At Play in Belfast: Children’s Folklore and Identities in by Donna M. Lanclos

By Donna M. Lanclos

Donna M. Lanclos writes approximately kids at the institution playgrounds of working-class Belfast, Northern eire, utilizing their very own phrases to teach how they form their social identities. The inspiration that kid's voices and views has to be incorporated in a piece approximately early life is valuable to the e-book. Lanclos explores kid's folklore, together with skipping rhymes, clapping video games, and "dirty" jokes, from 5 Belfast fundamental faculties (two Protestant, Catholic, and one mixed). She listens for what she will be able to know about gender, kin, adult-child interactions, and Protestant/Catholic tensions. Lanclos often notes violent subject matters within the folklore and conversations that point out little ones are conscious of the truth within which they stay. yet even as, young children face up to being marginalized by means of adults who try and guard them from this reality.

For Lanclos, kid's stories stimulate discussions approximately tradition and society. In her phrases, "Children's daily lives are extra than simply training for his or her futures, yet are lifestyles itself."

At Play in Belfast is a quantity within the Rutgers sequence in youth experiences, edited through Myra Bluebond-Langner.

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Extra resources for At Play in Belfast: Children’s Folklore and Identities in Northern Ireland

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Jamie catches one “cop” and gets him in a headlock, “gun” pointed at “cop’s” neck, then throws him down onto the ground. The “cop” cries out dramatically, and then Jamie pretends to kick him— you can see he’s not actually connecting his foot to his friend’s stomach— with the “cop” crying out at each impact. A Day in the Life 31 This vignette is interrupted by their noticing that the larger game has changed—three of the P4 girls have stolen some of the “guns” and in so doing have temporarily transformed Cops and Robbers into a boys chasing girls game of Keep Away.

Then all players spread back into the circle, except the Bone, and sing: The bone’s left alone The bone’s left alone Heerio my deario The bone’s left alone. One girl, who’d been picked as the Dog, is a little unclear on this last verse, trying to stay in the middle and hold on to the Bone’s hand. She finally figures it out and gets a place in the circle while the others are singing. Right after this last verse, they begin all over again, with the “Farmer wants a Wife” verse; the Bone becomes the Farmer.

Other kids speculate about what the dinner will be, and whether they’ll want to eat it. ”25 he cries. ” Several around him agree. I sit at a table of boys and girls, P6es and P7s, after wading through a sea of “Here! ” cries from kids at other tables. Next to me, Corinne is switching her cutlery around so that it doesn’t match the arrangement of the cutlery that Tony, sitting across from her, has. Tony knows that Corinne will get teased that she likes him if anyone else notices, and so keeps switching his knife and fork so they are exactly opposite those of Corinne.

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