15 great stay at home holiday activities

In Australia most schools shut down for the end of term 2 break this week, North American schools have closed for summer and British schools close in a few weeks. While it's winter in Australia and Summer in the northern hemisphere here are some activities to try with your children that are fun, simple and can be done at home. While it's a post about holiday activities any of them can be used at other times.

For many parents holidays mean more hours to fill each day with activities that will keep your children occupied, stimulated and happy. I've written a number of posts in the past about things to do in the holidays with kids (here) and simple travel games to fill the time on trips with your children (here). There is also an excellent post on Planning With Kids that offers '10 Activities to Do With Kids at Home'.

I thought I'd offer my top 15 activities that can work inside and outside, in pretty much any type of weather. My criteria for choosing them are that the activities should:

• Stimulate creativity
• Encourage exploration and discovery
• Involve using their hands as well as their minds
• Encourage interaction between you and your children
• Foster literacy development
• Increase their knowledge
• Keep them interested

Books with a difference

1. Pick some special books they haven't seen - try to borrow or buy at least 2 books for each child that you think they'll enjoy. Op shops, book exchanges and libraries are the place to start. See my post on book exchanges, op shops and web exchange sites here. Take your children with you to the op shop or library to choose them.

2. Books as a creative stimulus - While the shear joy of the book is usually enough, sometimes books can stimulate many wonderful creative activities. For example:


After reading Maurice Sendak's "Where the Wild Things are" go outside and dramatise it. Let one child be Max and let others take turns at being the wild things. Make a boat out of bits of wood, or even have a go at making one out of a large cardboard box (or several).

After reading Jeannie Baker's book "Where the Forest Meets the Sea" (a book about the Daintree Rainforest in which all the pictures are collage) encourage them to make a collage out of natural materials (and maybe some wool, straws etc to supplement) in response to Baker's pictures. Or read a second book and have them use collage in response.

After reading Graeme Base's "The Waterhole" get them to paint the waterhole (they can draw the animals, cut them out and paste them around the waterhole).

3. Dramatisation - Dramatisation is an excellent way to respond to a book. If you have a dress-up box all the better. Let your children either re-tell the story through dramatisation or improvise. Get involved to help set the pattern for turn taking etc. I play a mean wolf, and an even better Grandma!

Writing

4. Diaries and journals - Introduce older children to diaries or holiday journals. Make this fun, not a school activity. If they just want to make it a scrapbook by pasting in tickets, leaves they collect, food wrappers etc, then let them. But you can also show them how to create a travel diary.

5. A holiday blog - Tech savvy mums and dads might encourage their children to write online. Why not set up a family blog that can be read by friends and relatives (even if only for two weeks). You could use this as part of a trip away, or just use it at home. Older children could set up the blog themselves and all family members could contribute. Let them have access to a digital camera and a scanner and the sky is the limit. See my recent post on 'Children as bloggers' (here).

6. Start a family joke or riddle book - give them some jokes as models ("Knock, knock", "Why did the centipede cross the road"....)

Craft

7. Structured Craft ideas - simple beadwork, noodle craft, mask making, making plaster moulds (and painting them), anything for young children that requires paper tearing, gluing, glitter, stickers.

8. Unstructured creative craft - Stock up when you go to the supermarket with simple materials like paper plates (good for masks), brown paper bags, sticky tape, glue, cotton balls, tooth picks, paper cupcake holders, straws (cutting up and threading), noodles (for threading).

Creative Play

I've written a number of previous posts on play (here) but planning for play is important. While you can say to your children go outside and 'play', doing some simple planning at times will lead to more stimulating play times.

9. Dress-up box - If you don't have one take the kids to an Op shop to start one. You might even pick up some gems like old helmets, hats, belts (you can cut them down), handbags etc.

10. Water play - This is hard in cold weather, but maybe you could make bath-time special for littlies with extra bubbles, different stuff to take into it . In warmer weather give them a bucket of water and some things to scoop, sieve etc - obviously only UNDER SUPERVISION.

11. Play dough - You can buy cheap coloured modelling clay but home-made playdough works well. My wife 'Carmen's can't fail' recipe is 1 tablespoon of oil, 1 cup of plain flour, 0.5 cup of cooking salt, 2 tablespoons Cream of Tartar, 1 cup of water, colouring. Mix together and put in a saucepan on medium heat until it binds together, stirring all the time. Fold together by hand. If you keep it in a sealed plastic bag it will last for ages in or outside the fridge.

There are endless things to do with play dough. Try to move beyond just cutting out shapes (which kids still love). Encourage them to make a house, a farmyard, a bed, and an aquarium. Use some plastic animals with the play dough or small plastic people. If you don't mind tossing the play dough out you can let them use sticks, plants etc to make simple dioramas. Kids will create complex stories as they manipulate the play dough.

The blanket cubby!

12. Build a cubby house - No not with wood, just use a table, some chairs, wardrobes (hitch the blankets into the top of the doors, some pegs and sheets and blankets. By draping them over other objects you should be able to create a special space (about 2x2 metres is enough for three small kids). Try to get at least 1.5 metres of height. Have the kids 'help' and then get them to collect some special things to have in the cubby. Use a toy box for a table, some cushions to sit on. I always let my grandchildren have my cheap transistor radio from my shed (lots of fun). Girls might like a tea set; boys will collect animals and toys, both will like books. If you're up to it, climb in as well and read some stories. They'll like the edges tucked in to cut out light so you might need a torch. I've seen a cubby of this kind amuse kids for half a day. Then of course for the adventurous you can share some snack food as well. You can even build a cubby inside! See my post on cubbies (here).

Above: Jacob in a 'house' that he made (with help) from a box we saved

Indoor and back yard fun

13. Treasure hunts - Write the clues on paper using words and pictures depending on ages and make the treasure worthwhile (chocolate, a coupon for an ice cream in the kitchen etc). For something a little more challenging why not try a map with grid references (see picture opposite).

14. Cooking - Kids love cooking with their mothers or fathers. Do simple stuff. Nicole (Planning With Kids) has lots of great ideas for cooking with kids on her site. Don't forget to make it a language activity as well by getting them to follow the recipes.

15. Insect scavenger hunt - Try an insect scavenger hunt (one of my grandchildren's favourite activities). You'll be surprised just how many you can find. You'll to be careful turning rocks over and digging around, but even in Australia it's low risk if you supervise. Place a pile of bricks in a damp place and then let the kids help you to uncover them a few days later - watch the critters scurry. We always enjoy a good snail race afterwards!

A few basics hints

• Have a strategy for the holidays - map out a timetable (post it on the wall) and try to plan a few significant events and think through the general structure of each day.
• If you have younger children still at home, being joined by school kids on holidays, try to think about how you will cope with all their interests and think about varying daily routines a little.
• Pace yourself - don't use all your best ideas in the first few days (you'll wear them and yourself out and you'll struggle to keep up the variation later).
• Expect bad weather - think about some ideas that will work in rainy weather as well. It's called the "Law of Holidays" - expect lots of wet weather and a day or two of sick kids.

Craig Smith the Illustrator: An interview and review of his work

Craig Smith's Background
 

Craig Smith is a prolific illustrator who has been amusing and entertaining children for many years. He has illustrated 380 books. This includes trade and illustrated books, series, and book covers. He has a quirky, mischievous and humorous style that always seems to have surprises in each work. His artwork combines a wonderful sense of the absurd with attention to detail. As you read his complete bibliography you are quickly struck by just how many wonderful writers he has illustrated for and how many varied publishers. Craig Smith has been in high demand as an illustrator for almost 40 years. He estimates that this has required approximately 9,000 illustrations! 

He has won a number of awards; including The NSW Premiers Literary Award 1982 for Nan Hunt's authored book 'Whistle Up a Chimney', and a number of awards from the Children's Book Council of Australia (CBCA). The latter included an Honour Book for 'Where's Mum?' (1993), another for 'Cat' (2008), and a shortlisting for 'Billy the Punk' (1996).   

Craig grew up in the Adelaide Hills. He has been a freelance illustrator since 1976. Like many artists and authors, for some of his early years he had part-time jobs to make a living - washing dishes in a restaurant, scraping rust off the Sydney Harbour Bridge, and doing drawings for advertising. One of the more interesting jobs he had as a young man was working as a nurse's aide in a hospital for the elderly. In that role he was able to observe the human body. This experience he suggests stayed with him and affected the way he has been able to develop characters in his work. He lives with Erica, in Melbourne and has four grown-up children, and four grandchildren. 

Some of my favourite Craig Smith books

His most recent book has just been published by Allen & Unwin. It is called 'Where Are You, Banana?' (2013) and was written by Sofie Laguna. Roddy's dog, Banana, has disappeared! But when Roddy hears a wail from the drain, he finds an ingenious way to rescue his beloved pet. There is a free audio reading available for a smartphone or tablet via QR code printed inside the book. As usual, Craig's illustrations are vibrant and make the story come to life.

With so many books to choose from, it's risky trying to select just a handful of Craig's many wonderful works. But here are some of my favourites.


1. 'Black Dog', author Christobel Mattingly, William Collins, 1979 (Out of print)

This was Craig's first book and was done completely in very fine line work and black and white.  Crosshatched in a long, careful and laborious way, using an ultra fine technical pen. Sadly, it's out of print, but I'm glad to have it in my collection.






2. 'Whistle Up the Chimney', author Nan Hunt, William Collins, 1981

Mrs Millie Mack lived alone in her little cottage, and as she sat down to knit at night she liked to listen to her fire going crickle crackle.  But one winter, when she threw several pieces of wood from a 'bogey louvre' from an old railway carriage, there were very surprising results. I've always loved this book and have been reading it to children for over 30 years. The wonderful line and wash drawings of Craig Smith give Mrs Mack a personality that many will recognize. Curiously, when I discussed the book once with Nan's daughter she commented that Mrs Mack looked just like her mum.  This is all the more surprising given Craig's comments in his interview about little contact with authors. This wonderful book won The NSW Premiers Literary Award in 1982.

3. 'Sister Madge's Book of Nuns', author Doug MacLeod, Omnibus, 1986 (new edition 2012)

This book is just as funny today as it was almost 30 years ago when first released. Doug MacLeod's text and Craig's illustrations almost compete for the right to be more outrageous. I think it's a draw! It is written in hilarious verse and introduces Sister Madge Mappin and other equally unusual inhabitants of the Convent of Our Lady of Immense Proportions. Craig's illustrations (the old and new version) make a significant contribution to this book of irreverent fun.

4. 'Pigtales', author Ron Elisha, Random House, 1994 (Out of print)

This book about a pig was written by Ron Elisha a medical practitioner and playwright from Melbourne. While the book is out of print, if you can find a copy somewhere you'll enjoy it. Once again, Craig's illustrations help to make the book. Craig suggests that this 'under recognised' book contains one of his favourite drawings ‘In the back of a smallgoods van, hung a dejected Prince Porgy, awaiting his final deliverance....I’ve always loved the poignant characterisation of poor Porgy. I've wondered if my feeling for Porgy is because my childhood was close to a small abattoir. These things do leave lasting impressions.'

5. 'Billy the Punk', author Jessica Carroll, Random House, 1995

Billy decides that he needs to look different. And he doesn't care that no one much likes his hair or his new clothes. While Craig makes great use of fine line in his books, in this one he uses colour to bring out the 'emotion' or mood of the story. In Craig's words, 'Billy walking to school is in a cool blue, to show his aloneness, or self-centredness. (Of course, other elements that emphasise this are the ‘from behind’ point of view, and the empty landscape). When he’s being yelled at by his teacher, the colour surrounding her is hot, angry, orange.' The book was shortlisted in the CBCA awards 1996.

6. 'Cat', author Mike Dumbleton, Working Title Press, 2007 (Out of Print)

'Cat' is about a day in the life of a cat of course. It is a very simple but animated story with few words. Craig's images are essential to the strength of the work. The life of a cat can be dangerous. It is a great read aloud book for younger readers. It was a CBCA Book of the Year Early Childhood Honour Book in 2008.






My Interview with Craig Smith

The following interview is one of the most interesting that I've done. As well as helping to offer an insight into Craig Smith the illustrator and person, it provides a huge amount of good practical advice for young illustrators.

1. Was your gift for drawing obvious early? Who encouraged its development?

As a child and adolescent I had very average skills. However my older sister, Maire, has superb drawing skills, and these were apparent as far back as young childhood.

My developmental pathway came about through visiting my sister at art school (SA School of Art in Adelaide), and becoming enthralled by the place in all its facets: painting, sculpture, film (rudimentary animation) and graphic design (especially typography). My portfolio was sufficient to become enrolled - I suspect it was partly because my sister was brilliant.

However, like a lot of art students, I had a good work ethic, and the lecturers were good, occasionally inspiring, as were many of my classmates. Plus, the campus library with its contemporary art journals and illustration compendiums made clear the international standard we wanted to attain in the energized environment of Gough Whitlam and Don Dunstan’s (South) Australia in the 1970’s.

Two last points; Life-drawing is the foundation skill for an illustrator. My lecturer George Tetlow was a terrific guide to how to do it. Lastly, I was lucky to strike a friendship with John Nowland, an inspired and very professional graphic designer. This friendship had – as well - all the aspects of a genuine mentor/mentee relationship.

2. What books and illustrators were influential for you when you were growing up, and as an adult? Who inspired you, and perhaps what illustrators and authors still do?

I’ve always enjoyed browsing and reading books. An example of a pivotal book was Lord of the Flies by William Golding – read at 13. I imagine this was a pivotal text for many. For the purpose here, I’ll concentrate on illustrators that inspired me, and especially around the period of art school, and the ten years thereafter – when most receptive to influence.

First influence, being taught the principles of Swiss graphic design, exemplified in the book: Graphic Design Manual: Principles and Practice by Armin Hofmann. My first bible at art school.

Secondly, New York graphic designer Milton Glaser. His book Milton Glaser Graphic Design was my second bible at art school.

Next, by now I was drifting towards illustrative solutions for all my art school work. A number of Swiss/German artists became especially influential, Etienne Delessert, Heinz Edelmann, Roland Topor, Tomi Ungerer and most of all, the great Karl Friedrich Waechtar.

They were especially influential by their exotic & peculiar Europeanness. Others included Ralph Steadman, John Burningham, Michael Foreman and Tony Ross in the UK. A very, very useful photographic resource was The Human Figure In Motion by Eadweard Muybridge. Nowadays, there is less that is influential but a lot that is charming and provoking; Leigh Hobbs and Shaun Tan come immediately to mind.

3. Do you have any preferred methods or medium?

The medium is the simple part – arrived at by years of experience, and still steadily changing. Basically the medium is, a blending of gouache paint (useful for watercolour like effects – but less troublesomely soluble than watercolour), acrylic paint and acrylic ink. My illustration has always relied on an outline. This part of the illustration has changed most over years, from a precise opaque line drawn with a nib, and embellished with crosshatching - to nowadays an imprecise line still drawn with a nib, but the ink often much watered down and with little or no crosshatching.

I rely on observing what happens as paint and ink dries, and trying to manipulate that. With regard to computer skills; you must have them. At the minimum to work professionally, you should have the ability to make basic alterations in Photoshop, as necessary, (to the scan files). Actually ‘painting’ for long hours on computer is physically stressful and eventually torturous, in a way that real painting never is.

4. How important is a sense of ‘partnership’ between author and illustrator? What is the key to the collaboration between author and illustrator working as it has for so many of your books?

A publishing strategy is to partner people with the hope it works commercially. Occasionally it does, mostly it fizzles. In my experience, it does not involve directly working together at all – you just share a rapport, and attitude, with regard to the story. A different way of looking at it is, the rapport is actually with the editor. A good, supportive, thoughtful relationship with an editor is very motivating. I think it is the principal relationship. My working practice requires mostly being left alone.

5. What is the best response you've ever had to a book?

The first book… Then being offered another one after that! I’m always cheered by a response that I periodically get from the few readers of a series known generically as 'I Hate Fridays' by Rachel Flynn' (Penguin 1990 –1997). The readers are always girls who’s eyes shine with fun and brightness – they are clued in to Rachel’s acute, dry humour and familiar school characters. (These five black and white books may be my best work).

Update: As I write this, I just received a notification that a recent book has a nice review in the NY Times (Heather Fell In the Water by Doug MacLeod, Allen & Unwin). That ranks!

6. Does the work of illustration get easier, or harder as your reputation grows and your list of great works lengthens?

I think it gets easier to make judgements and decisions. I've had enough success to gain self-confidence. Not enough to think I've got it all worked out.

7. What's the most unusual request that you ever had for an illustrating assignment?

The first that comes to mind would be What a Week! (by Robyn Ryan, Playworks). Requiring the child hero to be using a specific walking aid, and with some specific body movements characteristic of his condition. Another would be the requirement to picture the direct language describing child sexual abuse in Some Secrets Should Never Be Kept (by Jay Sanders, Upload Publishing).

Perhaps the first drafts for the 'Toocool' series (by Phil Kettle, Black Dog Books), in which Toocool's sporting rivals were all in his imagination - drawn by anthropomorphizing the brick wall etc. Sad to say, this approach was abandoned.

Another would be the video clip for 'The Lonely Goth' by Mick Thomas. The task involving planning, and timing, a series of images to accompany the song. I loved this task.

However, the task of animating the song 'Insy Winsy Spider' for the TV show Here's Humphrey - all in one day. This task broke me mentally and also broke my enjoyment of animation.

8. Can you tell us a little bit about your new picture book, Where Are You, Banana?

'The dog, Banana' has that familiar doggy curiosity that has him lost, then found by Roddy - but hopelessly at the bottom of a road works (footpath) hole. Some quick thinking, and savvy use of toys, makes the rescue possible. It is a child size drama- no less moving for that. Using this book, the relationship between Roddy and Banana is bought even further to life - if you choose - by utilising a QR code to go to web narrations (audio) to listen while reading along with the story. This is an interesting use of groovy new technology, highlighting the warmth and liveliness of the narrators. Very exciting.

9. Do you have many new projects on the drawing board?

No, not many in number. The years of abundant production in educational publishing are finished.

However, there are some nice projects happening. Some favourites are:

• A picture book based on the Vietnam War.
• A self-authored picture-book about a cat, on the theme of vanity.
• Another is a venture into self-publishing – 'Doctor Frankenstein's Other Monster' (by Nigel Gray, CSI-Books) - because I use the book in school visits, plus it is a vehicle to develop an enhanced fixed layout EPUB ebook. The iBook version of this is just about ready to go.

How Creative Play Helps Learning in Surprising Places

First the context for this post on play

I recently had the opportunity to visit the Imperial War Museum at Duxford near Cambridge in England.  I went with four of my grandchildren as well as my daughter and my wife. As a lover of planes I was excited to have the chance to visit this wonderful former WWI and WWII air base with many large hangars filled with over two hundred aircraft, as well as tanks, military vehicles and boats. The museum was opened in 2007 and has so many iconic aircraft, including the legendary Spitfire, Lancaster, Harrier and the fastest passenger plane ever, the joint British/French Concorde. But this is NOT a post about military weaponry!

The thing that impressed me most about the museum was the way the whole site was planned to involve children in learning. It does this using varied methods, including play. The result was that in our party of 7 people, two 60ish year-old adults, a 36 year old mother, three girls aged 2, 6 & 8, and a 10 year old boy all had a wonderful time and learned many things.

The use of play in learning

The main purpose of this post is to highlight how this exhibit used play so brilliantly. I was surprised just how much play was used. For example, IWM Duxford has one of the best playgrounds that I've ever seen. A playground for fun, but also a place to learn. The Air and Space building also uses a wide range of interactive mechanical, automated and scientific apparatus that teach children about aeronautics and basic physics. All the while children use these they are having great fun with many complex apparatus. It was obvious that the designers of this place understood the role of play in learning. Play was as important for my grandson as it was for three of my granddaughters aged 6, 8 and 2. For each of them play was instrumental to how they enjoyed and learned from the experience. What's more there were just as many adults enjoying the same scientific apparatus and having great fun.

Above: A basic experiment in air pressure

The Playground

The playground just inside the entrance had just two items, a replica plane and a control tower connected by a simple acoustic telephone. This was the ultimate piece of playground equipment. Its setting next to the runway offered the opportunity for one of my granddaughters to pretend she was the flight controller, giving directions to her sister who was the pilot.  At one stage a WWI Tiger Moth took off on the runway as she called instructions to her sister waiting on her own take off.

While this was all going on, my 2-year granddaughter was exploring every bit of the plane at a running pace. She was walking the balance beam to cross the open bomb window with safety net below, she ran to try her hand at the controls, the rear gunners station, she slid down the wings on the slippery dip and explored the numerous interactive pieces of equipment spread throughout the plane.  At one stage she ran breathlessly past me and when I asked, "Are you having a good time" she called out:

'This is the best fun ever, ever, ever, ever, ever, ever, in every way'.

This playground was more than a place to run around and enjoy the usual slides and climbing ropes.  This was a place to explore an aircraft on the edge of a famous runway before going inside to enjoy looking at planes and being involved in other interactive displays. Provision of knowledge was mixed with physical activity, kinaesthetic experience of parts of an aircraft modelled on the Spitfire and Lancaster bomber, and lots of fun!

Interactive Learning

Above: Sitting in the cockpit the pilot can speak to the control tower

The key for a good museum to work for children would seem to be a preparedness to do a number of basic things:

1. Have an understanding of what people of all ages find interesting.
2. Using varied methods for learning, including observation of iconic objects, provision of information in spoken and written word, image (picture, video, computer programs etc), discovery learning, use of sound, and the situating of learning in exciting contexts.
3. Providing evocative objects and places.
4. Offering opportunities for play, experimentation, hands on experiences and

Above: A great moment! As my granddaughters were communicating tower to pilot, a real Tiger Moth flew overhead

The experience of visiting IWM Duxford demonstrated for me why I stress so much on this blog that play, exploration, discovery, experimentation and firsthand experience are so vital for learning. It was a wonderful learning experience for all of our family members, and a lot of fun!

Other Posts on Play & Discovery Learning

Posts on play HERE
Firsthand experience HERE
Creativity posts HERE

Library in a Telephone Box: British Ingenuity!

Readers of this blog know how much I like libraries, so when I saw this library I had to share it with you.

I'm staying near Little Shelford outside Cambridge in the United Kingdom at the moment and have been impressed by what must be one of the world's smallest libraries. When the local council in this small town found that the famous British red telephone box was no longer needed, they asked local residents for suggestions concerning its use. A retired school teacher, Mary Palazzo, decided that it would be the perfect way to start a community library.  She's the closest thing to the librarian which of course we know all libraries need!

“The parish council asked for suggestions for what to do with the phone box and I had seen that a mini-lending library was working in Somerset and thought it would be great to try here.”

Mrs Palazzo sought the help of members of the Little Shelford book club to set it up. One resident added shelves to the phone box and many began to gather books. The books are organized in a number of broad categories to make it easier to find what you want.

Library Rules

The library has a set of simple rules posted inside the box and requests for particular books are left on post-it notes. Town members are encouraged to take a book to read and to leave one in its place. The telephone box contains adult and children's books, including some wonderful picture books.

The library is aimed at Little Shelford’s 700 residents. Mrs Palazzo has found some books are more popular, with mystery and detective stories being the most popular. After two years it is still going strong.

The project is one of a number of similar projects that have been started by local citizens in small villages across the United Kingdom that have red telephone boxes that are no longer viable as a public phone service in the age of the cell phone.

HT: Thanks to my daughter who spotted the Phone Booth library while she was staying in Cambridge and mentioned it on her blog.

Helping Children to Spell: Eight Strategies That Work!

How do we learn to spell?

Learning to spell like learning to write has often been surrounded by many misconceptions. It has been misunderstood by children, parents and even some teachers.  The standard way to teach spelling in schools has generally been through the memorisation of lists of words and learning rules.

But as I pointed out in a previous post on spelling (here), it is impossible to learn the number of words that we use as adults by memorising lists. So, while spelling lists might help children to memorise some words, proficient spelling requires the development of a range of generic skills that are necessary for effective spelling.

The stages of spelling growth

Children begin to learn about spelling in the preschool years in rich language environments that support them as readers, offer them many varied opportunities to write, and encourage them to explore and play with words. There are many skills that children need to learn as part of writing for varied purposes. Most children move through a series of stages in spelling development.  While these are never 'neat' and discrete, they are recognisable with most children. Understanding the stages will help us to choose the right strategies to help them become better at spelling.  Gentry and Gillet (1993) suggest that most children move through the following stages:

Pre-phonetic - this occurs very early on (from age 2-3 years) and involves the child trying to form letters or simply drawing symbols that are an attempt to represent letters.

Semi-phonetic - at this stage (age 4 and up) the child is able to write most letters and even some approximations to words, and they know some of the sounds they make (as well as letter names).

Phonetic - eventually the child is able to represent sounds with the appropriate letters (single letters at first). They also begin to represent words in more conventional ways, but often they will use invented spelling patterns where the word has some (but not all) of the letters correct. This begins for most children from 5 years of age.

Transitional - at this stage children (aged 6-7 years) are able to think about the word, develop visual memory and begin to internalise the spelling pattern and know when words 'look right'.

Conventional - at this more mature stage the child can use both visual and auditory skills and memory as well as meaning based strategies (like seeing how the word fits in context). Now they can write multisyllabic words from memory and find the learning of new words much easier as they apply their skills and strategies from one situation to another.  This occurs for most children from about 8 years of age but continues to develop throughout the primary years of schooling.

How can I help children to be better spellers?

Most children learn quite naturally to experiment with writing and spelling. This occurs in varied ways. For example, as we read to toddlers we point to words and language devices; this in a sense is the beginning of spelling awareness (not just reading). Early memorising of rhymes and songs, playing with sounds and word play of all kinds is also the beginning of spelling. The 10 necessary skills outlined in a previous post (here) are acquired both incidentally ('caught') and by explicit help ('taught') and instruction. There are a variety of more explicit strategies that teachers and parents can use to support spelling development in the primary school years. I will share 8 key strategies that are helpful.

1. 'Have a go' strategy

This is a strategy for trying to spell unknown words as part of the writing process (ideal for children aged 6 years and older). Teach your child (or children) to apply the following strategy when they need to spell an unknown word.

• Ask yourself, have I seen it before?
• Say the word out loud and try to predict how many syllables you can hear.
• Ask do I know any other words that sound almost the same?
• How are those words spelt?
• 'Have a go' at spelling it (Aussie vernacular for trying to do something).
• Ask yourself, does the word look right?
• Have additional attempts at getting the word right.

2. Look-cover-write

This is a strategy that you can teach children new words at any age, once they have started to write. It has three simple steps.

Step 1 - When you need to remember how to spell a new word look at it carefully, say it out loud, examine the number of syllables, any unusual grapheme/phoneme relationships etc.

Step 2 - Cover the word

Step 3 - Try to write it from memory


 

3. Here is a collection of self-help strategies - children as young as 6 can be taught to try to learn new words.

• After covering the word try to picture it in your mind.
• Uncover the word and trace the letters, cover and try again
• Look at the new word, break it into syllables. After studying the syllables cover the word and try to write it.
• Look at the new word and try to memorise the most difficult part of the word (e.g. the 'ght' in sight).
• Check your writing environment for the word, or one like it (wordlists, other writing, dictionaries etc).

4. Using sound to visualise words

An alternative to some of the more visual strategies above is a simple auditory strategy that can be used as follows. The key to the strategy is to keep encouraging the child; avoid making the child feel like spelling is one big test session.

• Ask the child to write the word after saying it slowly at least twice.
• Encourage them to listen to the word as they say it and to try to write the sounds in order.
• Now repeat the word breaking it into its parts or syllables; for multisyllabic words some teachers have the children clap as they say the syllables out loud.
• Encourage the child to try to think of other words that sound the same, and to think about how the other words are written.
• Finally, have the child write the word (bit by bit) as they say the syllables.

5. Word family approaches

Many young children will benefit from an approach that presents words in sets that have similar phonological elements. For example, you might present your children with a group of words ending in 'ight', others that begin with 'thr' etc. You can have fun forming the lists with your child (or children), writing them down, then trying to remember them. There are many good spelling games that support this type of approach.

6. Using a word connection strategy

This is a strategy that supports the development of the 'connection' skill mentioned in my previous post on spelling. It is a meaning-based strategy.

• Ask the child whether the word to be spelled reminds them of another word they know.
• Encourage them to explain how it is similar and then use the information to help spell the word.
• Then encourage them to think of other words like these words and to use parts of the new associated words to write the new word.
• Encourage them to think of places or contexts where they might have seen this word used.
• Then try to write the new word.

7. Morphemic (meaning-based) strategies

Photo courtesy Wiki Commons

For some words a meaning-based approach will help older writers. This starts with the parent or teacher pointing out a morpheme within a new word, explaining the meaning, then analysing a set of words. For example, a word like 'unexpected' can be broken into two elements, 'un' and 'expected'. Discuss with the child or children what 'expected' means and then explain the meaning of the prefix 'un'. Have the child think of other words that fit this pattern and then write them down. Depending on the age of the children you might even go further with an example like this and break it into 'un', 'expect' and 'ed'. In this instance you would also consider how the suffix 'ed' changes the meaning of the word.

For older children (aged 11 and up) you might also consider exploring Latin roots to aid spelling. For example:

• 'mare' meaning 'sea' as used in marine
• 'pedis' meaning 'foot' as used in pedestrian
• 'gress' meaning to walk as used in 'progress' and 'transgress'
• 'tract' meaning to 'draw', 'drag' or 'pull' as used in 'attract' and 'contract'
• 'hyper' meaning 'excessive' or 'excessively' as in 'hyperactivity'

You can find a good resource for basic Latin word elements here.

8. Mnemonics

Mnemonics are devices that help us to remember things. I'm not a big fan of this approach but sometimes it helps when a child (or adult) just can't manage to avoid confusing two spellings. So it's usually a strategy that people use to remember how to spell words that they get wrong habitually. A mnemonic simply helps to remove confusion or narrow the options for spelling. There is a down side to mnemonics though. If you use them too much you tend to reduce the use of other key spelling strategies, reducing your confidence and risk-taking as a writer. A simple example of a mnemonic applied to spelling is one used to help us know the difference between 'affect' and 'effect'. It is based on the word 'raven' used as an acronym:

R - remember
A - 'affect'
V - verb
E - 'effect'
N - noun

Online resources

There a variety of online resources that aim to help children learn more about spelling. Most are simply ways to memorise lists of words but even this basic strategy has a place, particularly for irregular words that are exceptions to our languages rules. An advantage of online resources is their appeal for young children and the instant feedback that children receive. One useful site is Kidsspell.com (here) that offers varied wordlists, a free spellchecker and thesaurus, games to play etc. You can also find sites that allow children to apply strategies like the ones I have described online (see for example application of 'look, cover, write' on this site). You can find other games and activities at 'Games aquarium' (here) and others on the Kent Junior High School site (here). But remember, spelling is much more than learning lists and playing online games.

Summing up

Language is always undergoing change (see my post on 'English, the Inventive Language') and with increased use of mobile phones, Facebook, Twitter and so on, it is bound to change more than at any other time in history. But accurate spelling is still important. With spellcheckers everywhere and the preparedness of the young to invent their own language online, some suggest that the teaching of spelling isn't as important, but this of course is nonsense. Conventional spelling is still important - let anyone come up with an invented version of your name and see how you react. Accurate and consistent spelling is not just about conventions and good taste; it is important for the communication of meaning.

Spelling is an integral part of reading, writing, speaking and listening. It is learned as we use language for real purposes. But it isn't simply 'caught'; there is an important need for teaching. Most of this 'teaching' does not occur through memorising lists of words, but rather as we draw children's attention to variations in the English language. We need to show them simple rules for spelling, offer strategies for getting words right, provide tools for seeking correct spellings (including dictionaries and spell checkers),  give them new knowledge about how our complex language works and as we simply encourage them to use and 'play' with words.

Other links and resources

'Guide to English Spelling', David Appleyard (here)
 
My previous post on 'Twenty Fun Language & Thinking Games for Travellers' has some relevant activities that could be adapted (here). 

Christine Topfer & Deidre Arendt (2010). Guiding Thinking for Effective Spelling, Melbourne: Curriculum Corporation (here).
 
Diane Snowball & Faye Bolton (1999). Spelling K-8: Planning and Teaching, York (ME): Stenhouse Publishers (here).

Why Re-creation Matters for Learning: Some age appropriate examples

Sam (age 7) holding his 'Swiss Family Robinson' game

Imaginative recreation is an essential part of learning. By re-creation I mean the reconstruction, presentation or retelling of a story in new ways. The story might have been experienced firsthand (e.g. an event, eye witness account, careful observation), seen as a film, video or TV program, heard or read.
Story in its own right is critical to learning, communication and well-being. This is something that I've written about many times (for example HERE & HERE). For children, the re-creation or reliving of a story is a critical part of their growing knowledge of narrative as well as a way to gain knowledge.

Lydia reading with her Dad

From a very early age, children begin in various play situations to experiment with story in the form of literature, song, film or even real-life accounts. My youngest granddaughter Lydia has been fascinated by story since her first year of life. Now as she reaches the age of two, re-creation is a big part of her everyday play. She uses Little People characters, toys and objects of all kinds (even her knife & fork!) to tell stories. Not all of her stories are re-creations, many are highly original and involve the use of varied objects to apply names and roles in situations that she creates. But story for her is stimulated by television (e.g. 'Everything's Rosie', 'Charlie and Lola', 'In the Night Garden') as well as books.

Young children often quite naturally use re-creation to support and play with story. Other children need help and encouragement to do this. Re-creation can be seen in children's experience of story in varied ways, for example:

• Changing rhymes and songs, e.g. 'Baa Baa Black Sheep' to 'Baa Baa White Sheep' as Lydia does often.
  Acting out 'Little Red Riding Hood' with the resources of the dress-up box and some friends.
• Dramatizing a well-known children's song from television or CD or a children's picture book.
• Using art or drawing to imagine a story character, mythical creature or story setting. 
• Using Lego (or other toys, props and objects) to re-imagine story alone or with others.
• Creating something new that grows out of an experience of story.

Recently, another of my grandchildren, Samuel (aged 7 and pictured at the beginning of the post) watched the movie 'Swiss Family Robinson' (1960) with me. The story is based on a novel written by Johann David Wyss in 1813 (in reality he rewrote the original version of the story of his father Johann David Wyss). It tells of a family that is shipwrecked in the East Indies on route to Australia.  They face many challenges but manage to create a tree house, gather and grow food and survive.

Sam was captivated by the video and watched it at least 6 times while staying with us. He began drawing some things based on the story and wanted to talk about it often: "I wish we could build a tree house". His grandmother suggested that he make up a game about the story. He eagerly took up the suggested idea and with some simple advice from his about the form the game might take, he began creating his board game version of the film. The game was based on the shipwreck and the family fleeing the ship for the island. He suggested that he'd do a second game for the defense of the island and the attack of the pirates. The game was played with dice and buttons for markers. Players moved forward and often landed on squares that either offered chances for progression or regression. For example, 'Hit rocks, go back 1', 'Pirates defeated, go to finish', 'Help, tiger! Go back 5'. It was a wonderful re-creation of the opening scenes of the movie.

Close-up of Sam's Game

But why is re-creation so important? Is it more than 'just' play? As an aside, I've written much about the special value of play HERE. If it were 'just play' it would still have an important role to play in any child's intellectual development. But, imaginative recreation does many things to support language and literacy. It helps children to:

• Play with and understand the complexities of plot development.
• Comprehend any story at much greater depth.
• Understand character development in new ways.
• Enter 'into' a setting as they create an imagined version of the setting and events of a story.
• Understand story in three dimensions.
• Appreciate the way the language of story is shaped by, and in turn shapes, characters, settings and plots.

In short, imaginative re-creation is a powerful learning strategy for children that stretches them as language users and learners.

Examples of Imaginative Re-creation by Age Group

a) Toddlers (1-3 years)

• Being encouraged to be a wild thing as the story 'Where the Wild Things Are' reaches the critical moment when Max declares 'Let the wild rumpus start'.
• Finger Plays and rhymes ('This Little Piggy', 'Incy Wincy', 'Round and Round the Garden')
• Retelling Thomas the Tank Engine stories using the various engines that feature in the story.
• Using dolls or soft toys to act out domestic scenarios.
  Using dress-up clothes in association with well-known stories.
• Creating a story using toy soldiers, Polly Pocket toys, magnetic boards with characters, fuzzy felt and so on.
• Joining in the television dramatization of a well-known story on a program like 'Playschool'.

b) Early years (4-6 years)

• Many of the better story apps for iPad or android devices are an innovative way for multiple re-created experiences of stories (see my recent post on this HERE).
• Drawing maps, key characters (dragons, people) or scenes.
• Acting out stories with a group of children or with adult family members.
• Creating an adapted text to re-create part of a story (e.g. poetry, a character interview, telling the story from a different point of view).
• Using puppets to re-create a story.
• Using modelling clay or craft materials to create characters to re-create and retell a story.

Creating knights for storytelling

c) Later childhood (7-12 years)

• More elaborate dramatization, with involvement in making props and costumes.
• Simple animations using one of the programs readily available (see my previous post on animation HERE).
• Using materials like Lego to re-imagine a well-known story.
• Creating a board game that recreates the plot or a specific part of a story (as Sam did).
• Creating a complex map or plot summary as a device for others to use.
• Create a script to be acted for a specific part of a story.
• Write a newspaper report based on an event within a story.
• Use a variety of written genres to create a new text ('The Jolly Postman' and 'The Jolly Pocket Postman' are published examples of this).

These are just some of the ways that imaginative re-creation can be stimulated.

Appreciating Aboriginal Dreamtime Stories*

An Introduction for non-Australians

 

Emily Gap N.T.

Indigenous Australians were the original inhabitants of the continent we know today as Australia. They include Aboriginal Australians and Torres Strait Islanders. Together they make up 2.5% of Australia's population today.  It is believed that they are amongst the oldest races on earth with estimates suggesting that they first arrived on this continent between 40,000 and 125,000 years ago. They are an ancient people with a rich and unique culture. There is enormous diversity across the many nations and clans, with an estimated 250-300 spoken languages with 600 dialects. Sadly fewer than 200 of these languages remain and most are in danger of being lost.  Like many non-Indigenous Australians I see the preservation of Indigenous languages and their stories as of critical importance. While travelling in Central Australia last year this was brought into sharp focus for me.

An encounter with the 'The Three Caterpillars'

Mparntwe or Alice Springs is home to the Arrernte people, Indigenous Australians who have called this beautiful place home for at least 45,000 years.  It is at the geographical centre of Australia. The photo opposite is of a place called 'Emily Gap'. At this place I was able to view Indigenous rock art that tells the story of how three caterpillars named Yeperenye, Ntyarlke and Utnerrengatye created the MacDonnell Ranges.

 The Arrernte people, believe the ranges were formed by giant caterpillars that entered this world through one of the gaps in the escarpment of the area. In traditional stories the caterpillar ancestors, Yeperenye, Utnerrengatye and Ntyarlke are the major creation forces of the Alice Springs area. These stories tell how they arrived from all directions, first stopping at Mparntwe, a particularly sacred site in Alice Springs, where they battled with the Irlperenye (green stink bug).

'Three Caterpillars' - Emily Gap

The Caterpillars fled when the Irlperenye (stink bug) started to kill them. The ranges around Alice Springs are the seen as the remains of the many caterpillars. The gaps in the ranges like Emily Gap indicate where the stink bugs tore the heads from the bodies of the caterpillars. The rock formations around the area are and the few surviving Yeperenye went on to sculpt the rivers and trees along the tops of the ranges.

'The Three Caterpillars' were painted on the cliff face at some point in time. The dark red and light orange stripes were created by red ochre and white lime blended with animals fats and applied to the rock surface.

Indigenous Dreamtime stories are associated with specific Indigenous clans and nations and their lands and these stories are passed on to younger generations by elders and storytellers. They have survived for thousands of years but the loss of traditional languages and the separation of many Indigenous people from their traditional land is a threat to their survival. While some of these stories are secret, or are seen as of such a sacred nature that they are only told by specific people (e.g. told by men to men, or by women to women), in the last 40 years many Indigenous Dreamtime stories have been shared through children's books.

As a non-Indigenous Australian I love these stories and read them to my children and grandchildren from a very young age. I would like to see more of them written down by the people who own these stories so that others can enjoy them. Thankfully, many are being recorded but just as many aren't. For example, to date I haven't come across a written version of 'The Three Caterpillars' that I learned of when exploring Alice Springs.

Some of my favourite Indigenous Stories

Some of my favourite Indigenous Dreamtime stories have been passed down to all Australian children through the storytelling and wonderful art of Dick Roughsey (1924-1985) or Goobalathaldin to use his tribal name. He was from the island of Langu-narnji in the Gulf of Carpentaria in northern Australia. His first picture book 'The Giant Devil Dingo' received wide acclaim for the richness of the storytelling, the distinctiveness of his painted illustrations, with their vibrant colours, fascinating detail, and the integration of art and word. It tells of Old Eelgin, the grasshopper woman who was evil and had taught her giant dingo Gaiya to kill men for food. But one day Gaiya meets his match in the Chooku-Chooku (butcher-bird) brothers.

Another of my favourite works by Roughsey is 'The Rainbow Serpent' first published in 1975 and still available. It won the Children's Book Council of Australia award for best picture book in 1976. Goorialla (the Rainbow Serpent) travelled across Australia to find his tribe. As he travelled his tracks formed the mountains, the creeks, lagoons and rivers. The Bil-bil brothers plot to kill him. When Goorialla's anger is spent and he disappears into the sea the world is changed.

Dick Roughsey and Percy Trezise (1923-2005) formed a strong partnership to produce many wonderful books together. While Trezise was not Indigenous he became Roughsey's brother in a traditional Aboriginal ceremony and was given the name 'Warrenby'. Roughsey lived with his wife and their six children on Mornington Island, but often spent half the year on the North Queensland mainland. He and Percy Trezise discovered and studied the art of Aboriginal cave galleries in the Laura region of Cape York. The Quinkin gallery inspired the award-winning books 'The Quinkins' and 'Turramulli' the 'Giant Quinkin'.

'The Quinkins' is a wonderful story that tells of the Yalanji tribe of Cape York and their encounters with the Quinkins, spirit people of the land with two tribes: Imjim and the Timara. Imjim were small fat-bellied fellows who stole children while Timara were funny and whimsical spirits who like to play tricks. They were tall and very thin and lived in the cracks of the rocks, and they didn't like the Imjim. This is the story of two children, Boonbalbee and Leealin.  This book was an IBBY Honour book in 1980, and was the Children's Book Council Book of Australia Picture Book of the Year in 1979.  As I travelled through northern Australia and looked at the crevices in the rocks the echoes of this story made me think, "could these be Quinkin rocks?"

There are so many of their titles that I love and have enjoyed sharing with children. These include 'The Cave Painters' by Percy Trezise (1988) which tells of the experiences of two Bullanji children Nonda and Mayli as they travel to visit their mother's people, the Yalanji who live in 'Quinkin Country'. 'The Magic Firesticks' (Trezise & Roughsey) is another story of the Yalanji people in Cape York and tells how the people discovered the way to light fires, not simply sustain fires once they were alight. After monsoonal fires quenched all their fires two young men (Bandicoot and Curlew) travel to a far off Fire Mountain where it was said Didmunja (a wise man) had magic sticks which could produce fire when you wanted it.

'Banana Bird and the Snake Man' (Trezise & Roughsey) tells of a time when people who were later to become birds, animals, plants and reptiles were still in human form. The snake men of Cape York were cannibals who would kill people and hang them in trees to be collected later when they were hungry. This story tells of the triumph of Coucal the brother of Banana Bird man who avenges his brother's death and destroys the Snake men. 

Another wonderfully simple book is 'When the snake bites the sun' told by David (Bungal) Mowaljarlai, which was retold and illustrated by Pamela Lofts. This delightful story of the Ngarinyin tribe of Western Australia, tells the story of the sun and why it is as it is today. This was one of a series of simple picture books for preschool children produced in the 1980s some of which are still available. Other books in the series included 'Dunbi the owl', 'Echidna and the shade tree' and 'How the birds got their colours'. We owe Pamela Lofts (who lives in Alice Springs) a great debt for recording and illustrating many Indigenous stories. You can find a full list here.

Tiddalik Rock (Wollombi NSW)

'What made Tiddalik Laugh' has been produced in various versions of varied authenticity. It is based on the 'Cylorana platycephala' (or Water-holding Frog) that swells as it swallows water. It is sometimes referred to as 'Molok' as well as 'Tiddalik'. The version I first read was Joanna Troughton's beautifully (and amusingly) illustrated version, although this might not be the most authentic traditional version of the story. Tiddalik woke up one morning with an unquenchable thirst. He began to drink all the fresh water he could find till he was satisfied and every creek and billabong was dry. All the creatures and plant life began to die, so the other animals decided to do something about it. But how could they get the water back? Wombat had the answer, make him laugh? But how? The amusing solution involved Platypus in Troughton's version of the story. The story is said to have originated in South Gippsland Victoria but is common along the Eastern seaboard of Australia, so this is unclear. The photo of this rock (opposite) known as Tiddalik rock is located near Wollombi in NSW.

'Enora and the Black Crane', by Arone Raymond Meeks is another fine example of a traditional story being turned into a picture book. Arone Meeks is a member of the Kokoimudji tribe from the Laura area of far North Queensland. This story tells of Enora and how his killing of a crane led to birds acquiring their colours and him becoming the black crane. Winner of Australian IBBY Award for Children's Literature (1994), CBCA picture book of the year (1992) and UNICEF Ezra Jack Keats International Award Silver medal (1992). Arone Meeks also illustrated Catherine Berndt's wonderful book 'Pheasant and Kingfisher' (1987) that was shortlisted by the CBCA in 1988 and won the Crichton Award for Meeks in the same year.

A more recent book which I love is the 'Papunya School Book of Country and History' (2001). This isn't really a Dreamtime story, it is the story of the Anagu people of Central Australia. It offers a balanced telling of the people, their place, their culture and history. It does a good job in speaking of some of the difficult issues arising from the impact of white settlers. It is a wonderful collaboration between well-known non-Indigenous advocate Nadia Wheatley and Indigenous writers, storytellers and artists from the staff and students of Papunya School.

Another more recent community collaboration is 'Our World: Bardi Jaawi: Life At Ardiyooloon' (2011) by One Arm Point Remote Community School.  Ardiyooloon is home to the Bardi-Jaawi people and sits at the end of a red dirt road at the top of the Dampier Peninsula, 200km north of Broome in the north-west of Western Australia. 'Our World: Bardi-Jaawi Life at Ardiyooloon' takes readers inside the lives of the children of a remote Indigenous community; lives that are very different to those experienced by most Australians. Worthy Honour book in the CBCA awards for 2011 in the 'Eve Pownall Award' for Information Books.

Yet another wonderful collaborative book is 'Playground' (2011) compiled by Nadia Wheatley with illustrations and design by Ken Searle, has been short-listed for the 2011 Children's Book Council of Australia (CBCA) Awards. This is an unusual book isn't quite a graphic novel, but then again, it isn't simply a reference book.  Drawing on the stories of 80 Indigenous Australian Elders, 20 Indigenous secondary students and with Indigenous Historian Dr Jackie Huggins as adviser and critical friend, Nadia Wheatley has created a unique collaborative work.  The book offers a wonderful insight into experiences of childhood for Aboriginal and Torres Strait Islander people from 1900 to the present.

With stunning photographs and illustrations, it takes us into the daily life of Indigenous children (past and present) who are connected with their land from birth. The stories and drawings help the reader to understand Indigenous life in all its facets - learning, playing, understanding and respecting the earth, the first days of life, relationships in families, what 'home' was, languages, daily food gathering and hunting, the place of song, dance, art and ceremony.  With the arrival of European people there have been adaptations, but Indigenous children remain embedded in their culture. Daily life is different, but Indigenous children are still learning from country and community. This book would be a good introduction for readers who want to know more about Indigenous people not simply read their stories.

Some other great resources

Based on an Aboriginal Dreamtime story of Waatji Pulyeri (the Blue Wren)

Lovely example of Indigenous Storytelling, 'How the Kangaroo Got its Pouch' A Wirrajuri tale

Some brief further notes on Indigenous Australians

In Central Australia the Indigenous people are called the Anangu. Within this group there are many different language groups including the Pintupi, Warlpiri, Anmatyerre, Pitjantjatjara and Arrente. All Indigenous Australians come from different 'Ngurra' (homelands or traditional countries) and within their rich cultural traditions have stories, drawings, dances other cultural practices that have been passed down through the generations for millennia.  There has been a wonderful balance and 'bond' between people and their land. They see their ancestors as their teachers and for thousands of years they have taught their children the knowledge of ancestors and a history seen within the very rocks, water courses, hills, fauna and flora of their place. This has been passed down often (but not exclusively) through story. Often these stories are told in the context of place and have been oral, but in the last century some of these stories have been written down so that they can enrich all people, even if perhaps not understanding their full significance.

There is a deep sadness that many non-Indigenous Australians feel that there has been some loss of language and stories of these unique people. It was with a mixture of joy and sadness that I caught glimpses of the rich connection between Indigenous people and their land while I travelled across Central Australia.  The joy comes from the richness I could see in this connection, but the sadness is that for many Indigenous Australians this connection is made more difficult by their dislocation from traditional lands. My hope is that more Indigenous stories will be captured in written and spoken forms.

Note: * This is a revised version of a post I wrote in 2011