Risky play in early years setting

Risky play in early years setting Introduction: There is an ongoing debate whether to prioritise the safety of children or the benefits of risky play in early years setting. More particularly, the contention is on the issue of making certain children are safe against allowing them to play in emotionally and physically motivating and challenging contexts. The emphasis is currently on the right of children to participate in risky play. Thus far, there are no investigations classifying risky play. This study will attempt to accomplish this. In the present study, risky play is defined as stimulating or thrilling varieties of play that involve a possibility of physical harm. Children usually want to and participate in risky or challenging varieties of play although, and to a certain extent, it involves the risk of getting injured or hurt. Because of the safety concerns of the Western culture, the issue of risky play in early years and the degree such play should be monitored and regulated are crucial and continuous debates (Greenfield 2003). These debates on play safety have generated safety proceedings and legislation from concerned child care workers and parents. This has invoked further disputes on the balance between the benefits of risky play for child development on one hand, and safety proceedings and litigations on the other hand (New, Mardell Robinson 2005). Normally, play occurs under the supervision of adults, hence controlling what children are permitted to do and where they are permitted to go (Gill 2007). For this reason, adults are influencing the safety of children when playing, and, simultaneously, they embody the greatest limitation on the childs capability of experiencing challenges and risks that are eventually favourable for development (Gill 2007). A persistent argument in the literature is the children gain developmentally from taking risk, and that too much protection from risk can hamper development. Historical and Current Context of the Debate In a continuously evolving world, environmental and social aspects have significantly affected childrens opportunities for emotionally and physically challenging play. Where previously youngsters may have played in the street, playing ball games, riding bicycles or playing other outdoor activities, increased road hazards has made the streets and play opportunities restricted to children as the risk or perils are extremely high. Children nowadays are confined to their houses or designated areas for relatively secured places to play. Still even these are transforming (Ball 2002). With increasing populations, the enlarged need for housing in several areas, specifically urban areas, is weakening the play spaces of children. High-density housing is increasingly becoming widespread and housing units are becoming smaller (Rivkin 1995). Coupled with diminished opportunities for parents to allocate time for the supervision and participation in their childrens play due to expanded work obligat ions, this condition has led to greatly decreased opportunities for childrens participation in risky play (Rivkin 1995). In addition to this, diminished risky play experiences have been ascribed to the fears of parents for the safety of their children. A UK survey discovered that, although 91 percent of the grown-ups asked understood the benefit of risky play, 60 percent said they were worried about their childrens safety when playing in unsafe places (Valentine McKendrick 1997). Consequently, parents place higher constraints on their childrens independent plays. Their worries have aided the development of overprotective or domineering parenting, by which the world is viewed as a naturally unsafe place from which children have to be protected (New et al. 2005). This concern for safety is present on several levels, involving concerns linked to safety stemming from stranger danger (p. 49) and increased street hazards, as well as those linked to harm inflicted by the use of play equipment, such as skateboards, roller blades, etc., and playground. In contrast, Ball (2002) emphasises that, because the advantages of risky play are not simply determined using recognised western scientific processes, they have a tendency not to be properly regarded in discussions about risk and play. He argues: If the purpose of an activity is not directly considered, then a balance between risk and benefit cannot be struck and one is in danger of considering only one side of the equation (p. 51). It is claimed risk taking can have favourable effects in terms of childrens emotional, social and developmental needs, as well as their general well-being (Ball 2002). Advocates of risky play tend to argue that removing risks deny children the opportunity to evaluate them competently, and hence they are unprepared to cope with any circumstances they may experience in later life (Childrens Play Council 2004). It is argued that, by giving chances to children to deal with their own risks in a regulated environment, they will become skilled at important life capabilities required for adulthood, and acquire the experience required to confront the changeable nature of the world (Childrens Play Council 2004). Gill (2007) claims that depriving children this opportunity may generate a society of risk-disinclined population, or citizens incapable of dealing with daily situations, or in children easily locating more hazardous areas to perform their risk-taking behaviour; risk-taking is regarded to have additional advantages, which contribute to the cultivation of favourable personality attributes, such as creativity (Ball 2002). Through exposure to cautiously supervised risks children become skilled at sound judgment in evaluating risks themselves, thus developing self-esteem, resilience, and confidence, attributes that are crucial for their later independence (Ball 2002). Moreover, a developing culture of litigation has led to the elimination of playground paraphernalia from numerous public places and a growing anxiety amongst educators and child care workers that they will be held responsible for any harm sustained by a child while in their supervision (Childrens Play Council 2004). Moreover, children who adopt and use more minor techniques to play may be open to the more threatening possibilities of chronic illness linked to diminished levels of activity. Experimental data with children in preschools (Smith Hagan 1980) and early school years (Pellegrini Davis 1993) shows that participants who have been denied of physical play for a given period of time will, when provided with the opportunity, participate in physical activities that are much more challenging and persistent. This effect of deprivation was discovered to be more intense for boys than for girls and indicates that risk reduction techniques that limit physical activities are prone to have a direct effect on the plays quality (Mitchell et al. 2006). Hence, the benefit of risk-taking in facilitating childrens development and learning in the context of risky play will be explored in the present study. Current Debate Providing opportunities of risk-taking for children in physical play does not imply that safety is taken for granted. Instead it implies that parents and educators have to be highly aware of the dangers and carry out all the essential steps to make sure that the environment is safe, and to have sufficient number of staffs to supervise risky play (Mitchell et al. 2006). Even within the field of playground safety and harm prevention there is recognition of the benefit of risk-taking during play. As argued by Mitchell and colleagues (2006), children should have opportunities to explore and experiment in an environment that provides a degree of managed risk (p. 122), because eventually, regardless how secure the play environment is, it will fall short in meeting its goal if it is not thrilling and appealing for children. Inopportunely, the concept risk-taking is generally understood with negative implications, with danger and risk usually viewed as synonymous (New et al. 2005). However, Greenfield (2003) thinks a differentiation should be made between these two concepts; risk links to the childs doubt about being capable of attaining the desired result, involving a decision whether to take risk or not, whilst danger is something the child does not perceive. Grown-ups can mostly perceive the dangers and try to get rid of them. The way is in that case certain for children to confront the challenge and take the risk should they decide to do so (Greenfield 2003). This also requires giving sufficient assistance and supervision and being conscious of those features of the childs activities that may contribute to severe injury, particularly as an outcome of improper use of playground tools (Ball 2002). The concept of finding the symmetry is integral if children are to have the chance to encounter some risk in their lives. This symmetry can be realised when adults respond perceptively to individual behaviour patterns (Gill 2007); to recognise and develop childrens capability of evaluating and managing risk, as well as their need for stimulation and challenge in their play. Conclusions Risk is a crucial deliberation within the play field, but it remains a comparatively under-studied field. The studies that have been conducted appears to assume that play is both pleasurable and favourable to children, and there is a number of substantiation that children have a higher understanding of and capability of handling risk than they are credited for. It also proposes that chances for children to evaluate and encounter risk in play are constrained because of several attitudes and structural limitations. Several authors call this a risk-averse society due to the carefulness of risk evaluation in childrens play opportunity, and the prevailing judgment adults adopt towards risky play. There is substantiation to indicate that several of the measures that have been adopted to build safer play for children are not needed or efficient. Scholars appeal for acknowledgement of the potential impacts that thorough safety norms have for children, and propose using a new strategy of risk evaluation. References Ball, D. (2002) Playgrounds: Risks, benefits and choices, Middlesex University: HSE Books. Childrens Play Council. (2004) Childrens Play Council Policy Positions: Risk and challenge in childrens play, http://www.ncb.org.uk/dotpdf/open%20access%20-%20phase%20only/policyrisk_cpc_2004.pdf. G. Valentine J. McKendrick. (1997) Childrens outdoor play: Exploring parental concerns about childrens safety and the changing nature of childhood, Geoforum , 219-235. Gill, T. (2007) No Fear: Growing up in a risk averse society, London: Calouste Gulbenkian Foundation. Greenfield, C. (2003) Outdoor play: The case for risks and challenges in childrens learning and development, Safekids News , 5. Mitchell, R., Cavanagh, M. Eager, D. (2006) Not all risk is bad, playgrounds as a learning environment for children, International Journal of Injury Control and Safety Promotion , 122-124. New, R.S., Mardell, B. Robinson, D. (2005) Early childhood education as risky business: Going beyond whats safe to discovering whats possible, Early Childhood Research and Practice , 7. Pellegrini, A.D. Davis, P. (1993) Relations between childrens playgroundand classroom behaviour, British Journal , 86-95. Rivkin, M. (1995) The great outdoors: Restoring childrens right to play outside, Washington, D.C.: National Association for the Education of Young Children.

Gallipoli

Gallipoli Essay Gallipoli is a movie directed by Peter Weir that was released in 1981. It stars Mel Gibson as Frank Dunne and Mark Lee as Archie Hamilton. The film is about several young men from rural Western Australia (WA) who enlist for the Australian Army in May 1915, around the time that Australia first entered the great war. The film has three main settings and three main acts. Act one is set in WA, act two is set in Cairo, Egypt during the Australian Army training camps. And the third and final act is set in Gallipoli.During the course of the movie Archie and Frank slowly lose their innocence about the purpose of war. Through out the film Peter Weir uses film techniques such as symbolic, written, audio and technical codes (SWAT codes) to influence the viewer to have a sympathetic view towards Frank and Archie. In Peter Weir’s tragedy Gallipoli the viewer is made to feel sympathetic towards Frank through the use of SWAT codes. The viewer is first introduced to Frank Dunn e in the second scene of the film in an unknown rural region of WA.When the viewer is first introduced to Frank he is with his mates and they are discussing whether to join the infantry or not. All of Frank’s mates are on board but Frank is not convinced. â€Å"If you want to go and get yourselves blown up then by all means join up. † This example symbolises how Frank is more worldly and has an idea about what really happens in war. This quote also makes the viewer immediately feel sympathetic towards Frank as that viewer gets the feeling that he’s going to leave his mates and have to be alone.This then changes when that when we realise that Frank is going to the Kimberly gift to run this is when the viewer learns that Frank is also a runner however he decides to put a bet on himself to win but the viewer can see through the use of technical codes that although he is confident enough to bet on himself he is still worried about losing the money. The use of techni cal codes makes this clear as the viewer is shown a close up on Franks face which has an anxious expression.This example from the film makes the viewer immediately feel sympathetic towards Frank as the viewer can see how worried Frank is about losing possibly his last bit of money through the use of SWAT codes and in this case the use of technical codes. There are many other scenes where Frank is seen to be running in most cases when he is running it usually turns out to be successful. This is also backed up through the use of sound codes. â€Å"Oxygene† by Jean-Michel Jarre is heard whenever Frank is running and in every case he usually turns out to be something happy associated the music.However this is used as a trap to the viewer when the song is once again played when Frank is running from officer Barton to General Gardiner. Immediately the viewer begins to think as though something good will happen as whenever â€Å"Oxygene† is played the viewer associates it wit h something positive. However it becomes obvious that something bad has happened when we see Archie get killed by Turkish soldiers. This example of the use of an audio code clearly shows how SWAT codes are used through out the film to influence the viewer to have a sympathetic view towards Frank.Through out Peter Weir’s film Gallipoli Frank becomes a character that the viewer becomes quite attached to as his character is displayed through out the film. He is seen as a wise, cunning athlete who the viewer becomes very sympathetic towards. This becomes clear from the examples which have been given in the text above. In Peter Weir’s film Gallipoli The viewer is made to feel sympathetic towards Archie. The viewer is made to feel this way through the use of SWAT codes. The viewer is first introduced to Archie in the very first scene of the Peter Weir’s film Gallipoli.The viewer is given a written code saying â€Å"Western Australia, May, 1915† This written cod e immediately makes the viewer feel sympathetic towards Archie as it is discovered that he is alive during the time that Australia first entered the great war the viewer also immediately makes the assumption that Archie is going to join up as written codes have suggested in the credits. Evidence of this written code that suggests that Archie may join up is in the opening credits. In gothic, blood red text the title says: â€Å"Gallipoli†.This example again makes the viewer feel sympathetic towards Archie as one may get the feeling that something bad may happen to him. Archie’s appearance is another characteristic that makes the viewer feel sympathetic towards him. Archie’s appearance is of a young faced tanned, blonde haired ‘typical Australian’. His appearance also symbolises Australia as a nation in being that it is a very young country. This symbolic code that Peter Weir has used helps the viewer feel sympathetic towards Archie as the viewer may feel that he is just too young o go to war. In the examples given above it becomes clear how the viewer is positioned to have a sympathetic view towards Archie through the use of SWAT codes. Overall I enjoyed Peter Weir’s film ‘Gallipoli’ I found that it had a sad yet comedic view to it and showed the Australian culture during the early years of its federation. The film also showed how nothing good comes out of war and that many young people with infinite potential such as Frank and Archie were killed because of some body else’s war.The film also made the viewer feel in a sympathetic way towards the main characters Frank and Archie. The viewer is positioned to feel this way through the use of film techniques known as SWAT codes. Examples of when these codes are used are shown through out the film have been shown in text above via examples of speech quotes from the film, camera angle and technique analysis, audio analysis, and written text quotes. Through a ll these examples of where SWAT codes have been used it becomes very clear how the viewer begins to have a sympathetic view towards Frank and Archie.

Fundamental Factors Affecting Quality Essay

The nine fundamental factors (9 M’s), which are affecting the quality of products and services, are: markets, money, management, men, motivation, materials, machines and mechanization. Modern information methods and mounting product requirements. 1. Market: Because of technology advancement, we could see many new products to satisfy customer wants. At the same time, the customer wants are also changing dynamically. So, it is the role of companies to identify needs and then meet it with existing technologies or by developing new technologies. 2. Money: The increased global competition necessitates huge outlays for new equipments and process. This should be rewarded by improved productivity. This is possible by minimizing quality costs associated with the maintenance and improvements of quality level. 3. Management: Because of the increased complex structure of business organization, the quality related responsibilities lie with persons at different levels in the organization. 4. Men: The rapid growth in technical knowledge leads to development of human resource with different specialization. This necessitates some groups like, system engineering group to integrate the idea of full specialization. 5. Motivation: If we fix the responsibility of achieving quality with each individual in the organization with proper motivation techniques, there will not be any problem in producing the designed quality products. 6. Materials: Selection of proper materials to meet the desired tolerance limit is also an important consideration. Quality attributes like, surface finish, strength, diameter etc., can be obtained by proper selection of material. 7. Machines and mechanization: In order to have quality products which will lead to higher productivity of any organization, we need to use advanced machines and mechanize various operations. 8. Modern information methods: The modern information methods help in storing and retrieving needed data for manufacturing, marketing and servicing. 9. Mounting product requirements: Product diversification to meet customers taste leads to intricacy in design, manufacturing and quality standards. Hence, companies should plan adequate system to tackle all these requirements.

The Awakening Of The Dark Corridor - 984 Words

Shattering across the floor, glass shards fly everywhere and the door creaks from no distinct origin, all common occurrences of the tale tell signs of the supernatural, who haunt by creeping behind the lone wanderer of the dark corridor. Most do not investigate the source of these sounds; however, as humans the thirst for discovering the unknown lurks inside. To quench thrillers thirst without actual confrontation, The Awakening takes viewers into a spaceous, eerie boarding school that used to be a private mansion. This ghost movie derives from typical characteristics of the subgenre haunted houses. Unexpected sounds, intense music, and a ghostly monster scare the viewer as this movie plays out, but the twist is finding out the monster is not the ghost. The Awakening’s twist in plot allows the movie to surpass the layout of a haunted house movie by making the movie more interesting, suprising to the viewer. 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