WEBVTT - This file was automatically generated by VIMEO. Please email info@talestoolkit.com to report problems. Hello everybody. Um, welcome to another webinar with Health's toolkit. Very excited to have Greg here tonight. Um, if you can hear me, then if you can just chat and say hello in the chat and then we know that everyone's in and can hear us. Oh, hello. Hello, Lindsay. Right. It's working. That's the first thing to tick. So we're all good to go. Um, so just wanna say a massive welcome to Greg for coming and spending the evening with us tonight and FY two, um, who's making a feature. Um, really excited to have Greg here. Um, he did a webinar with us last year and we had a really fantastic response to it. So I'm great that he's gonna be coming back here tonight. Um, Greg is a former assistant head and early years lead, um, early years specialist and a speaker at events pretty much all over the world now, Greg, wasn't it? So that's exciting. Yeah. Um, author of bestselling books. Um, so, uh, he's got, can I Go and Play Now, uh, by Greg Botel and also School and The Magic of Children. And Greg is super passionate about the magic of Children and his books have kicked off lots of discussion for schools to really kind of embrace that creative imaginative play, which we are massively supportive of here at Tells Toolkit. Um, so you might know Greg also as the creator of Play Projects of Adventure Island, the Message Center, drawing Club, and also Playschool tv, which kicked off during Covid lockdown. So, so lots has been going on for Greg. Um, and he might chat a little bit about that tonight. But very excited to have you here, Greg. Um, and I'm gonna hand over to you 'cause I know you've got loads to chat about, so, hello. Hello. Yeah. And thank you. And, um, it's just always good to to chat with Kate just both professionally and, and personally as you know, those of you that, that no Kate of, of using TA's toolkit know that she's just ace that, you know, and Yeah. But you're, and I would consider Kate to be one of the play people. Um, and you know, having heard Kate speak in the past about TA's toolkit and seeing the impact that it's had on on children, it's just been a real delight for the Kate and the team to contact me and come and chat with you this evening. Um, what I'm gonna do. Yeah, no, it's, it's all true. Um, and you know, a lot of them I'm gonna talk about this evening will, uh, for those of you who are, uh, tail, what would you call it? Tail toolkit, kiters. That's a good phrase. That's a, that's a good phrase. Yeah. Um, um, the, what I'm gonna share with you this evening, I'm hoping you'll be able to see some of the kind of parallels and see how the two can really work together. Um, I've decided this evening, um, not to do a presentation as such. I think, I think we're, we're, we're quite tired. Mm-Hmm. I think, I think we've got to the point of the term where looking at a presentation's probably gonna be a bit too much. Instead you've gotta enjoy my face and EPIs of course. So EPI's come to join us, um, um, and whether she'll stay with us or not, I dunno. So I'm hoping she's not a distraction to what I'm, I'm I'm talking about. But, um, Mm-Hmm. Um, she's certainly part of a reminder for me about one of the reasons why Okay. And I, and hope for you are really passionate about, about play. Mm-Hmm. And giving that advocacy for early years is that actually for me is like the spirit of curiosity. She's a spirit of playfulness. She wants to discover and she's just got this natural joy about her. Um, it's like she's got a spring and a step, by the way, I'm not comparing children to dogs, I'm not doing that. You know, that horrible cha, channel five did that. Like, I'm not advocating, it's not that let's get upstart, but, but ultimately, um, and for those of you who have watched tv, you know that that epi very much is that kind of, she wants to discover and find out. Um, but also it's that thing of when we, when we enable children to bring themselves into their day and be the protagonist within their day, then to me that's when something magical truly happens. And for those of you who have kind of, um, heard me speak before, you know very much that I am a huge advocate of education being an adventure, um, and of education being done with children and not to them. And again, it's why I'm, you know, a real advocate of the stuff that Kate does of Tales toolkit. Um, and also, you know, some of the things that I'm gonna share with you today that can kind of, uh, sort of cross pollinate if you like. Um, to begin with, I just want to kind of just very quickly just talk about Coplay. Coplay is something that's at the heart of my practice, uh, and the heart of the philosophy that I, that I kind of sort of talk about with, with young children. Um, play itself is a really difficult word to understand for the adult world to understand. So by adult world, I'm talking about the adults that have play amnesia, that have forgotten what it's like to be in the 4-year-old gang. Um, and if you are one of the play people, you are one of the advocates of for childhood, then you haven't forgotten you. You've got a clear kind of understanding of what children need, um, and um, to both be themselves but also to excel as well. And that one thing I believe is this magic of children, which is based around three things, creativity, curiosity, and collaboration. It's those three things that to me are the hallmarks of this magic that children have and they hopefully show us every single day. So I'm just gonna ask a question. If you are one of the play people like me and Kate, if you are an advocate, um, passionately, so you sing the song of playing of Childhood, then just type yes or no into the chat. Let's see if we've got, let's see if we're in the company of the play. People, if you type no, you may as well leave now 'cause this is not for you. Um, I'm joking, but hopefully lots of you're gonna type. Yes. Um, this whole idea that really with Coplay, the reason I talk about that is 'cause I believe that as adults we have a role within childhood to play. It's this whole idea of there is a joy of being you as the child. You have the joy, but I've got the joy too. I've got the joy of something that I call the gift. And the gift is what the adult world would call academic skills. But I don't call it the ac academic skills. I just call it the gift because I want it to be seen as a gift. And given as a gift, I want to show children that there is a joy in reading. There is a joy in storytelling. And again, for those of you who are a Tales toolkit is, you'll know that joy just comes spilling out when you immerse in Tale's toolkit, um, with children. It's this whole idea that there is a joy within childhood, but there is also joy in being one of the play people that when we come together with children, something truly extraordinary does happen. We've got a gift to give children and children have got a gift to us. And there's this kind of interchange, if you like, or an exchange of gifts between us and childhood. And to my mind, if you don't write any other word down this evening, just write down the word childhood. I very, very, very rarely now talk about early years. And I very rarely talk about play because the adult world finds it so easy to dismiss it. So what I'm trying to do is create a narrative that's based around childhood and coplay. So just look to ask you just to type into the chat at what age you believe childhood ends. Just type it in. And if you type in five, you're definitely not one of the blame people. When do you think childhood ends? Yeah, lovely. Kate's got a straight away, uh, death. That was a bit heavy, but yes, childhood ends in death. There you go. Yeah. Yeah. Never. And do you know what, that's because you've got a memory of childhood, you've got that song inside of you that you want to sing. It doesn't end at five, but play and early years can end to the adult world. So that's why I, I um, I talk about childhood and certainly, um, for those of you that are maybe under a system of school where there is a very high degree of accountability and, uh, micromanaging the moment you start throwing it in the word childhood, it can actually be quite challenging to that because it would take a brave person to say they're gonna end childhood at the age of five. Um, so again, I'm just, I'm just kind of sort of talking about that to begin with just so you can kind of, sort of see where I'm coming from and from where some of the things that I'm gonna be talking about this evening, what they're kind of deeply embedded in. And it is not about play and it is not about early years, it's childhood. And it's my belief, again, when I look at something like Tales toolkit, tells toolkit shouldn't end at the age of five. It could actually go through to the 11 easy. If what we did, we had this shift of narrative that there is an alternative because there absolutely is. And we know that as, as, as play people. And that's why we're so critical. And what I want to do today is share with you not a theory around that, just, I'm just kind, sort of doing this as a kind of a little bit of a, of an intro as where, where my beliefs come from. It's an emotional space. It's what I call teaching from the soul, teaching to the edge of tears teaching because it means coplay because it means everything. It's not something frivolous. It's absolutely about this whole thing of identity. Childhood is a chrysalis of identity. It absolutely is. When we make memories for children, it's those memories that are going to go with them through the rest of their lives. They absolutely do. And we all know that. But often the adult world narrative is not about the now, it's about the future, future economics, future consumerism. And again, the, the things I'm gonna talk about today are very much about this idea of coplay, of memory, of identity, of children, feeling like they're accepted. Now I know that one or two people that have just heard me speak on a different, um, platform just earlier today, but I'm just gonna mention one character that I truly believe should exist in every setting, in every classroom across the world. She's a made up character. She's called Eva IVA and she stands for this inspiration, vitality and Acceptance. And it's my belief on a human level, that's what we're looking for. Whether you are in the three-year-old gang, or the 33-year-old gang, all humans need those three things. We need to inspire one another. We need to give one another energy and vitality, whether that's, uh, an, uh, a real energy of vitality or a quiet vi vitality. Ultimately we need acceptance. We need to feel as though we belong. Belonging is absolutely huge for children. Again, it goes back to this idea that children are protagonists in their own day. They don't just play a cameo role to what we want them to learn. So again, I'm really passionate about that and it's something that, you know, I'm really privileged nowadays to be able to go and try, particularly in schools, to go and show them that play childhood, I should say, needs to be alive and well. Because something really amazing happens when you enable play. When you enable three things, creativity, curiosity, and collaboration. When we enable those three things, that's when the magic of children really shows itself. And again, I'm sure you can think of times even today if you've been working with children where children have surprised you with what they know surprise you with what they can do, what they've invented, what they've said, what they've thought. And one of the things is that to me, that's the joy of being you. That's the joy of being you as a child. You can remind me what it was like when I was a child. It's like they're sending an echo that sends us back. It's like time travel. I know that sounds really hippie, but I do believe it. It's like it sends us back into time so that we too can forget time. Do you know those times when you're playing with children and you look up and it's like, oh goodness, I should have done that half an hour ago. 'cause you've been so immersed in something. So what I'm gonna talk about today is about this idea of coplay with children. Um, but I'm gonna try and give you sort of 10, 15 things that we can try with children that are going to amplify. The one thing that I believe we can really unlock for children, and that is the magic of story. Children aren't born with stories. Play and childhood is, I believe children writing inad comm, writing their own storybook, not written for them through their interactions. It's this idea of they are writing their own story of who they are. They want to read, they don't want it to be written for them. They want it to be read. And this idea of is that that's, that's the magic of children. That's the world that we can enter into that's just teaming with. It can team with a boil, just with the joy and pleasure of being alive. That's to me what children show us all the time. The joy of the little things, the joy of inventing, of creating, of seeing through the world of objects and seeing that there's this infinite possibility in life. That's, to me, that's what childhood does. That's what I truly believe. But on the other side, we've got another world that they don't know. And that's the actual world of story, the world of story books and traditional tales. It's that world of magic that we can and must open up with the maximum amount of joy so that we amplify it to them so that actually what they see is that that world can belong to them too. That we've got this idea of, of the gift. So the things that I want to share with you today are all about opening up this magic world of story. So there's like just a range of ideas that you can try. You might, some of them you might decide, you know what, I might try that in September. Others you might say, do you know what? I could have a go that tomorrow is really straightforward and huge apologies for people that I've, that that I've heard me talk about some of these things before. But I hope they're just a refreshing reminder of some of the things that we can do. Or what we're gonna do is we're gonna say, do you know what, um, children, this is something really magical. So as I said, we'll just go through them. Um, the first one, um, is the title, which was Story Dreaming. Now story dreaming is, uh, incredibly simple to do. The idea is what we do. Um, I tend to do story dreaming with children altogether in what I call carpet kingdom. I don't call my carpet time, carpet time 'cause it's not really a destination that really has any joy. And I, again, I'm really passionate about rebranding things, um, and rebranding what we, they call the areas of our continuous provision. So I don't call it carpet time 'cause the word carpet time, if I'm free, doesn't really suggest something magical is gonna happen. The idea is, we call it carpet kingdom. Potentially there's something a bit more intriguing, might be 50% more inclined to want to come to carpet kingdom 'cause it's a destination that I can go to. It's almost like I'm gonna follow a map. And so at Carpet Kingdom, the idea is we say to children, right, we, we lie down, all of us lie down nice and quiet. And now I'm going to story dream. I'm gonna story dream together. So again, in terms of rebranding, I very rarely talk about adult directed activity. I prefer to talk about time together. If I am this world of good things, if I have got this joy of story that I want to show share with you, let's have some time together. Without it, we're not gonna be able to open up this story, this, this world of story. So we'll have time together. So the children are on the carpet, we lie down really quietly. And then we say, today I'm gonna story dream in my story and do this with me guys, by the way, I can see in my head a pink elephant. It's enormous. Can you see a pink elephant in your head? An enormous pink elephant? And the pink elephant is sat on a tiny green bicycle. Can you see the enormous pink elephant on the tiny green bicycle? And the elephant wants to cycle forwards. What the elephant doesn't know is that the bicycle can only reverse. It can only go backwards. And already, if you're story dreaming, you can probably sense in your mind that bicycle's beginning to go backwards just as I said it. And behind the elephant there is a gigantic puddle. And that big pink elephant is about to go splash. Already in your mind, if you're story dreaming that elephants in that water, there are three in my story dream. There are three animals by the side of the puddle that are now really sopping wet. I can story dream a giraffe, a zebra, and a tiny turtle. Just type into the chat guys, what you, what three animals you can story dream in your mind by the side of the puddle. Just type in. There's no right or wrong guys. There really isn't. And while you do that, I'll just chat about why I did that. And that's the end of story dream by the way. It's literally 30 seconds. What I've done is I've shown children that I can create something in my mind at will. It's not testing whether children can do this, we're just showing them that it's a possibility. There is a possibility to story dream. Notice how what I did was I sprinkled language over the top. I had gigantic, enormous reverse splash, sopping wet. I just, how is that? Six or seven in the space of 30 seconds in the flow of a really short little story that's not got a beginning or an end. That elephant just popped up. But the idea isn't, it's not assessment to see whether, whether children can do this. It's just shown them that it's possible. It is a possibility to store your dream. I used to do it maybe twice a week. I didn't do it every single day. 'cause again, the more you do something, you do it every single day, it loses its joy. But I would just now and again, just say, do you know what guys? Lie down. Got a great one. We got a story dream that really kind of, again with our voice, it's like we're just relaxing into imagining something. And again, hopefully, and that story dreaming that it's that simple, it's just this whole idea of just a little pinch of a story. It's not finished. We don't know what the an what the other animals did. Maybe some children might suggest something afterwards. I don't know. They might do. But the idea is that we're just using as an opportunity just to my vocabulary and just to show them that story dreaming is a possibility. So that's story dreaming and I'm hoping just that really simple one is something you might go do you know what? I might try that next week because again, all these things, I'm just trying to trying to introduce it. There are things that you could just grab and go, boom, I can try. That doesn't take much. All it needs really is that little plan of in your head what vocabulary and the character. And when I used to do it, it was extraordinary how quickly children began to story dream for themselves. If you can. It's really worth recording yourself to send it home so that parents begin to story dream. 'cause it's, again, it doesn't cost any money and it's time together. Just that idea of just making up something that you know might happen. Yes, you might need to give an idea to your parents, but it is something that you can just sprinkle into the parents to show them that they too can be story dreamers too. So that story dreaming, um, epi just jumped out. Sorry, just, just forgive me for one moment. She's just covered me with all her golden furs and gr uh, her little gift to me there we're talking about gifts. Um, so that story dreaming. So again, hopefully, yeah. So yeah, and actually my son would kill me for this 'cause downstairs, um, he's 15 and even he likes a little bit of story dreaming now and again. So the next one is, um, what I call Spike Milligan. Um, so hopefully you're familiar with, uh, with the, with the comedian and poet, uh, writer Spike Milligan. The idea is to sprinkle nonsense over children. I greatly believe that's what children want from us. They don't want a dow a day. Children want us to be playful. They want us to have this big heart of play 'cause that's what they've got. And nonsense is a really brilliant way of doing it. So I see quite, uh, quite a lot of stuff with my children where I would just take a nursery rhyme and I would just change it just without telling them. So I would just go, um, one of mine was the grand old Duke of Cheese. I'm a bit obsessed with cheese. I talk about cheese quite a lot with my children 'cause it just amuses me. I don't know why I the grand old Duke of cheese, they're expecting you to say the grand old Duke of York. And now suddenly, yeah. And now suddenly, uh, pops cheese. And again, it's this whole idea of just Humpty Dumpty sat on the, he doesn't sit on the wall, he sits on something else. Humpty Dumpty sat on the moon and then you carry on with the rest of the stories. Almost, uh, rest of the nursery rhyme as if nothing's happened. What we're trying to do is almost catch them. Yeah, absolutely. And this whole thing of lots of books that we share with children very much are recreations of stuff. But when we do it with children, what we're showing them is that nonsense can be liberated from the book. And we too can be nonsensical with one another. Um, it's a little bit like, um, trying to kind of, I guess, um, just think of especially nursery rhyme. Again, IIII sometimes think there's this thing where we have to feel like we've got to leave nursery rhymes behind and leave phase one behind. So this is for, uh, uh, our English, uh, uh, uh, based in the uk that that initial joy of phase one of rhyme and alliteration, um, is often there's this narrative that we have to leave it behind the moment we get into letter sounds. It's my belief that children need to experience it all the time no matter what age. 'cause there is a real joy in what I refer to as the playground of language playing and toying with and inventing and creating with language. 'cause it therefore is often when we think of play, it's about physical objects or playing with one another and playing with language gets overlooked. Very much so. So again, I often, I call it musicality, the musicality of play. So what I do when I'm playing with children, I did it today at Woodfords in the kindergarten we were, um, I just showed them, um, there was like a metal tray and I, it was floating and I put some animals in the tray and I was transporting it. We had like a pump and I was transporting with the force of the water. And as I pumped, I began to sing a little phrase, which was just this, the ding D day. Ding D day as I went, ding D day, ding dang day. And within two or three times of singing it, four children began to join in alliteration, just popping up nonsensical, just adding like a little soundtrack. And when I left, which is probably about, we were playing about 20 minutes, one of the children had changed the rhyme and had now changed the D to an N. So they were now singing. So what I'd done is I've just given them the gift of nonsense and saying, do you know what language is for you to play with as well in a really simple way? And you'll notice how I did that, not on the carpet this time, but in coplay in part of the kind of the, what I call the hum and buzz of play. I'm adding some kind of musical soundtrack to it that children can join in on. Um, so again, hopefully that's something that you can feel this whole idea of nonsense and the idea of the grand old Duke of Cheese is some, some a character or nursery rhyme has a popup and we just sing it to children and we shock them because we've just changed it. 'cause what we want to do is give them the idea that they can change stories. And again, those of you who tell toolkit kiters, you know, that's what that's all about, is about, you know, children taking story and making it their own being those story dreamers. So again, it all starts with this kind of sort of sense of this, this idea of nonsense. So again, I'm hoping you can, you can, I love that one that use eggs, bacon, cheese on toast. Yeah, absolutely. Really critical. And it's not just about rhyme and it's not just about, you know, um, this, this idea of, um, of language. It's also, this is the joy of being me. This is the gift that I can give to you. Look how I listen to how I do this without being too heavy. And the idea is that they begin to pick that up and do it for themselves. So that's, that's, that's the grand old Duke of cheese. Um, the next one is something called memory messaging. And again, this is very much based on the joy of me as the world of good things pretending. 'cause again, children like that, they like this idea that the adults can pretend, can enter in and pretend with them. And in fact, as an aside, when we think about the word play, the Latin root for play, one of Latin route is lure the word luder, L-U-D-E-R-E. And within that word there's a root within Latin that means illusion. So when we play, we enter an illusion. And part of that, the joy of coplay is that we are entering into an illusion with children. So for example, this with memory meshing is where children come into our setting. We say to every single child that there's a memory message. Now this could be a word, a number, um, it could be, uh, a sum whatever you want. But let's keep it to literacy for now. Let's say it's a piece vocabulary. So let's say it's the word enormous. So every child that comes in, we'd say, today's memory message is the word enormous, which means something really big, enormous. Don't forget it because it's a memory message. And with about 10 minutes, after about 10 minutes, we pop up and we say to the children that we've forgotten, do they, can they remember what the memory message is? And again, a little bit like story dreaming, it's not an assessment of who can and who can't. The idea is you're trying to build on this muscle, the memory muscle. Children know that you haven't really forgotten 'cause you are the world of good things. And play with a play big, playful heart. They know that you haven't really, but they want to enter into the illusion. But it's a really brilliant way, not only of sprinkling and adding extra vocabulary into childhood, if you like, or over childhood, but also exercising the memory, the muscle of memory. Because what you can do is over time you begin to leave the amount of time it that passes before you forget. So you can get to, let's say your day finishes at, starts at nine and finishes at three. You introduce the memory message at nine o'clock and you pretend that you've forgotten to have the children remembered what it is. So that's memory messaging and hopefully again, something that you might be able to feel that you can just sprinkle over your day that could start tomorrow if need be something really easy. Um, that's just, again, it's got this idea of the connection. There's this joy, we're doing this together. And in my own experience what happened was children would come up to me and go, Mr. Bottrell, I've got a memory message for you. Don't forget it. And they might say a nonsense word or a number, whatever it might be. And after about 10 minutes they come, go, Mr. Bottrell, I've, I've forgotten what it is. What can you remember what it is? So again, what's happening is, is an exchange that I've shown them some kind of game playing, some kind of memory game that they're now bringing back to me. So again, I hope that's something that you feel can be quite exciting. Um, so the next one is, uh, this comes straight from my, uh, my approach called Adventure Island. Um, and this is a, a character on adventure island who lives, if you're lucky enough, if you, if you've got your carpet kingdom, if you've got a rug on your carpet kingdoms, you just type in yes or no. Guys, if you've got a a carpet kingdom that's got a big rug that you know, the ones that are like, normally they've got like lady birds on them or you know, it's almost like you walk in and it's like the really obvious thing in the room. If you haven't, guys, it's all, it's all good, don't worry, it's just a bit harder to play the shush, that's all. So it may maybe if you haven't, um, badges someone to get you one because it's a really cool, I know covid and everything, but maybe it'll come back one day. But the idea is with carpet kingdom, I used to tell my children that the shush lived under the carpet. So under the rug. So when we come to the carpet, 'cause the shush wants to find out what we're doing once to join in with us. Gotta be really quiet. So again, a little playful way of just setting that expectation. Because if you're gonna come to the carpet, children do need to listen, otherwise you may as well not bother. They may as well carry on playing because we're now wasting all our time if no one's listening. So this idea kind of just sets very playfully the expectation that we're coming quietly, but without being like, eh, you know, like Mr. Grumpy group being, eh, eh, eh, because no one wants to be Mr. Grumpy group. Children don't want these doward days, they want joy. So there's this joy of the shush. So basically if you've got whiteboards that children may write on or draw or as part of your carpet time, what you do is you say, I've got a great idea. At the end you say, why don't we show the shush what we've learned today, turn your board over and shove it under the rug and then pull it out. And children pull it out. What will have happened to what's on the board? It will have gone. The shush has taken it. And children, because they want make believe, they want the illusion. They know deep down that the carpet's taking it. But we've got this collective story dream that the shush lives under the rug. So again, a really simple idea that potentially you could pop up tomorrow, but again, if you haven't got a rug, probably a bit harder. But hopefully you can feel the joy of that. And how children, again, there's a whole idea of it's the learning's not just for us, I not play on the carpet. We've also got this make believe character that's waiting for us too. 'cause I very much believe that. And I, I I use this phrase that that play is the DNA of childhood and make believe is its heartbeat. 'cause child wants this world of make believe as do all adults really, you know, all, all humans want make believe to a degree. So I'm hoping you can feel that, that the joy of the shush. Um, the next one is a game. Uh, again, I used to play with my children, especially those children that really struggled with, uh, enunciation of sounds. So this one's called, uh, Tadda. So again, it's what's like this musicality within the play children, um, playing. And then maybe let's say today I've sent these little hippos down the, um, down the ramp into the water when it landed. If I've got children that are struggling with enunciation, let's say with sound at the beginning of a word, I would, at the moment it goes into the water, I'd go, ta It's extraordinary what can happen because you just pop something up out of nowhere that just sounds a bit extraordinary. It's a little bit like at the end of the day, to my children, I say tole pip. 'cause I had lots of children that struggled with this sound. So the idea was they were just hearing it, but without it being intervention. 'cause the moment the adult world starts doing intervention, it's almost as though children begin to see that the days don't belong to them. So tatar is a really brilliant way of just popping it up this enunciation. So again, going back to tales toolkit. And if children are writing about their story, it's really difficult if you are, have got sounds missing. So this whole idea is you are just, it can be anything like you go bing bong, depending on the sounds that are missing for children or shush, shush, shush. Again, just something that that that's gonna just latch onto to children. Um, and it's lovely just to see people just commenting that how, how that's their experience has been the same as mine. It's his whole idea. We know the children because coplay the only way I believe to authentically know children know who they are and what they need. That's my belief. And when we're in that harm and buzz of code play, we know that children have got sounds missing. It's just this idea of coming up with this little nonsensical phrase. And that just gets passed around. Oodle pip gets passed around like that boom, it just gets picked up on. And children just begin to say it in the, in the, in the flow of play. But it can be anything. Bacon and eggs, whatever it might be, salt and pepper. Which by the way is another little brilliant game as an aside, is playing. What comes next? So again, you can do this in Coplay or you can do it on the carpet. You just say things like, so we'll just play this game really quickly. I'll just, you say, you say a word and so like this salt and what comes next? Just type it in when you hear salt and what comes next. Yep. So salt and pepper or salt and vinegar. So the idea is, is anticipation. There's story dreaming going on even before we've heard the phrase. Next one, let's do, um, cheese on what will it be? Cheese on. It's interesting 'cause everyone's Oh, a crap bagel. Yeah. Crackers. Yeah. What about this one? Yeah. What about fish and yeah, fish. Mushy peas. Yeah, I can say, I was talking to my son about mushy peas. He wasn't interested yet. Fish and chips. So the idea is it's just, it's this anticipation of what's coming. So again, when we're thinking about early reading, when children begin to hear a certain phrase, they're anticipating what's coming again, this whole idea of a story beginning to form before we've got there a little bit. Like when that elephant, when I said about it was reversing, even bef even as I said the word reversing that elephant had gone do, do do do do do. And it's already started moving backwards. And the moment I said those three characters, they were already sopping wet. So again, they something and something game. It's just a really lovely way just to show children that the words belong together. 'cause you can really shock them when you then go cheese. Um, che uh, I can't think of of of a, of a, um, cheese on worms. 'cause they're not expecting you to say that. So again, you again, playfully you are just shown that, that, that that, that you are thinking differently. But they know that, you know, it's cheese on toast or cheese on crackers or whatever it might be. So again, there's like little playfulness, uh, within that game. So I'm hoping tatar and this and this and that, let's call it, it's, is also another one to play. Talking of story be dreaming. One of my, I i, I discovered this quite recently, um, and it's, it's genius to do with children, but it, it, it's, it's really funny what happens. It's called many moons ago, so many moons ago is where you start telling the story. So you do this, you'd go and the more extraordinary the better. So this is literally within Coplay. Literally in Coplay you just walk up to children that are playing and you just go, many moons ago there was a chicken who lived inside a wellie boot. One day it went for a walk and it met a wizard. And then you just walk off. What do you think the children are going to do? Just type in, what do you think the children are going to do? So you've walked up to them, you start this story, you've got his character, the chicken that lives in a wellie and then you've walked off. Yeah, they will want to know what happened, yet they will either take over or they want you to come back. So again, this whole idea of pulling children as a magnet into the magic world of story, they will want it, they want to know what's happened. Because when you sit down with a book and you open it up, children are anticipating you finishing that book. Although I once did it with Owl Babies, which I've got to admit, I know this is gonna, most people would block me there. I don't really like the, the book Owl Babies don't hate me. It's not one of my favorite books. But I once stopped halfway through and just told the children that the Mummy Owl didn't come back because the Fox er. And um, it was, to me it was really funny. But the children were not happy because they Yeah, exactly. 'cause they knew it wasn't what they were expecting. I know. I just, it just amused me at the time. But what I was trying to do was just change the story. Um, but I did, of course I finished the story properly and they were, you know, they knew I was doing it playfully. Um, but this idea of idea of Yeah, with Rosie's Walk, absolutely. Yeah, I know. But they really did listen. 'cause actually it was this whole thing of just 'cause I'm gonna read the story doesn't mean it's the story you are anticipating. And of course part of reading a, a story properly is that there's anticipation. We know what's gonna happen as a familiarity. If there isn't a familiarity, there's a curiosity. It's a complete, so I've just discovered the book, um, Billy and the Beast by Nadia Sherine, which is just brilliant. And I've only just discovered it to my shame. I think it's been around two or three years. Just brilliant. And I wish I'd, I wish I'd had it when I was teaching my reception children. And in fact I'm gonna use it in Woodfords, um, along the way. And, um, it's this idea of the, the, the children won't know the story but they'll want to know it 'cause they've leaned in so many moons ago. Just literally, it just stops. And then you walk off and they will, they'll follow you. They'll want to know what's happened. So what we're doing is they're just literally try, you're just literally pulling them into this joy of the magic story. And you're right Denise. Do yeah. Bad endings with stuff because do you know what childhood absolutely wants malevolence? Mild malevolence. So we'll just do as little exercise. Think about, uh, the three little pigs. Which character do the children care about and all. Yep. It's the wolf. Nobody, no one bless her cares about Mum Pig. What about Little Red Riding Hood? So Little Red Riding Hoods. Here she is. Yep. It's exactly the same. It's the wolf. Poor old grandma gets eaten up. But it's the wolf that everyone obsesses about. What about, uh, last one, Billy Goats gruff. Who did the children care about? Yep. It's the troll. No one cares whether the goats get across for their grass. In fact, all the children just want the troll to climb up downstream, go back up and eat the goats when they're not looking. Absolutely. So Emily is saying about Hansel and Grettel, it's to witch. No one cares about Hansel and Grettel eating all the sweets. We want 'em to lose their teeth. In fact, we want Gretel and Hansel to get boiled in the, in the, in the witches things. We wanna see what potion the witch makes. The idea here is that there's ought to be some kind of malevolence going on. That to me that's the best stories, um, is this whole thing of that's again, and not, it might sound a bit genders about boys and girls. 'cause actually bo both, both genders absolutely love malevolent characters. But you know, if we really want to open up the joys to all children, malevolence has got to be at, at at the heart of the majority of them because that's what they're looking for. Um, it's this whole idea of yeah, I I want some kind of mild threat. I want struggle. And just as an aside, to me that's the link between the two. It's this link between the world of play and the world of story. It's this whole idea of actually they belong together. They're linked by malevolence and struggle. And of course it's not about if your and sense depending on the age of the children. A a absolutely. It can depend on that. Absolutely. You know, your children, I used to have a plastic zombie hand that I used to pat children on the head on the carpet. And I had one particular child that it, the first time I did it, I, I didn't know this completely freaked them out. And I just put that hand away and I never used it again 'cause I was sensitive to the children. So it goes back again to Coplay and knowing your children, et cetera. But of course, absolutely you don't. Um, you know, we don't want children, um, sobbing on the carpet about, uh, about things being eaten. But the idea being is that what we're trying to do is we're trying to show children that there is a malevolence in the world. 'cause there is a mild one. But it can also always be overcome. You know, when we've got courage. 'cause that's what play is. Ultimately. It's about courage. If going beyond our limitations in our own stories, we couldn't, we couldn't do something. We were threatened by something or challenged by it, a struggle. But we can overcome it. 'cause ultimately that's what traditional tales in a way. Well actually most traditional tales are, they're kind of a morality ones, aren't they? But quite a lot of them are about overcoming. Yeah. So again, and not now Bernard, the children don't, like Bernard gets eaten on page four and the children don't bat an eyelid, but they do. When you, when the monster breaks one of the toys, they're like, oh, how dare he break one of the toys? And it's like, what? Hang on, you just once or two minutes ago just ate Berlin and none of you care. You know, it's that thing. They accept it, it's part of, it's part of their world, isn't it? If you like. So that's many moons ago. So I'm hoping that you can feel the joy of many moons ago. And it's something that you, that you feel that you might like to work to, to, to, to give it a go. Um, the next one is, um, is I, I discovered this the other day actually in, in, in a school. Um, and it's a, it's a, it's a, it's not a, it's a mark making idea. And it was me mishearing what the children said. Two children came up to me with clipboards. Um, and they said, um, Mr. Greg, which was always good, Mr. Greg. Um, I thought, they said, what do you wish for? But instead they, they actually said, we want to play restaurants. But me being 49 and my head made of cheese with holes in, they, they, I I thought they said, what do you wish for? And it gave me this idea of the game wishlist, of literally going round asking children about their wishes and recording them. And I really like it. I dunno if you can feel the joy of that. I as in literally just making a wishlist with children. 'cause I feel like it could really draw children into Mark making hugely. Can you feel that? Yes or no? That's, that's a really open-ended question. I feel like it could be a really, and again, it could be just drawing it, it could be, I don't know, it's just, it, I, it just clogs. And that's often children wish for things, don't they? So it's not gonna make a wishlist. Let's go make a wishlist. By the way, guys, I dunno if that works or not, because I literally only discovered that two days ago in a primary school. Just, but it was just a thought that I wanted to bring today. And again, one of the things we've coplay all the time is about researching what childhood is telling us what childhood is, is, is, is, is trying to show us. So this whole idea of, again, just someone talking about, um, about walking around with clipboards, et cetera, you know, making sure that ma that, that mark making's part of, of it. But again, in code play, imagine if we kicked that off. Just pop, literally just popping up and going, right? Wishlist let go. What do you wish for? I'm sure it will be a magnet for childhood over time. Okay? You wouldn't do it all the time, but just now. And again, you know, even just like as children come into our setting, go on then go and add to the wishlist, what do you wish today? Do you know, just be, I dunno, just to me it would feel like it would be a really lovely way of just bringing children into this idea that we're in the world of good things, you know? And our wishes aren't gonna come true, but we can pretend we can make believe that they are gonna come true. Um, so that, that, that's, that's, that's wishlist. Um, the next one, which I'm really passionate about is, is, is showing children the joy of role playing and that we're role playing. So I used to do things like, um, pretend that I was the queen for the day. Um, and I'd do the whole day just in, not dressed up, but just talking like the queen in a really posh voice. Um, so I'd do my, my phonics input as the queen and their children would want me to not be the queen, but I'd just carry on. Um, or they would, and I would say to them, but if you don't want me to be the queen, then some, then, then they would have to role play something. So the idea is, what I'm trying to do is I'm trying to show them that there's a joy, a playfulness in the adult. Also role playing. So for example, we used to play this game called Baby Zombies, which was, uh, a big parachute and we'd all climb inside the pa. No, exactly. I do quite a good queen impression actually, but it's not for now. Um, but the, uh, and it's not Freddie Mercury, by the way, is actually the queen. Um, and it's amazing when you do it, how many children begin to be the queen join in as well, um, as is when you play baby zombies. So, uh, that we had big parachute outside and we'd all clamber inside the parachute and then we'd send the baby zombie out to go and look to see if the sun would come up. And if the sun had come up, we had to stay in the bed. But if not, then we could come out. If the moon came up, then we would come out. But of course then we're all walking around being zombies and I'm a baby zombie as well. So of course then what we're doing is we're showing children. Theres this absolute joy of time together. Time together isn't just about being on carpet. Kingdom time together is also in the flow of play. I'm an equal coplay. I've got really cool ideas to share with you. I'm not gonna trample over your play. 'cause actually, if you don't wanna play it, that's all good. If you've got a different idea, even better. But I'm just gonna kind of immerse in this game and get it started and off we go. And you know, and again, you can start thinking about little rules that come in. Again, going all the way back to tell's toolkit, this whole idea of storytelling, story dreaming, being a character is really critical. And not just mums and dads or cats and dogs. 'cause often that's what children kind of revert to is like a trope, isn't it? So the idea of doing this is just showing them that our other things that we can be, again, really important word, show them, not tell them they haven't got to do it. Our joy is the magnet. We're part of the coplay. We are the world of good things. Come and play this, this is really cool. Children wanting to come in. So, so the idea to like, you know, practice being the queen and practice being a baby zombie or even better be queen of the baby zombies. Um, so again, hopefully you can feel, uh, the, the, the joy of that. Um, a couple more that that I'd love to show before, before time runs out. And hopefully you can feel the joy of lots of these, lots of these ideas that can really add, add just that sprinkle, um, over things. Um, is, is um, it's called whatever you do Don't, I found this works really well is when you say to children, whatever you do, don't remember that. I'm just gonna make this up off the top of my head, by the way, by the guy by the way guys, I'm not suggesting you do this with two year olds. Don't remember that. Two plus two equals four, just don't remember it. And I can guarantee you children will remember it because you told them not to. Now again, it's not a strategy that you would use a lot 'cause then it just loses its magic. But now and again, things like letter sounds or uh, numbers or number order, um, or counting back, whatever it might be, you tell children whatever you do, don't remember it. You know the thing when you, and again, it's all about being the playful heart, the playful coplay, the children know that when you say don't do something in that way, you are being playful and it's amazing what it will do. So the sound, this one I'll type into the chat 'cause I'm rubbish at saying it. I think you say you, you are your 'cause I'm from Nottingham, so I find it a really hard sound to say. Uh, I say it like that as if it's red like that your, so it would be one that I really struggled with, but I used to use whatever you do don't with that one. So that children remembered it more. So again, just a little game, a little playful game to play with children that you might just sprinkle across your day, um, and into it. Um, so that's that one. So I'm hoping you can feel the joy of that. And the last one is something called, this is completely brand new that I've just created with my, um, Patreon group. It meets every Wednesday. Um, that is just a really, it's called Joy and there's lots of different play people in it. And you're more than welcome to come and join. It does cost 'em afraid, but not, not masses. Um, we get together every Wednesday and we kind of sort of, um, we look all things childhood basically. And we've kind of come up with something here that I'd love to share with you. Um, we're actually about to go and work on a whole approach for SEN with, um, with, um, looking at, um, at curriculum and stuff. So if that's something that excites you, then you're more than welcome to come and join us. But that's an aside. This was created alongside, um, with them. The, the shape, it's called the Dreamtime Library. Um, and the Dreamtime Library is a way of adding the world of magic. A story into the home corner. Now you may, this may be something that you don't want to go with, I don't know. Depends on how, again, how you, how you see Home Corner play, whether you see your, your, your role, uh, whether you see your role as, um, uh, being with, um, with, with children in the home corner. I don't know. I, I, I certainly did. I wanted to be in there. I wanted to give them ideas. 'cause often I found that the home corner often went down to, uh, into this idea of mums and dads and cats and dogs often descended into that and that's fine. But I wanted to show them how to kind of add something extra if you like, if they wanted to. So the idea of the dream Time library is this really simple children come into your setting. Um, and lots of my work is based around the approach called Adventure Island and an adventure island is that we have portals. And if you're not familiar with Adventure Island, that's all good. That's okay. Um, but it doesn't mean you can't use portals. But the portal is what's called a magic mustard tin. So it's like an old tin that looks like it's come from another time and place. And in that tin uh, in that portal, there is a book, but you don't read the book to the children that book that portal. The book inside it is in the home corner. Now, the first time you do, first couple of times you do this, you might have to have it in Carpet kingdom to show them. Otherwise they're not gonna know what's in there. We'll just see an old tin. The idea is you take the book, let's say the children are on a carpet. You take it outta the tin and show them the front cover of the book and you just say, oh my goodness me, look what's arrived in the magic muscle tin or the portal or whatever you call it. I've got a feeling that whatever's inside this book is going to be coming to the home corner. Now, my home corner, I used to call the land of far away, we'll call it Home Confinant. It's gonna come to the home corner back and it goes shut then and into the home corner. You might do that a couple of times with a different book each time, time. And the idea is here is we're just trying to pull children into curiosity. 'cause that's what children are of what's inside the portal. To open up a book and look inside it to see what characters they might find that may come to the home corner. So for example, in your home corner, if you've got a little kitchen, let's just say the book is Billy and the Beastie, and they open it up and there's the Beastie. If we're coplay, we can then potentially say to children, oh my Goodness me, I've just realized the beast is going to be coming to the home corner today. Just imagine the layer of potential storytelling and joy and the magic of story that can now emanate from that home corner as opposed to it just, so this is like an added layer. It's not about just running rough shot over everything. It's a possibility that we're saying to children that books can come alive within the home corner. I've just done this in the school in Bristol, and it's just gone really, really exciting. And I've just been, I literally had a message yesterday from their teacher just saying, the interest in books and opening books and looking at 'em and wondering has just gone outwards having started to do this portal inside, uh, the home corner. So that guys, I'm hoping, can you feel the joy yes or no of, of that? I'm hoping that you can. Um, and hopefully again, you'll be able to feel how that could link into Tale's toolkit. Mm-Hmm. Just, just that alone, that one idea how Tale's toolkit could just go join. How big's your magic mustard tin? It's about that. It's about that big. It's downstairs in my kitchen. But yeah, I'm super, super excited about that last one. I, I feel like it's gonna be something really ace. Um, but I hope you enjoy guys. I wanna be, I wanna be in your class, Greg. Honestly, do. I'd love to tell stories. I think you should just come round and we just have an evening of creating stories together. Oh yeah. Oh, Absolutely. Yeah. Yeah. We should do that. We'll have one in the pub. Yeah. My, my, my children said I did my best parenting after a point or two, so I'll probably do, you know, they learn very quickly to take me to the pub and then ask for stuff. Yeah. Ask for stories. Well, I hope, I hope, I hope the time spent has been really useful for people. Awesome. I've really enjoyed sharing the ideas, et cetera. It's been brilliant. Are you all right to answer a few questions? Yeah, Absolutely. Of, of course. Yeah, absolutely. Yeah. Yeah. Lovely. Um, so, um, the, at the beginning they were asking, so two of them I think that would go really well together. How can I bring play to older people and then somebody else? How can we help adults who can't recall? Childhood play, I think was the first question about, about, about adults. Just how do we bring it to adults? So how you bring play to older people, really how you kind of make people recall that childhood play. And remember that I, I think part of, there's a, there's a really good exercise that you can do with people. Mm-Hmm. Um, and it does involve going back to childhood and, and, and saying to ourselves, what are those moments where time disappeared? Everyone, everyone on the whole has got them. I recognize that some people don't have a great childhood. Yes. Recognize that. Um, but I've also worked with people that haven't had a great childhood and they've actually said, but I'm more determined to make sure the children that I work with do have one mm-Hmm. It's this idea of going back to stories that we were told, you know, society has changed. I mean, massively, of course it's, that's a really obvious thing to say, but like, as in, you know, children don't, don't have the free play that we used to have as children. Yes. And, and a lot of things are very systematic now and childhood in a way. I believe it is kind of under threat a little bit, or not a lot. So actually our respons, I believe our responsibility is if we are gonna create this landscape for children to go and venture and we need to give them a childhood and we need to get parents on board with that. Which is why I talk about childhood. So I've done some work with some parents, this might sound a bit naughty, but I've actually said to them, do you know what your next parents meeting go and say to them? Mm-Hmm. Don't say lovely. The books and the writing. Lovely. Yeah. But tell me what you've done about my c child's childhood. Yes. Because It's so left field, but like, because, but because parents, and this is again, no one teaches you how to be a parent. Mm-Hmm. You learn from your, from your parents or from your community. No one actually sits down and goes, this is what you need to do. Yes. So it's a lack of, it's lack of cultural understanding that we have, particularly in England. I think, you know, other, other cultures definitely have a much stronger sense of family and children. Yeah. But here, I believe that's why childhood such a powerful narrative because the moment parents begin to look for childhood Mm-Hmm. Maybe we might get it. And it's really interesting 'cause at Mud Foods where we look, we're about to open a, a homeschool. And when you look at the careers of the people that are interested, nine outta 10 times they're teachers. Mm-Hmm. Yeah. It's true. Yeah. And I, I remember when I was working in schools, like I think when you start getting parents playing and engaging in those activities themselves, even if they've not had those as a child, that's when they really see the value of that and how it makes them feel. Yeah. Absolutely. And actually we, we we're driven to play. Yes. You know, we're driven, we're driven for make believe. We absolutely are. And it's kind of, you know, that's the thing why I, I believe as play people, we just gotta keep singing that song of play in childhood. And, and, and actually it's really powerful and it's really critical and it's absolutely not separate from the gift. Yes. Because that's what the normal narrative is. Like, you, you work, then you play. But actually the gift of the three M's of Mark making mathematics and making conversation is absolutely embedded in the world. Yes. We've just gotta show children and they'll see it. Yeah. I'm convinced of that. Yeah, that's true. Um, yeah, it's quite interesting as well. 'cause for us, Intel's toolkit now, 'cause I've obviously not working just purely with schools. We've had a lot of people from big businesses that want to engage with storytelling and play with adults because they find that it makes a big difference in terms of the businesses that they're running. Massive. So like play is important all the way through like Right. The way through like we were saying to death. So, so yeah. Really Important. Well, absolute. We we're driven to do it. Um, I just, I just saw Gail's question there just about things about, again, everything seemed to be focused on early years. Again, that's why I don't talk about early years, why I talk about childhood. Yes. Um, it's why I created play projects. So again, those people that maybe have tried play projects, my play projects idea. Mm-Hmm. There are several schools now that, that is gone all the way up to year six. Yeah. And it's taking chi got, again, the word plays in it for children. And the word projects is for the adult world, but it, it takes child it up. Mm-Hmm. Because what you do is, and this is one way to do it by the way guys, it's you just tell children when they leave reception. Mm-Hmm. Don't let the adults fob you off by not letting you play. Yes. I've done that once. Don't worry guys. Those people are thinking, I won't mind Greg coming into my school. I won't do that. Don't worry. But I did do it once. Yes. But I just thought, you know what, I'll tell you, don't let the adults fob you off because actually children do need to know Mm-Hmm. That their choices are the most important ones. Yes. I, I believe Yeah. It's good. Well, I, I, I think I've said this in webinars before, but we had a little girl when she left reception and she went to year one and she came down about a week later and tied herself to the fence of early years with a skipping rope and said she was protesting from not being allowed to play in early anymore. Yeah. They, they kind of know what they're doing. Yeah. Absolute, absolute. Yeah. Tell the children And for our, and for our nursery colleagues here, for our kindergarten colleagues. Mm-Hmm. One of the things, it's so critical that we get parents on board and show them that childhood it just won once. Mm-Hmm. And it doesn't end at five. And to me, that's the thing about this echo that we can send out from kindergarten up through into school so that parents go armed because really nothing's gonna change and parents demand it. Yes. Mean I'm that I, I I know I I know I probably sound a bit miserable there, but I I'm not, I'm really passionate about, you know, one thing is to me, and I know you, you, you would agree with this, Kay. In a way, it's, to me, it's not about trying to change anything. It's actually about trying to build something completely new. Mm-Hmm. And when you build something completely new, then people will come and find it. That's how I believe. That's what I believe. That's believe what we do and we play. Oh, I'm Find you. That's good. Um, another question, um, could you quickly explain Happy talk? Oh, happy talk. Okay. So Happy talk is, um, it's, it's hard now because, well, basically it's my approach to phase one phonics. So it's based on, um, on Adventure Island. Mm-Hmm. I don't, I, it it's not a phonics approach. 'cause I'm, I don't want it to be a phonics approach. I just, it's just happy talk. It's just So there's 120 games Yes. That, um, you can play with children. Some are in carpet kingdom, some are in Coplay. And all of the things basically have a, um, have a spin of adventure iron on it. So the characters from Adventure Island bring the gift to children. But it's all firmly immersed in this idea that phonics is not done to children. I believe that children are phonics Yeah. That they've got it in them. Mm-Hmm. So I'm not it. So that's, that's what it's, it comes out, I mean, I should have come out last month, but I'm waiting because there's all this kind of ferrare about having to get phonics stuff graded and uh Mm-Hmm. Approved by the government. Yes. But I'm not gonna pitch it as phonics, so I'm not gonna need to get it. I'm just, it's not phonics, it's just happy talk. So I'm just gonna take all the, all the mention of phonics out Mm-Hmm. And it's just happy talk. Yeah. Yeah. Um, but happy talk as well. Part of that is about chatting with children as well. Mm-Hmm. Yes. So again, the adult world makes everything really complicated. Mm-Hmm. And I believe that children just look for simplicity. That's what it needs. And the simplicity of chats, the chi, the simplicity of of, of chatting together Yes. With us as teachers, but also of parents. Yes. And, and to me that's kind of, you know, and again, I know you've done a lot of work in Tell Toolkit with that about with, with, with really important. And, and it's that thing of, it doesn't have to be as complicated as sometimes the adult world makes it just chat and chill. You know, just chat and know. Yeah. Yeah. That's, that's what I believe. Yeah. No, we're with you. 'cause I know for us, when we started researching into Why Tell Toolkit it works, it was just purely everything came down to the fact that it was those quality interactions between adults and children and children and children and all of that talk. And that playful just fun. Like enjoying being together. So Yeah. And that was behind everything. So, so Yeah. Yeah. It is. It's good. Um, and last question for you tonight. Um, are all of these ideas note down in your books? Where can we get hold of them? Well, got, um, it's actually a downloadable PDF 50. Page. PDF. It's also got, I've written, uh, 10 stories that go with it. Yep. All they, all the different characters. I just, I just need to, to, I've just been waiting, uh, 'cause I've kind of sort waited for around about in the next two weeks because obviously September will start and I can launch it for then, but that's not coming. All of these ideas. No, they're not. They just come out of my brain. Mm-Hmm. Um, and their memory take, I'm, I'm old now and, and lots of these games I used to play with my children, but I've forgotten. So Adventure Island, I had to be reminded by my colleague Mm-Hmm. That we used to do it. And I was like, oh yeah, that was like a really massive thing, wasn't it? Mm-Hmm. Um, so they, they're not, but I, I do have something coming out relatively soon called a, that is called The Shining Path, 100 Steps to Joy. Which, which, which again will be a PDF download, which is a hundred games to play with children that are just, and just things to do that are just fun, but, but have also got a little bit of the gift sprinkled over them. So all of that will come. So, but people can find that on, uh, can I go and play now.com? Fantastic. Lovely. Well, we've gone well over time, but Yes worries. I'm gonna stop you because it's, I'm always just excited to hear you talk, Greg. It's just really inspiring. So I know that everyone here tonight has had a brilliant kind of come along and got lots of ideas to be taken away that they can put into place tomorrow. And I know that's what your aim was. So, but big thank you for spending your evening with us. You're welcome. But yeah, and it's just been really lovely seeing you and chatting with you. So, so yeah. But yeah, we should definitely have a catch up soon. And big thank you to everybody for coming out tonight and spending your evening with us. And, uh, have a good day in school tomorrow. So, yeah. Thank you. Take care everybody. Thank you.