Implementing a play-based and developmentally appropriate curriculum in NI primary schools:what lessons have we learned?

In the United Kingdom tensions have existed for many years between the pedagogical traditions of pre-school, which tend to adopt developmentally oriented practices, and the more formal or subject-oriented curriculum framework of primary school. These tensions have been particularly acute in the context of Northern Ireland, which has the earliest school starting age throughout Europe. In response to international research evidence and practice, a play-based and developmentally appropriate curriculum, known as the Enriched Curriculum (EC), was introduced as a pilot in Year 1 and 2 classes in over 100 primary schools in Northern Ireland between 2000 and 2002 and continued until the Foundation Stage became statutory for all primary schools in 2007. This paper outlines four key lessons that have been learned from the first four years of the evaluation of this experience. These include the value and the meaning of a play-based curriculum; the importance of teachers’ confidence and knowledge; teaching reading in a play-based curriculum; and easing transitions in a play-based curriculum.

The role women play in sustainable agriculture and rural development in Northern Ireland.

Reference: ECA: WPW/02/CASE NORTHERN IRELAND W/X0000/e

Ritual, Play and Animals in early human societies: Manipulating the Bones in temple period Malta: Eating and Augury in the Maltese Temples.

Examination of antiquarian records and feasting ritual in prehistoric Malta

The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage

This essay investigates an intricate drama of cultural identity in performances of Shakespeare on the nineteenth-century Melbourne stage. It considers the rivalry between Charles and Ellen Kean and their competitor, Barry Sullivan, for the two-month period in 1863 during which their Australian tours overlapped. This Melbourne Shakespeare war was anticipated,augmented, and richly documented in Melbourne’s papers: The Age, The Argus and Melbourne Punch. This essay pursues two seams of inquiry. The first is an investigation of the discourses of cultural and aesthetic value laced through the language of reviews of their Shakespearean roles.The essay identifies how reviewers register affective engagement with the performers in these roles, and suggests how the roles themselves reflected, by accident or design, the terms of the dispute. The second is concerned with the national identity of the actors. Kean, although born in Waterford, Ireland, had held the post of Queen Victoria’s Master of the Revels and identified himself as English. Sullivan, although born in Birmingham, was of Cork parentage and was identified as Irish by both his supporters and his detractors. This essay tracks the development of the actors’ national and artistic identities established prior to Melbourne and ask how they played out on in the context of the particularities of Australian reception. It shows that, in this instance, these actors were implicated in complex debates over national authority and cultural ownership.

Impact of a play-based curriculum in the first two years of primary school: literacy and numeracy outcomes over seven years

In 2000–2002 an innovative early years curriculum, the Enriched Curriculum (EC), was introduced
into 120 volunteer schools across Northern Ireland, replacing a traditional curriculum similar to
others across the UK at that time. It was intended by the designers to be developmentally appropriate
and play-based with the primary goal of preventing the experience of persistent early failure in
children. The EC was not intended to be a literacy and numeracy intervention, yet it did considerably
alter pedagogy in these domains, particularly the age at which formal reading and mathematics
instruction began. As part of a multi-method evaluation running from 2000–2008, the research
team followed the primary school careers of the first two successive cohorts of EC children, comparing
them with year-ahead controls attending the same 24 schools. Compared to the year-ahead control
group, the findings show that the EC children’s reading and mathematics scores fell behind in
the first two years but the majority of EC children caught up by the end of their fourth year. Thereafter,
the performance of the first EC cohort fell away slightly, while that of the second continued to
match that of controls. Overall, the play-based curriculum had no statistically significant positive
effects on reading and mathematics in the medium term. At best, the EC children’s scores matched
those of controls.

“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Home Is Where the Self Is: Monodrama, Journey-Play Structure, and the Modernist Fairy Tale

The first decade of the twentieth century witnessed the creation of two of the most beloved works of children’s literature ever produced. L. Frank Baum’s 1900 novel The Wizard of Oz and Maurice Maeterlinck’s 1908 play each gave rise to many adaptations, including, well beloved film versions, and both have become a deeply ingrained part of the cultural memory and construction of childhood in both Europe and the United States. And while these works are deeply original in content and detail, the structure of these works harkens back to the form of the journey play (traceable, on some level, back to the medieval morality play Everyman), a form that had undergone a considerable revival in the second half of the nineteenth century in the work of writers such as Henrik Ibsen and August Strindberg. This article explores the structural and conceptual links between Baum and Maeterlinck’s children’s classics, Ibsen’s Norwegian folk play Peer Gynt, and August Strindberg’s Lucky Per’s Journey and The Road to Damascus, Part I. In these works, the protagonists, disenchanted with their homes or current situations, set out on an epic journey in which they come upon characters and situations that act as commentary upon their situations before the journey. Ultimately, the characters return to where they started, with the journey seeming to have been a dream or merely a pointless excursion. But in these journeys of self-discovery, the protagonist that emerges at the end has undergone a significant transformation, a process at the heart of all of these works.