Early Childhood Education Journal. Vol. 27. No. 4. 2000

Arts and Young Children

Promoting Multicultural Awareness Through Dramatic PlayCenters

Linda K. Huber12

INTRODUCTION

Four-year-old Arthur and 5-year-old Andre put onbaker's hats. Arthur shows the teacher a hat so she willsit down at the table in the dramatic play center.

Arthur to teacher: "I'm making the pizza youordered."

Andre: "No, I did." (Meaning that he placed theorder.)

Arthur to Andre: "Come back to the kitchen."Andre throws some play injera bread in the air. "I'm

tossing the pizza in the air." He puts it on the table androlls it with a rolling pin.

Arthur puts the tortilla press on top of the washerand Andre shows him how to open the tortilla press, putin the play tortilla and close the press. Arthur tells theteacher, "I'm making the pizza you ordered,"

This play scenario raises several questions. Whenthis scenario is shared with teachers of young children,some are wondering what injera bread is. (It is Ethiopianflat bread.) Others may express surprise that a tortillapress is in the housekeeping area. Still others may won-der whether the teacher should have intervened and "cor-rected" the child's misconception that all forms of flatbread are pizza. These questions may be an indication ofwhy some teachers are reluctant to include multiculturalmaterials for children's play. Although many teachersacknowledge that language and culture are critical com-ponents of children's development, actually incorporat-ing materials representative of children's culturesremains a problem for a number of reasons.

Some teachers report "we are all alike here" or "wedon't see color here" and fail to recognize that culturehas considerable influence on the lives of both the chil-dren and the staff even when it is not overtly acknowl-

'Department of Elementary Education, Ball State University, Muncic,Indiana.

Correspondence should be directed to Linda K. Huber. TeachersCollege 216, Ball State University. Muncie, Indiana 47306

edged. Perhaps the first place to look is at the teacher'sown beliefs and biases. While no one likes to admit thathe has biases or prejudices, it remains that almost everyperson holds some type of bias or prejudice. Perhaps theavoidance of incorporating materials representative ofother cultures should be a call to examine the potentialteacher biases.

Second, teachers may not feel they know enoughabout another culture to feel comfortable providingmaterials and answering children's questions. Teacherscannot expect to know everything about all cultures, butthey can increase their awareness by reading and explor-ing one culture at a time. Parents are often witl ing toshare about their culture or act as a resource for theteacher. When an entire child care facility explores cul-ture, they may ask different staff members to explore aculture and then share that information with the rest ofthe group. This prevents one person from doing all of theresearch. Another source may be the materials them-selves. Some companies provide information sheets withthe multicultural materials.

Third, teachers may feel that they are already incor-porating some multicultural materials in the classroom.The Multicultural Classroom Rating Scale (York, 1992)is a good place to begin an examination of how well mul-ticultural education is implemented in the classroom.The teacher rates nine areas of the classroom on a scalefrom 0 to 6, with 6 being the highest rating. Descriptionsare provided which help the teacher rate the materials ineach area. After all areas are rated, a total score is tallied.Scores are then checked against categories ranging from0-8 which is "developmentally inappropriate" to 45-54which is an "excellent attempt to incorporate multicul-tural education" (York, 1992, p. 104).

Fourth, a teacher may not know what props or mate-rials would be appropriate for the classroom. A closerlook at the descriptions provided by York (1992) for dra-matic play provides many suggestions for props. Thedescriptions include a full-length mirror; a set of multi-

2351082-3301/00 /0600-0235$18 00/0 «"> 2000 Human Sciences Press. Inc

236 Huber

ethnic dolls, hats, food containers, cooking utensils, eat-ing utensils, clothing, and shoes; crates; large pieces offabric; a variety of floor plans; and bedding (York, 1992,p. 103). Suggestions for additional materials can be foundin a variety of places (Boutte, Van Scoy, & Hendley,1996; Kendall, 1983; Ramsey, 1987). The cost of itemsincluded on this list may seem prohibitive. However,items may be donated by parents, solicited from localbusinesses, or purchased over a period of time.

WHY FOCUS ON THE DRAMATICPLAY CENTER?

The dramatic play center is particularly importantbecause it is one place where children learn about them-selves and their world. This center helps children movefrom their "sheltered family unit into a much more com-plex environment" (Kendall, 1983, p. 30). During socio-dramatic play children can express themselves, assumedifferent roles, and engage with their peers, thus "socio-dramatic play centers act as a nonsexist and multicultur-al arena in which all children are equal" (Morrison, 1995,p. 262). It is here that children can take control of situa-tions or try out new roles. Children also explore languageas they seek to describe their role or activity.

Dramatic play centers are often arranged as kitchenareas that are familiar to children. Often one finds only alimited variety of play food and cooking utensils in thesekitchen areas. Although we may have children who rep-resent a variety of different cultures, play food assort-ments often include only foods that may seem typical ofmainstream America (chicken, french fries, corn, etc.).Children use these materials to reenact their own experi-ences. Some adults may choose not to introduce unfa-miliar materials, such as foods from other cultures, think-ing that children may just ignore them. However, asRamsey (1987) pointed out, "If the unfamiliar is woveninto familiar activities, children can blend the known andthe unknown in their play" (p. 61). Children who are notfamiliar with materials from other cultures may be morewil l ing to use the materials if they are provided in a set-ting such as a dramatic play kitchen with which they arealready familiar.

Selecting appropriate materials requires not onlythe desire to incorporate multicultural awareness but alsoan examination of materials currently available in thecenter and a reflection of the program's goals. Althoughcost may be a consideration that limits selections forsome programs, it does not have to be a major consider-ation because many materials may be donated by parentsor businesses. Selections may include fabrics, dolls,clothing, play foods, and cooking utensils, all of which

represent various cultures and e thn ic i t i es . (SeeAppendix.)

When selecting materials, be aware of potential eth-nic and sex role stereotypes. Also, consider changing thedramatic play center to reflect more than a familykitchen. Perhaps set aside space that could serve as a l iv-ing room or bedroom. Fabrics used for blankets or pil-lows for child-sized furniture can reflect a variety of cul-tures. Additionally, children may use long pieces of fab-ric in a variety of ways, such as clothing, furniture cov-ers, or even to create their own dwellings.

Often the first item teachers select to include arebaby dolls. Caution is needed in selecting dolls repre-senting various ethnic groups. It is important to selectdolls that represent not only various skin tones but thefacial features, hair, and eye colors. Along with the dolls,provide a variety of props such as cradle boards andswaddling clothes.

Parents are often a good source of clothing for dra-matic play. Clothes from various cultures and ethnicgroups should not be limited to those worn on specialoccasions, but should include everyday clothes as well .Young children recognize distinctions between their ownplay clothes and dress clothes, and are able to becomeaware of those distinctions with other clothes as well.

When selecting food items it is important that theplay foods be as realistic as possible. In a study by theauthor, stir-fried beef was often called pudding by thechildren because it did look like pudding. Finding realis-tic looking foods is not as difficult today as a few yearsago, but beware of inaccurate representations. In addi-tion, provide pictures of foods or empty food containersfor children to use. Staff and parents can contribute theseitems to save money. Pictures can also be used to createpicture menus for children to use during their play. Donot forget to include diverse cooking utensils. The open-ing scene is an example of children incorporating theknown with the unknown as the injera bread became apizza and the tortilla press was used to assist the pizza-making-process. Introducing a wok or dumpling pressmay change the focus or type of restaurant the childrenare pretending.

WHAT CAN TEACHERS DO?

Respond to Children's Questions.

In addition to providing these materials for children,teachers need to be prepared to answer children's ques-tions about the materials. Children will want to be able tolabel materials and should be provided accurate informa-tion so they can do so appropriately. Before new materi-

Promoting Multicultural Awareness Through Dramatic Play Centers 237

als are introduced to children, adults should becomefamiliar with them so they can answer children's ques-tions correctly. Knowledgeable adults can also askappropriate questions to help children expand theirunderstanding of unfamiliar materials.

Observe and Listen

Listening to children's conversations will provideinsight about children's understandings. For example, thefollowing conversation occurred one day between 3-year-old Trish and 4-year-old Amber:

Trish: "I'm making taste tacos. I'm gonna roll thetaste tacos to it. I'm making some food."

Amber: "I'm going to make the stuffing. Okay,Trish?"

Trish: "What are you making?"Amber: "The stuffing for the tacos."This conversation can provide the teacher with an

idea of both Amber's and Trish's concepts of what ingre-dients and processes are used to make a taco. Also, theteacher can begin to listen for children's terminology forfoods. Trish calls tacos "taste tacos" and the teacher canquestion where she may have heard that name or why shecalls them that.

Participate in Children's Play

The teacher's presence in dramatic play can alsolead to conversations about materials. In addition toanswering children's questions, teachers can initiate dis-cussions about materials. As the teacher observes chil-dren interacting with materials representative of othercultures, teachers can ask questions about who might eatthose foods or cook with those types of utensils. Teacherscan also point out similarities between a donut and abagel or differences such as a bamboo steamer and awok.

Give Children Time to Interact with theMulticultural Materials

Teachers should leave materials in the dramatic playcenter for several weeks. Some children rarely play in thedramatic play center, but given time, they may be drawnto the center to explore materials representative of othercultures and ethnic groups. According to Day (1995),"long-term usage encourages acceptance and integrationinto the everyday play environment" (p. 62).Additionally, long-term usage may prevent teacher fromtaking a tourist approach to culture where children areonly briefly introduced to another culture with a focus onthe novelty of the group.

Provide Concrete Experiences for Children

Children cannot be expected to gain a clear under-standing of other cultures and ethnic groups simply fromhaving materials in the classroom. They need to have realinteractions with materials (Leow & Williford, 1993).Children's understanding of other cultures wil l beenhanced if they see foods, cooking utensils, fabrics, andso forth-used in day-to-day classroom routines. Snacktime can include foods like quesadillas or stir-fried riceor vegetables. Better yet would be for children to be ableto assist as these foods are prepared. Check with arearestaurants to see if children could take a tour or tastefoods that have been prepared there. Many grocery storesalso have spaces dedicated to various ethnic foods.Children could take a field trip to the grocery store to seesome of the foods eaten by other cultural or ethnicgroups. Teachers should also remind children that manyof the foods they eat might have originated from othercultures. Children from a variety of cultures have tastedtacos or egg rolls for example.

Integrating materials representative of many cul-tures and ethnic groups does not have to be difficult. Itdoes, however, require a teacher committed to the taskwho is willing to spend time learning about other cul-tures in order to answer children's questions and provideappropriate activities and materials. In today's society,schools rarely represent only one cultural or ethnicgroup. Even when they do, children still need to learnabout how they are similar to and different from otherchildren. Children's dramatic play is a natural vehicle forpromoting multicultural awareness and appreciation ofdiversity.

APPENDIX

Multicultural Materials Checklist for Dramatic PlayCenters

Examine your classroom and ask yourself (or yourstaff) if you have the following items for your sociodra-matic play center:

Dolls

Dolls with various skin tonesDolls with a variety of facial featuresDolls with a variety of hair and eye colorDoll clothing representative of male and femaleA variety of doll props, such as cradle boards and

carrying slings, etc.

238 Huber

Food and Utensils

Empty boxes representing foods from a variety ofcultures

Pretend foods from different culturesRealistic-looking foodsCooking utensils used by different culturesPicture menus including foods from different cul-

tures

Clothing

Everyday clothes worn in different culturesSpecial occasion clothes worn in different culturesClothing representative of male and femaleHats — All kinds (baseball caps, miner's hats, tur-

bans, etc.)Photographs of people dressed in different ways

Fabrics

Large pieces of fabric for use as clothing, furniturecovers, blankets, etc.

Smaller pieces of fabric for projectsFabric with varying textures and prints used in a

variety of ways (curtains, bedspreads, wall or ceilingcoverings, etc.)

Furnishings

Materials for living spaces such as a variety ofchairs, futons, etc.

Sleeping mats, hammocks, etc., in addition to bedsfor sleeping areas

Alternative kitchen equipment (such as child-creat-ed cookstoves, etc.)

Photographs of other methods of cooking and stor-ing food

REFERENCESRoutte, G. S.. Van Scoy, I.. & Hendley, S. (1996). Mul t icul tura l and

nonsexist prop boxes. Young Children, 52(1). 34-39.Day, J. A. E. ( 1 9 9 5 ) . Mul t i cu l tu ra l resources in preschool provision: An

observational study. Early Child Development and Care, 110. 47-68.

Kendall, E. E. ( 1 9 8 3 ) . Diversity in the classroom. A multiculturalapproach to the education of young children. New York: TeachersCollege Press.

Leow. L. M., & Will iford. M. E. ( 1993). Components of a modelpreschool program which recognizes multicultural diversity.Bowling Green, OH: Wood County Office of Education. (ERICDocument Reproduction Service No. ED 375 930)

Morrison. G, S. (1995). Early childhood education today (6th ed.)Englewood Cliffs. NJ: Prentice-Hall.

Ramsey, P. G. (1987). Teaching and learning in a diverse world:Multicultural education for voting children. New York: TeachersCollege Press.

York. S. (1992). Developing roots & wings: A trainer's, guide to affirm-ing culture in early childhood programs,. St. Paul. MN: Redleal.

For Further Reading:

Bagley, D. M.. & Klass. P. H. (1997). Comparison of the qual i ty ofpreschoolers' play in housekeeping and thematic sociodramaticplay centers. Journal of Research in Childhood Education, 12( I ).71-77.

Derman-Sparks, L., & the Anti-Bias Curriculum Task Force. (1989)Anti-bias curriculam: Tools for empowering young children.Washington, DC: National Association for the Education of YoungChildren.

Guddemi. M. P. ( 1 9 8 7 ) . Play and culture: Implications for teachersUniversity of South Carolina. (ERIC Document ReproductionService No. ED 287 598)

King, E. W.. Chipman, M.. & Cruz-Janzen, M. (1994). Educatingyoung children in a diverse society, Boston. MA: A l l y n andBacon.

McCracken, J. B. (1993). Valuing diversity: The primary years.Washington. DC: Nat ional Association for the Education of YoungChildren.

Myhre, S. M. (1993) . Enhancing your dramatic-play area through theuse of prop boxes. Young Children, 48(5) , 6 -11 .