What is Godly Play?
![Picture](/uploads/5/2/5/1/52518197/2868789.jpg?282)
Godly Play is a "Montessori method of telling Bible stories, developed by Jerome Berryman, using parables, sacred stories and liturgical lessons about religious traditions using simple materials." (Godly Play Australia, n.d.).
This method is based on Montessori principles where the teacher is the spiritual supporter or guide who responds to the child's request to 'help me do it by myself'" (Nye, 2015). It accepts that each child has their own, pre-existing relationship with God which is why Godly Play does not depend on "knowledge, but on personal response and spiritual engagement with God's word within a supportive, safe community of friends" (Nye, 2015).
Godly Play allows children to experience sacred stories and symbols and encounter the religious language associated with worship within the context of our faith tradition (Godly Play Australia, n.d.). Its use of visual and hands-on material, and minimally verbal nature of communication encourages children to 'handle' and work out their ideas and feelings about the story on their own (Roberts, n.d.).
The stories are told in a group situation where children listen to and engage with the scripture and then given the opportunity to play and reflect on the story in any way they wish. "Story boxes complete with biblical figures, liturgical objects, religious symbols ad cloths fill the shelves" which surrounds and immerses every child in the word of God (Carswell, 2010). It is here that children are invited 'to enter sacred story, parable and liturgical action in a seriously playful way and so learn the art of its appropriate use' (Carswell, 2010).
http://www.godlyplay.org/
This method is based on Montessori principles where the teacher is the spiritual supporter or guide who responds to the child's request to 'help me do it by myself'" (Nye, 2015). It accepts that each child has their own, pre-existing relationship with God which is why Godly Play does not depend on "knowledge, but on personal response and spiritual engagement with God's word within a supportive, safe community of friends" (Nye, 2015).
Godly Play allows children to experience sacred stories and symbols and encounter the religious language associated with worship within the context of our faith tradition (Godly Play Australia, n.d.). Its use of visual and hands-on material, and minimally verbal nature of communication encourages children to 'handle' and work out their ideas and feelings about the story on their own (Roberts, n.d.).
The stories are told in a group situation where children listen to and engage with the scripture and then given the opportunity to play and reflect on the story in any way they wish. "Story boxes complete with biblical figures, liturgical objects, religious symbols ad cloths fill the shelves" which surrounds and immerses every child in the word of God (Carswell, 2010). It is here that children are invited 'to enter sacred story, parable and liturgical action in a seriously playful way and so learn the art of its appropriate use' (Carswell, 2010).
http://www.godlyplay.org/
(StJohnsStamfordVideo, 2009).
Theoretical Underpinnings
![Picture](/uploads/5/2/5/1/52518197/3682032.jpg?446)
Godly Play is based on the Montessori method which Jerome Berryman thought was the best way to "connect the child's intuition of God with the language of the Church" (Berryman, 2009). It enables children to learn how to use the best language possible to identify their experience of God (Berryman, 2009). Play, therefore, helps children learn and practice this language as well as to verbalise and express what they already know (Berryman, 2009).
Berryman supports the method based on Montessori principles as children are encouraged to construct their own meaning and feelings about God through playing with the physical elements of the religious language (Carswell, 2010; Berryman, 2009). This provides them with opportunities to discover who God is rather than being told who he is (Nye, 2015).
Godly Play began and grew out of Maria Montessori's educational principles (Berryman, 2009). Montessori was an educator who changed education forever when she suggested that teachers must meet the needs of children rather than expecting them to adjust to adult needs, which would bring about a 'new child' (Berryman, 2009). She discovered that when children feel secure in the right environment, they would reveal a love of learning and a deeply spiritual nature (Berryman, 2009). Sofia Cavalletti then applied this method to Religious Education. This was then adapted by Jerome Berryman who studied Montessori education and adapted her principles to create Godly Play.
The theory behind Godly Play argues that children attending Church, involving parties or worship, as well as learning religious education in school, are receiving spiritual guidance (Roberts, n.d.). Children already know about God in an undifferentiated way and Berryman promotes the need to 'speak Christian' so they can become more conscious about what they already know (Roberts, n.d.). This guidance, therefore, stimulates children's curiosity about what they have already experienced to evoke a new and personal perspective on it (Roberts, n.d.).
Berryman supports the need for children to become engaged creatively with their curiosity with God, and thus argues that a safe and supportive environment where they can play and learn with other children is essential in learning the Christian language (Roberts, n.d.). Religious education through Godly Play brings an appreciation "that knowing can be done through the head, heart and hands" which is can be done specifically by the wondering in Godly Play (Roberts, n.d.).
Children are invited to explore and discover the story by playing with the story sets any way they chose without prompt or being told how to play (Nye, 2015). The emphasis of this part of Godly Play is inviting the children to share what they have done and find their own words for what is meaningful to them, rather than commentary from the teacher (Nye, 2015).
Berryman supports the method based on Montessori principles as children are encouraged to construct their own meaning and feelings about God through playing with the physical elements of the religious language (Carswell, 2010; Berryman, 2009). This provides them with opportunities to discover who God is rather than being told who he is (Nye, 2015).
Godly Play began and grew out of Maria Montessori's educational principles (Berryman, 2009). Montessori was an educator who changed education forever when she suggested that teachers must meet the needs of children rather than expecting them to adjust to adult needs, which would bring about a 'new child' (Berryman, 2009). She discovered that when children feel secure in the right environment, they would reveal a love of learning and a deeply spiritual nature (Berryman, 2009). Sofia Cavalletti then applied this method to Religious Education. This was then adapted by Jerome Berryman who studied Montessori education and adapted her principles to create Godly Play.
The theory behind Godly Play argues that children attending Church, involving parties or worship, as well as learning religious education in school, are receiving spiritual guidance (Roberts, n.d.). Children already know about God in an undifferentiated way and Berryman promotes the need to 'speak Christian' so they can become more conscious about what they already know (Roberts, n.d.). This guidance, therefore, stimulates children's curiosity about what they have already experienced to evoke a new and personal perspective on it (Roberts, n.d.).
Berryman supports the need for children to become engaged creatively with their curiosity with God, and thus argues that a safe and supportive environment where they can play and learn with other children is essential in learning the Christian language (Roberts, n.d.). Religious education through Godly Play brings an appreciation "that knowing can be done through the head, heart and hands" which is can be done specifically by the wondering in Godly Play (Roberts, n.d.).
Children are invited to explore and discover the story by playing with the story sets any way they chose without prompt or being told how to play (Nye, 2015). The emphasis of this part of Godly Play is inviting the children to share what they have done and find their own words for what is meaningful to them, rather than commentary from the teacher (Nye, 2015).
Method/Process:
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The format for Godly Play parallels the deep structure of the Eucharistic liturgy: children gather, hear and respond to the Word, share food and finally, leave; which is used by almost all parts of the Christian family for worship (Carswell, 2010; Roberts, n.d.)
Using concrete materials to represent stories, children are encouraged to wonder about their connection to Christian faith (Roberts, n.d.).
The process of a Godly Play session follows a particular format which includes:
· get ready
· tell a story using objects and artefacts
· explore the story more with open questions and discussion
· respond with a free choice using a variety of materials – art… silence… play… writing…
· enjoy a simple feast and sharing (Godly Play Australia, n.d.).
Getting Ready:
When children enter the playroom they are welcomed by a personal greeting at the door (Nye, 2015). Children gather around the storyteller in a circle settling down ready for the presentation. The storyteller models how to sit with legs crossed and hands in laps (Nye, 2015).
Presenting the Lesson:
The storyteller then presents God's word in a story like a mysterious gift (Nye, 2015). As the 'story of the day' is presented, children are "physically surrounded by and visually cued to make connections with other familiar stories on the shelves" (Nye, 2015). Every story involves the use its own hand-crafted figures or objects, made from wood or fabric (Nye, 2015). The figures do not have detailed features or colourful clothes in order to allow children to engage with their feelings and ideas imaginatively (Nye, 2015). The speaker enables children to think and play as they imagine what is being told to them (Carswell, 2010).
Wondering:
Time is then allowed for a 'collective response' as participants wonder together about the meanings of the story (Nye, 2015). A key element in the storyteller's role is leading the 'wondering' time in response to the story. Key wondering questions are as follows:
· I wonder what you like best about this story
· I wonder which is the most important part?
· I wonder where you are in this story?
· I wonder if there is any part we could leave out, and still have the entire story we need? (Nye, 2015).
These wondering questions allow children to create meaning and discover the message of God through engagement and interaction (Roberts, n.d.).
Responding:
Then time is allowed for individual response to further discover the meaning of the story. The children are invited to choose ways to work and play using a "wide variety of arts and crafts materials, or the story materials themselves in their own way" (Nye, 2015). By responding to the story in their own way, they are deepening their understanding of the sacred story by engaging in art work that is their choice (Nye, 2015).
The Feast:
The personal time ends when the group re-forms and a feast (of biscuits and juice) is shared together (Nye, 2015). At the end of the session, a word or gesture of personal blessing for each individual is given as they leave and take away new experiences, feelings and ideas (Nye, 2015). Prayer time is given before commencing the feast giving children the opportunity to be thankful.
Berryman's process for Godly Play has been developed specifically for small groups of children in a weekly liturgical setting which is committed to telling of the scripture story through concrete materials (Carswell, 2010).This structure works well as it models the same structure as the Eucharist, which are used in all past of Christian worship (Roberts, n.d.).
Using concrete materials to represent stories, children are encouraged to wonder about their connection to Christian faith (Roberts, n.d.).
The process of a Godly Play session follows a particular format which includes:
· get ready
· tell a story using objects and artefacts
· explore the story more with open questions and discussion
· respond with a free choice using a variety of materials – art… silence… play… writing…
· enjoy a simple feast and sharing (Godly Play Australia, n.d.).
Getting Ready:
When children enter the playroom they are welcomed by a personal greeting at the door (Nye, 2015). Children gather around the storyteller in a circle settling down ready for the presentation. The storyteller models how to sit with legs crossed and hands in laps (Nye, 2015).
Presenting the Lesson:
The storyteller then presents God's word in a story like a mysterious gift (Nye, 2015). As the 'story of the day' is presented, children are "physically surrounded by and visually cued to make connections with other familiar stories on the shelves" (Nye, 2015). Every story involves the use its own hand-crafted figures or objects, made from wood or fabric (Nye, 2015). The figures do not have detailed features or colourful clothes in order to allow children to engage with their feelings and ideas imaginatively (Nye, 2015). The speaker enables children to think and play as they imagine what is being told to them (Carswell, 2010).
Wondering:
Time is then allowed for a 'collective response' as participants wonder together about the meanings of the story (Nye, 2015). A key element in the storyteller's role is leading the 'wondering' time in response to the story. Key wondering questions are as follows:
· I wonder what you like best about this story
· I wonder which is the most important part?
· I wonder where you are in this story?
· I wonder if there is any part we could leave out, and still have the entire story we need? (Nye, 2015).
These wondering questions allow children to create meaning and discover the message of God through engagement and interaction (Roberts, n.d.).
Responding:
Then time is allowed for individual response to further discover the meaning of the story. The children are invited to choose ways to work and play using a "wide variety of arts and crafts materials, or the story materials themselves in their own way" (Nye, 2015). By responding to the story in their own way, they are deepening their understanding of the sacred story by engaging in art work that is their choice (Nye, 2015).
The Feast:
The personal time ends when the group re-forms and a feast (of biscuits and juice) is shared together (Nye, 2015). At the end of the session, a word or gesture of personal blessing for each individual is given as they leave and take away new experiences, feelings and ideas (Nye, 2015). Prayer time is given before commencing the feast giving children the opportunity to be thankful.
Berryman's process for Godly Play has been developed specifically for small groups of children in a weekly liturgical setting which is committed to telling of the scripture story through concrete materials (Carswell, 2010).This structure works well as it models the same structure as the Eucharist, which are used in all past of Christian worship (Roberts, n.d.).