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Running Record – Sand Play

Analysis & Interpretation

Key:

(1).Genres/Types of play
Marilyn Fleers, Genres of play
16 Types of Play

(2). Developmental domains

Social
Physical
Cognitive
(Developmental milestones)

(3). Theories
Classical theories of play
Contemporary theories of play
Child development theories

(4). Social Stages of Play

Parten’s social stages

(5). EYLF Outcomes/General Capabilities

Early Years Learning Framework, 5 learning outcomes.
General capabilities in the Australian curriculum

Play Genre/ Types of Play

Throughout the sand play episode, Jane and Kate play within the different genres of play and
play types (Dockett & Fleer, 2003). Object study is displayed as Jane pours sand over her
feet, the sand being the object. Jane focuses her attention on the sand sensation moving
through her toes, the repetition of these actions display that she is exploring the texture and
properties of the sand around her (1) (Dockett & Fleer, 2003). Object study is demonstrated at
(1b), Jane is focused and repeats the actions, exploring the properties of sand. (1g) Jane
repeats the tapping action on the cake tin, this allows Jane to explore the texture, and
properties of sand as it comes out as different shape, she repeats this process as each ‘cake’
falls out giving structure to the sand (Dockett & Fleer, 2003). (1c) Role play is exhibited by
Kate as she pretends to drink from a cup, Kate displays role play through play exploration of
a real life experience (Moyles, 2012) Kate explores this play of being on her own. The
children are making cakes within the play, which is engaging in construction study (Dockett
& Fleer, 2003). At (1a,1e) Jane is focusing on filling cake tins with sand, using a shovel or
her hands, she demonstrates construction study as her concentration is on making a cake. At
(1h) the construction of the ‘cake’ comes out 3D, holding its shape for her to continue making
the cake (Dockett & Fleer, 2003). Imaginary play is exhibited at (1d) Jane points to the
‘oven’, she is demonstrating that is she able to create and manipulate her surrounding
environment into something else to accommodate within her play, Jane displays she is in
control, and using her ideas (Robinson, Treasure, O’connor, Neylon, Harrison, & Wynne,
2017, Forthcoming). At (1f,1k) symbolic play is displayed, as Jane plays with the designated
area as an ‘oven’ demonstrating she is using symbolic representation, representing an area as

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another idea or object (Robinson et al., 2017 Forthcoming). Physical study is displayed in the
play at (1i) she gains a physical experience where she focuses on poking the holes into the
sand cake, this experience allows her to concentrate on a fine motor activity using her fingers
within her play (Dockett & Fleer, 2003). Idea study is displayed at (1j) as Jane looks around
for props, and uses the sticks for candles, the props have assisted within her play, but her
focus and concentration is on the cake (Dockett & Fleer, 2003). Social study appears in the
final section of the play. The two girls demonstrate they are engaging in a social ritual,
birthdays (Dockett & Fleer, 2003). Both Jane and Kate focus on their interaction as they
communicate to one another about their enjoyment of birthdays, the play in this moment is
focused on the birthday ritual. The play has allowed the two girls to relate and process a real
life experience (1m) (Dockett & Fleer, 2003).

Developmental domains
Within the play both Jane and Kate are contributing to their development. (2) Social
development is displayed as Kate asks Jane to play, Kate is able to initiate the play by
communicating (Kearns, 2014). Both Jane and Kate manipulate and work with one another
when using the equipment (2a,2b,2f) (Department of Education, Employment and Workplace
Relations [DEEWR], 2015). They are displaying their social skills through communication
and sharing with one another (DEEWR, 2015). Both Kate and Jane show great initiative as
they use their language, and know to ask one another before taking any play equipment from
the other person (2f,2h) (Berk, 2013; Kearns, 2014). Social competence is displayed at (2d),
Jane responds to Kate with ‘Ta’, this displays she knows to respond and say thank you. Social
development is seen at (2o) where Jane has made the cake and is giving and sharing it with
Kate. This demonstrates their social and pro-social skills as they are able to share and
cooperate with one another (DEEWR, 2009; Kearns, 2014). Cooperation and social
development is evident as both Kate and Jane show enjoyment of sharing by smiling at one
another (2i, 2p) (DEEWR, 2015). Language development is displayed at (2c) where Jane
responds verbally, to Kates question, she answers with ‘Ta’, using an adults form of speech
(DEEWR, 2015). Language is displayed at (2h) as Kate is able to pose a question and
verbally ask to borrow equipment (DEEWR, 2015; Kearns, 014). Physical development is
displayed at (2g,2k,2q) as Jane exercises her fingers and hands as she grips to the equipment
and scoops sand with a spoon or shovel (Kearns, 2014). The physical experiences throughout
the play, demonstrate Jane using her smaller muscles. (2m) Jane breaks some sticks, this
allows to strengthen her fine motor skills and coordination (Kearns, 2014). Cognitive
development is displayed through mental representation, as Jane is able to represent real
objects to express her ideas (Berk, 2013). Jane uses symbolic representation within the play,
where she represents an area for an oven (2j), demonstrating she has strong cognitive
sophistication (Berk, 2013; Robinson et al., 2017, Forthcoming). Jane also displays cognitive
development through the use of mathematics in her play, (2n) Jane uses one to one
correspondence as she counts each stick as she puts them into her cake (DEEWR,2015).

Theories

One of the theories evident in this play episode is, Vygotsky’s social constructivism theory

(Russo, Vernam, Wolbert, 2006). When Jane is wiggling her toes through the sand being

poured over her feet (3), the experience allows her to explore and construct meaning and

understanding of the environment around her (Russo et.al, 2013). As the process is repeated,

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Jane is seeking to make sense of her experience (Russo et.al, 2013; Dockett &Fleer, 2003).

The sand sensation through Jane’s feet is also demonstrating Piaget’s sensorimotor function

of play (Russo et.al, 2013). (3d) Jane displays this by repeating the process of pouring the

sand, as she giggles it demonstrates she is gaining pleasure and satisfaction from the sensory

experience (Russo et.al, 2013; Dockett & Fleer, 2003). (3e) Piaget’s symbolic play (pretend

play theory) is displayed as Jane demonstrates she is able to separate her mental world to the

real world (Russo et.al, 2013; Dockett & Fleer, 2003). Cognitive sophistication is exhibited as

she demonstrates she knows the difference between reality and pretend (Dockett & Fleer,

2003). Instinct practice theory is displayed at (3a) as Jane takes on the role of making a cake,

as she ‘cooks’, it demonstrates Jane practising the ‘cooking skill’ as preparation for adult life

(Mellou, 1994; Dockett & Fleer, 2003). The metacommunicative theory is evident in the play

episode, Jane uses the play frame to communicate to Kate what will happen within the play

(3b). Jane demonstrates this by telling Jane that the tin needs to be filled so they can cook it

(Dockett & Fleer, 2003). Jane’s communication gives guidance and direction within the play,

and brings back the cake idea into the play (Dockett & Fleer,2003). The theory appears again

at (3c), Jane uses the play frame to communicate to Kate the role of an object, establishing a

rule within the play. Using the play frame, Jane is able to communicate that the play

occurring is not real (Mellou, 1994).

Throughout the play, Jane and Kate display Parten’s social stages of play (Parten, 1932).

Associative play is displayed at (4) as both girls play within the same area, Kate and Jane

share the equipment with one another and have minimal discussions on their play (Parten,

1932; Kearns, 2014). Although the ‘making of cakes’ has been suggested, the girls do not

assign roles within the play, and continue to play nearby one another (Parten, 1932).

Onlooker play is also displayed as Kate becomes the onlooker while Jane plays with the

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equipment in the sandpit (4a). Kate displays the onlooker stage as, as she observes from close

by and does not make an attempt join in with the play (Dockett & Fleer, 2003; Parten, 1932).

Onlooker play is also evident at the end of the play episode, as Jane is distracted and is drawn

to the laughter from other children in the playground. Jane’s curiosity, stops her from the

play, and she observes the other children (4c). (4b) Co-operative play is demonstrated as the

girls engage in a meaningful interaction and share the materials (Kearns, 2014). As the girls

interact, they are cooperating and forming social bonds (Dockett & Fleer, 2003; Parten,

1932).

EYLF Outcomes/General capabilities

Throughout the play episode both Jane and Kate demonstrate and engage in various outcomes

within the Early Years Learning Frameworks. Outcome 1.1 is exhibited as Kate demonstrates

she is able to initiate play, by asking Jane if she wants to make cakes, establishing a play idea

(5) (Department of Education, Employment and Workplace Relations [DEEWR], 2009).

When Jane nods and steps down to play, she demonstrates she is able to join in with the play

(5a) (DEEWR, 2009). Outcome 2.1 is displayed at (5b,5c) as the girls are able to share the

equipment through communicating with one another. The girls communicate verbally, by

asking, but also non-verbally through nodding and smiling. This demonstrates that both Kate

and Jane are able to play positively, and co-operatively play with one another (DEEWR,

2009). The communication between the girls throughout the play also display outcome 5.1 as

Jane and Kate engage in enjoyable interactions whereby they are smiling and discussing with

one another (5e,5l) (DEEWR, 2009). When Jane wiggles her toes in the sand and she pours it

over her feet, she displays outcome 3.2. This is where she is engaging in a sensory

experience, which allows her to sensory process the sensation of sand through her toes and

feet (5g) (DEEWR, 2009). Through this sensory experience she also exhibits outcome 5.1 as

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she responds non-verbally by giggling to the experience of what she has felt (5h) (DEEWR,

2009). Within the play as Jane and Kate communicate about the enjoyment of birthdays, they

are displaying an element of outcome 4.1, which they are using their play to explore ideas

(5m) (DEEWR, 2009). Outcome 4.4 is exhibited at (5i, 5j) where Jane uses the sense of

touch, using her toes in the sand to explore the natural environment (5i) (DEEWR, 2009). At

(5j) Jane explores the man made, built cake tin, and natural sand, as she uses her sense of

touch, she pats the bottom of the tin for the sand to come out, she explores the process of the

natural and built environment (DEEWR, 2009).

Within the play the children also demonstrate elements of the general capabilities (School

Curriculum and Standards Authority [SCASA], 2014) . Critical and creative thinking is

demonstrated at (5k) as Jane looks around her, she demonstrates that she is analysing her

environment to find the equipment that would apply and connect best within her play (SCSA,

2014). Numeracy is exhibited as Jane counts to 5, Jane applies her number knowledge within

the play (5n) (SCSA, 2014).

Within the play episode both girls are able to explore and experience new ideas, as well as

process real life experiences. The exploration within the play allow the children to contribute

to their development, physically, cognitively and socially as they co-operate and

communicate with one another, and explore their surrounding environment. As the girls make

meaning through explorations within their play, they have also demonstrated aspects of the

school curriculum and EYLF outcomes.

238 references

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References

Berk, L. E. (2013). Child development (9th ed.). Boston: Pearson.

Department of Education, Employment and Workplace Relations [DEEWR] (2009).

Belonging, being and becoming: The early years learning framework. Retrieved from
http://files.acecqa.gov.au/files/National-Quality-Framework-Resources-
Kit/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.
pdf

Department of Education, Employment and Workplace Relations [DEEWR] (2015) Early

Years Learning Framework Practice Based Resources - Developmental Milestones.
Retrieved from https://www.acecqa.gov.au/sites/default/files/2018-
02/DevelopmentalMilestonesEYLFandNQS.pdf

Dockett, S., & Fleer, M. (2003). Play and pedagogy in early childhood: Bending the rules.
South Melbourne, Vic: Thomson.

Kearns, K. (2014). Birth to big school (Third ed.). South Melbourne, Vic;Frenchs Forest,
N.S.W;: Cengage Learning.

Mellou, E. (1994). Play theories: A contemporary review. Early Child Development and
Care, 102(1), 91-100. 10.1080/0300443941020107

Moyles, J. R. (2012). A-Z of play in early childhood: 1. publ. Maidenhead: Open Univ. Press.

Parten, M. B. (1932). Social participation among pre-school children. The Journal of

Abnormal and Social Psychology, 27(3), 243-269. 10.1037/h0074524

Robinson, Treasure, O’connor, Neylon, Harrison, & Wynne. (2017 Forthcoming) Learning
through Play: Creating a Play-Based Approach within Early learning contexts. Oxford
University Press, Sydney.

Russo, M. F., Vernam, J., & Wolbert, A. (2006). Sandplay and storytelling: Social
constructivism and cognitive development in child counseling. The Arts in Psychotherapy,
33(3), 229-237. 10.1016/j.aip.2006.02.005

School Curriculum and Standards Authority [SCASA]. (2014) Scope of the Numeracy
Capabilities Retrieved fromhttps://k10outline.scsa.wa.edu.au/home/teaching/general-
capabilities-over/numeracy/introduction/scope-of-the-numeracy-capability

School Curriculum and Standards Authority [SCASA]. (2014) Scope of Critical and Creative
thinking Retrieved from https://k10outline.scsa.wa.edu.au/home/teaching/general-
capabilities-over/critical-and-creative-thinking/introduction/scope-of-critical-and-creative-
thinking