findings from a study that examined the tablet and app use of children aged from birth to three. The aim of the study was to examine how far use of tablets and apps promoted play and creativity. A total of 954 UK parents of children aged from birth to three who had access to a tablet in the home completed an online survey that explored the children’s use of apps. Ethnographic case studies of four children aged from birth to three were undertaken in homes in order to explore in greater depth issues that emerged in the survey. The paper reports on the way in which the use of tablets promoted play and creativity across cognitive, physical social and cultural domains. The implications for policy and research are outlined.

The COVID-19 pandemic has had an enormous impact on many aspects of children’s day-to-day lives, including their play. Measures such as lockdowns, school and playground closures, quarantine, isolation and social distancing introduced to curb transmission have resulted in major consequences for where, when, how and with whom children can play. This article reports on interim findings from ‘The Play Observatory’, a 15-month project researching children’s play experiences during the COVID-19 pandemic. Collecting data through an online survey and online case studies, the research offers insights into ways in which children’s play has endured, adapted and responded to restrictions brought about by the pandemic. This article focuses on children’s digital play throughout this period, including examples of digital gaming, online play, social media, playful creation of digital media texts and hybrid online-offline play. Drawing on theories relating to dynamic literacies, multimodal perspectives and the Reggio Emilia concept of the ‘hundred languages’, this article examines the role of the digital in children’s contemporary play practices and the specific affordances of digital play during times of stress, uncertainty and physical distancing. The findings highlight ways in which digital play continued, adapted, evolved and reflected children’s experiences and understandings of the pandemic. The study reveals the complexity of digital play and its place within contemporary digital childhoods, troubling simplistic notions of ‘screen time’ and highlighting the increasingly blurred boundaries around digital and non-digital practices, calling for educational approaches that value digital play as significant meaning-making.

Iona Opie died peacefully on 23 October 2017, just a few days after her ninety-fourth birthday. As one half of the husband-and-wife team ‘the Opies’, and as an individual in her own right, Iona pio...

This study is the first to systematically investigate the extent to which apps for children aged 0–5 foster play and creativity. There is growing evidence of children's use of tablets, but limited knowledge of the use of apps by children of children of this age. This ESRC-funded study undertook research that identified how UK children aged from 0 to 5 use apps, and how far the use of apps promotes play and creativity, given the importance of these for learning and development. A survey was conducted with 2000 parents of under 5s in the UK, using a random, stratified sample, and ethnographic case studies of children in six families were undertaken. Over 17 hours of video films of children using apps were analysed. Findings indicate that children of this age are using a variety of apps, some of which are not aimed at their age range. The design features of such apps can lead to the support or inhibition of play and creativity. The study makes an original contribution to the field in that it offers an account of how apps contribute to the play and creativity of children aged five and under.

This study is the first to systematically investigate the extent to which apps for children aged 0-5 foster play and creativity. There is growing evidence of children's use of tablets, but limited knowledge of the use of apps by children of children of this age. This ESRC-funded study undertook research that identified how UK children aged from 0 to 5 use apps, and how far the use of apps promotes play and creativity, given the importance of these for learning and development. A survey was conducted with 2000 parents of under 5s in the UK, using a random, stratified sample, and ethnographic case studies of children in six families were undertaken. Over 17 hours of video films of children using apps were analysed. Findings indicate that children of this age are using a variety of apps, some of which are not aimed at their age range. The design features of such apps can lead to the support or inhibition of play and creativity. The study makes an original contribution to the field in that it offers an account of how apps contribute to the play and creativity of children aged five and under.

This paper explores the changing roles of families in children's developing literacy in the UK in the last century. It discusses how, during this time, understandings of reading and writing have evolved into the more nuanced notion of literacy. Further, in acknowledging changes in written communication practices, and shifting attitudes to reading and writing, the paper sketches out how families have always played some part in the literacy of younger generations; though reading was frequently integral to the lives of many families throughout the past century, we consider in particular the more recent enhancement of children's literacy through targeted family programmes. The paper considers policy implications for promoting young children's literacy through work with families.

This paper draws on an ESRC-funded study of play and creativity in preschool-aged children's use of apps in the UK. The main objectives of the study were to collect information about access to and use of apps in the home, establish the most popular apps and identify the features of those apps that are successful in promoting play and creativity. A mixed-method approach was used to collect data, including video filming of children using the most popular apps. In identifying play types that emerged in the analysis of data, the team utilised an established taxonomy, which outlines sixteen play types. This taxonomy was reviewed and adapted to analyse data from the project relating to digital play. Through this process, an additional type of play, transgressive play, was identified and added to the taxonomy. The paper outlines the implications of the revised taxonomy for future studies of play.

This lecture draws attention to research into children’s folklore in Britain from the last century, stressing its potential to inform understandings of contemporary childhoods, particularly children’s play. The emphasis is on archival sources, such as the collections of Norman Douglas, James Ritchie, and Iona and Peter Opie. The changing nature of contemporary evidence, such as children’s self-produced films of their play shared on YouTube, is also illustrated, and the importance of a multimodal approach stressed. The author compares the historical sources with the collectors’ published work, and highlights the need for rigour in appraising these differing forms of evidence.

Purpose– The purpose of this paper is to report on how early years practitioners worked with the ORIM Framework to support work with parents to promote early literacy experiences.Design/methodology/approach– Co-produced Knowledge Exchange (KE) was used to develop and evaluate work with parents to facilitate their young children’s literacy. Information was gathered in discussion groups, interviews with parents and practitioners and feedback from all the parties involved.Findings– Practitioners and families engaged with each other in the further development of an established literacy programme, and families demonstrated “ownership” of the co-produced knowledge after the end of the project.Research limitations/implications– Project design in co-produced research and KE is necessarily flexible. The focus is on practitioners’ knowledge and ownership of the process, sharing knowledge with parents and enhancing children’s experiences.Practical implications– Practices that can enhance parental engagement in their children’s early literacy are varied and multiple and ORIM can be used flexibly to plan, develop and evaluate innovative and community – (and family –) specific practices.Social implications– Where parents have more knowledge of children’s early literacy development they are in a better position to support them; for learning communities there are implications in terms of future development of work with families to support early literacy development.Originality/value– This paper contributes an original approach to the co-production of research with early years practitioners. It also identifies specific issues around the ethics of ownership in co-produced research.

This paper focuses on an episode of play in a primary school playground in England, which featured a group of children re-enacting elements of the television talk show The Jeremy Kyle Show. The episode is analysed in the light of work that has identified the key elements of the talk show genre and the children's play is examined in relation to conceptualisations of talk shows as cruelty-verite, carnivalesque spectacle and vehicles of social class anxiety. The paper explores the children's playful re-enactment not only as a parody of adult worlds, but also as a confirmation of the ordinariness' of everyday life. It is argued that in episodes such as these, the functions of play are multiple and complex, but include a desire to construct collective moral sensibilities and reinforce normative discourses relating to sexuality and what it means to be a good citizen'. The paper identifies spaces of continuity and discontinuity in such traditions and suggests that in play which draws from contemporary media we see the reconstruction of traditional play themes, but can also trace newer elements that are closely related to the generic conventions of reality television.