The objective of this chapter is to define socio-dramatic play from a cultural-historical perspective and to describe how teachers can become co-players with children in their play. To do this we present case studies from research and a pedagogical toolbox to support children’s participation, learning and development. The chapter begins by outlining children’s socio-dramatic play using a cultural-historical perspective to focus on interactions in shared play. In socio-dramatic play, imagination and creativity are central as children create narratives together. Play creates conditions for children to express and construct meaning with others and to become co-players in a shared imagined world. Adults in early childhood settings traditionally support children’s play by planning, resourcing and observing, although their role as co-player is less understood.

Education changes lives. It opens doors and provides us with the skills and dispositions to achieve what we believe in. But not all students flourish in their educational settings. The ways students experience their education are shaped by the differences among them. Despite many years of equity-based reform in schools, the children most at risk of educational alienation, failure or withdrawal in the third decade of the twenty-first century are, for the most part, the same children who were most at risk 50 and 100 years ago. Children from low socioeconomic backgrounds, rural and isolated areas, non-dominant cultural, language, or religious groups, students with disabilities, and many who don’t fit the stereotypes associated with a particular subject area, gender or culture have been shown to experience schools as places of alienation, not as places of growth, opportunity and learning. Issues of sexual and gender identity, mental health, and instability of citizenship, housing, and employment combine to make the situation even more complex.

This chapter explores young children’s semiosis (meaning-making) and transformations when immersed with artworks that were made by professional artists. Paintings and sculptures (static, moving and sound-making) ‘resided’ (were installed) in their classroom for two school terms. The first part of the chapter provides a brief context for how artworks as mediating tools elicited children’s meaning-making through individual and social activity and describes how the children’s communication and representation of meaning was multimodal. The second part of the chapter delves into Illustration of Practice 7.1 based on recent research, where semiosis was studied through two key processes: (1) noticing, or becoming aware of signs within artworks, based on an individual’s perceptions, knowledge and emotions; and (2) immersion into the artworks. Immersion involved mediating signs through perezhivanie (a cognitive-embodied-emotive encounter that requires working-through) and transmediating (translating meaning from one mode of expression to another). Illustration of Practice 7.1 highlights how young children’s representation and communication of meaning are socially mediated, cognitive, affective and embodied.

This chapter provides theoretical and practical examples of how children’s meaning-making is enriched through teachers’ mediation. It shifts attention away from a traditional literacy perspective to a semiotic orientation that honours young children’s symbolic communication through art, music, play and dance. Exemplars are given of how children’s sign-making practices in the arts are of equal significance, and are the precursors, to sign-making in language and literacy. Indeed, the arts are children’s ‘first literacies’ because they help children find their way into the sign systems of reading and writing. Illustration of Practice 8.1 demonstrates the notable link between playing and drawing, and how children cross between graphic, narrative and embodied modes to communicate meaning. Illustration of Practice 8.2 foregrounds art making in a Reggio-inspired preschool classroom. Concluding sections focus on the building blocks of meaning-making, with an emphasis on its co-creation and the importance of documenting and interpreting children’s creative processes and learning.

As a novice teacher, it is important for students to be aware that they are entering a profession with a set of guiding policy frameworks to inform their knowledge, practice and engagement. Chapter 1 introduced a range of data snapshots that provide insight into current Australian and global education systems in the twenty-first century. Data are increasingly used to inform policy, but policy is also shaped by many other complex and multifaceted factors operating across both local and global contexts. This chapter further examines the education landscape and looks at how policy is shaped by, and in turn shapes, our educational thinking, work, teaching practices and future research.

This chapter describes how conceptual learning is mediated by interactions, the environment and a range of semiotic modes. Using a case study approach, Illustration of Practice 3.1 presents four-year-old children’s dance-play and drawing-telling as exemplars of powerful forms of meaning-making and communication. The nexus between theory and practice is illustrated through an innovative model that supports children’s creative dance improvisation and experimentation, and links to graphic and narrative modes. Children’s sophisticated levels of thinking, feeling and relating are addressed, and the role of the teacher is foregrounded with regards to supporting transformative learning outcomes for young children.