86a21d6d E734 98da E933 01daccf6d4a7 Wecancanweplaygamesrevision2

Please,
Can We Play Games?

Joyful Interactions
with Young Children
Ruth Ker
CanWePlayGamesRevisionApril2018.indd 1 4/18/18 1:05 PM

Please, Can We Play Games? Joyful Interactions with Young Children
© 2018 Ruth Ker
ISBN: 978-1-936849-44-4
Author: Ruth Ker

Copy Editor: Bill Day
Publications Coordinator: Donna Lee Miele
Graphic Design: Sheila Harrington
Cover Image © 2017 Ruth Ker
Published in the United States by the Waldorf Early Childhood Association of North America
285 Hungry Hollow Road Spring Valley, NY 10977
www.waldorfearlychildhood.org
Visit our online store at store.waldorfearlychildhood.org
This publication is made possible through a grant from the Waldorf Curriculum Fund.
All rights reserved. No part of this book may be reproduced without the written permission
of the publisher, except for brief quotations embodied in critical reviews and articles.
We are especially grateful for material from the following publications,

made available for reproduction in this book by the express permission of the authors:
Let Us Form A Ring: An Acorn Hill Anthology, © 1989 Acorn Hill Children’s Center
Dancing as We Sing: Seasonal Circle Plays and Traditional Singing Games

for Young Children (Volume 2 of An Acorn Hill Anthology)
© 1999 Nancy Foster
Movement Journeys and Circle Adventures Volume 1,

© 2006 Nancy Blanning and Laurie Clark
Movement Journeys and Circle Adventures Volume 2,

© 2015 Nancy Blanning and Laurie Clark

Contents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Why play games? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
The nature of the games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Building relationships with children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Choosing the right game at the right time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1. Social Games: Playing Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Games for playing with fingers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Playing in circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Dipping rhymes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Bell games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Riding comfort songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Touching games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Hiding games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Linking arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Sensory games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Working with the older children in the kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Other verses for older children, age six and up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Clapping games for older children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Memory games for older children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Bean bag games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Outdoor games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Skipping or jump rope rhymes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Adapting jump rope games for younger children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
For older children at the end of the kindergarten year . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Other social games to explore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

2. Traditional Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
All together in a ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Several friends in the center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
One person in the center (or teacher and a child) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Weaving around the circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
The circle breaks form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
3. Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Before group times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Transition into circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Verses for circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Circle is ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Snack and lunch time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Transition into story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Transition out of story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Painting or drawing transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Clean-up time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Resting transition songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Off to the bathroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Outdoor transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Outdoor time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Songs to sing outdoors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Traveling together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Outside to inside play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Going home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Nonsense verses for older children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Spontaneous finger and movement games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Animal finger games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Other transition verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
ii

Preface
P
lease, can we play the games now?” This was a frequent plea during
the years I worked in the Waldorf Kindergarten setting. These time-tested treasures
were a part of our “en-joy-ment” every day. Rudolf Steiner expressed many times that the
children thrive in an atmosphere of joy, warmth, and love. This daily habit bestowed countless
blessings on each individual class, and also on the school as a whole, as the children carried
their love of rhythm and ability to socially harmonize into the grade school. At first, it was a
surprise to me how remarkably the games worked into the social fabric of the class. As time
progressed I was increasingly rewarded with realizations about the value of the games in other
ways too. I’m hoping that this book will become a helpful resource for your practice as the
importance of transitional, social, and traditional games becomes more of a revelation to you.
Something magical happens in an early childhood program when the educator dons the
cloak of playful lightheartedness during group times. We know that children explore and
relate to their world through play. More subtly, when the children meet this playful energy
in another, a kindred resonance happens. An unspoken language begins between them. This
can be a valuable asset to the relationship between child and teacher, and generally creates a
powerful link where resonance builds. Between them now exists a safe harbor—a place where
trust, interest, joy, and the possibility of discipleship is kindled.
After all, the word “disciple” is the root of the word discipline. Our games and group
times flow much more easily when the teacher has gained the child’s interest, affinity, and
discipleship. In Waldorf education, we sometimes use the expression “getting the child into
our etheric” to refer to the activity of weaving children and adults together into a harmonious
whole. For that to happen, the teacher must establish a right relationship with the child. More
will be said about this in the section “Building relationships with children.”
Rudolf Steiner repeatedly stressed the importance of imitation in early childhood.
Children are naturally drawn to imitate the adults in their midst—this is the key to successful
transitions. But do the children really want to follow us? We hear that young children mimic
all surrounding activity; yet in a room full of caregivers, children with healthy instincts will
tend to imitate the person with whom they have the most resonance.
When Rudolf Steiner speaks of imitation, we know that he consistently mentions the
importance of the teacher’s self-education and of also being a worthy role model. He also
iii

says, in The Renewal of Education, that as children grow toward the change of teeth, they
become increasingly in need of “an authority outside but alongside” them; this is “one of
the most important aspects of human life.” (28) He goes on to say, “[The child wants]…
the experience of having older people nearby, people who, as genuine authorities, are able to
educate and raise the child… This brings us to the role of love in education and upbringing.
One of the intangibles we are justified in lovingly exercising in educating a growing child is
authority over that child, and that our authority be accepted as a naturally effective force.”(28)
This is a rare example of Rudolf Steiner directly recommending both imitation and a natural
authority in education for early childhood, the time before the child enters grade school.
As early childhood educators, successfully bringing children into our group times can be
challenging. Many of us struggle with this duality of working out of imitation and bringing
form in the right way for the young child. On one hand we hear that it is best to not give
intellectual directions to the children, and on the other hand we are asked to bring the children
together in a formed way during our group times.
It might be helpful to ponder another of Steiner’s statements from The Renewal of
Education: “We will not have that authority if we are not permeated in a certain way by what
we have to bring to the child.” (66-67) Here, Steiner contrasts the child’s experience of one
who offers a dry, memorized version of a game’s content, carrying it out of a sense of duty,
and one who has enthusiasm and an inner warmth for the activity. What could be warmer
and more enthusiastic than activating our own playful side when we bring these wonderful,
enticing games to the children?
Rudolf Steiner stressed the importance of the quality of the bond between the adult and the
child many times. One example from Metamorphoses of the Soul: “Everything in the nature
of love and joy centering upon the child from its immediate environment, replenishes the
forces of the physical body, rendering it supple, plastic and amenable to formative influence.”
When the early childhood educator can combine interest in the children, playfulness, and joy
into a firm loving holding of the circle, magic happens for everyone. Everyone is free to get on
with the meaningful, life-giving events of group time.
The importance of having joy-filled, warm adults in the child’s presence is an experience
that rings true for me when I recall my own childhood. I was raised in a very work-oriented, no-
nonsense family where play was a luxury and considered an indulgence for children. I remember
one person who crossed my path in my early childhood who still has a large impact on me to this
day. He was a lifeline for me then—an older adult, a “grandpa figure,” who showed me that play
was okay. I remember the twinkle in his eye and his mischievous smile when he would wink at
me, reach out with his cane and touch my toes, or ask about the fairies in my garden. I rarely
saw him, but when I did it only took a few moments to resuscitate my fun-loving instincts. It’s
interesting that sixty years later he still stands as a reassuring beacon in my mind’s eye. When I
stand in front of the children in my firm, loving, playful stance, to a certain degree that person’s
same twinkle and playful reassurance shines through me and out to the children.
iv

The games, songs, and verses in this book are intended to help you bring more ease to
your practice and to contribute to smoother transitions. Perhaps they will also kindle more
joyful enthusiasm for you and the children as you do your blessed work as dispensers of love in
your particular early childhood setting. Entering into a relationship
with the children where they can trust your choices and joyfully When the early
anticipate what new fun game you may “have up your sleeve” helps childhood educator
our transitions to be seamless and contributes to the sturdy social can combine interest
fabric of the kindergarten. in the children,
The “harvest” you will experience in this book comes from forty playfulness, and joy
years of appreciated opportunity—what a grace it has been, to be into a firm loving
allowed into the world of childhood! This material is by no means holding of the circle,
a complete collection of transition, traditional, and social games. I magic happens for
have purposefully not included the common songs and verses that everyone.
we may already have encountered in our Waldorf practices; rather,
I have tried to garner new material to expand your repertoire. I highly recommend the
resources listed at the back of the book. We are fortunate to have so many gifted colleagues
in our Waldorf movement.
As mentioned, my hope is that adding to your repertoire will contribute to the rapport
you have with the children. When you read the material in this book, you will know what
is applicable to the age group with which you are working. I have tried to arrange the games
from the simplest to the more complicated in each category. However, it has surprised me
how often the six-year-olds love to repeat the baby games and how the youngest children in
the kindergarten will look on adoringly as their older peers enjoy a more complicated game.
Sometimes the teacher needs to create a safe space for certain children. In my kindergarten,
I have always made a space for the younger children to watch if a game is too much for them.
They become “the little mice in the bushes watching,” “the audience,” “the helpers.” The safe
place can also be for older children experiencing the newfound wave of self-consciousness that
arises at the time of the birth of the etheric. At the same time, it is touching to watch the older
children, exploring their nurturing side when they shepherd a younger child through a game.
Finally, these games are not meant to replace the circle time in your classroom. They
are meant to add a little icing to an already delicious cake that you are serving up. I found it
effective to play them at the going-home transition each day, but I’m sure you will find your
own placement of them in your daily routine.
As you make your way through the pages of this book, may you enjoy your own personal
harvest of food for the young child’s body, soul, and spirit. Perhaps for you too!
This book is dedicated to the children of our world, to all the shining faces that come alive
when playful moments cross their paths.
—Ruth Ker
July, 2017

Introduction
W
hy play games?
Playing games regularly with children allows them to repeatedly play out
and deepen in qualities that will serve them for the rest of their lives. These are important
unconscious beginnings which can later transform into moral habits. Of course, this is
contingent on the adults holding the sacred space for this to happen.
Some of these dreamy beginnings are listed here:
Sharing—All of our friends have a turn before someone gets a second turn.
Taking turns—It can be beneficial for children who are always first in their families to
have to wait for a turn. To carry the consciousness that “we all have a turn” or “if we don’t have
one today then we will have one tomorrow” is a blessing for future playground interactions
(maybe even for much-later boardroom deliberations!).
Giving others a chance—Having firsthand experiences of “sometimes others come first”
during the course of a game can help self-oriented children to experience something outside
of their experience.
Controlling impulses—The games encourage the children to self-regulate so that they
can continue to be part of the ongoing game. Many games are excellent for children for whom
this is very difficult.
Cooperating in a large group—This is a new skill for the young child. Having a way to
regularly practice this with assured comfort and safety gives lifelong benefit to the growing
human being.
Listening to others—Learning to wait to hear fully what someone has to say can be
modeled repetitively during games times.
Being present in the moment—This is a rare condition in our time, even for children.
Being in the moment during games times is fulfilling and has similar benefits as immersion in
play.
Waiting for my own desire to be fulfilled—Perhaps a child’s wishes for the game are not
the ones that are played out that day.
Heeding the differing needs of others—Beginning to sense into the needs of others or to
anticipate how others are different from ourselves.

Developing imaginations—Many games are places where anything can happen and
magic is possible. How satisfying it is for the child to be freed of the usual fetters and to be
encouraged to enter imaginatively into life.
Leading the way—Leading the game during games time or later, during free play, is a
way to practice how to gradually build effective leadership skills.
Being a follower—Allowing others to lead and being a cooperative follower is often not
an easy gesture.
Respecting rules—Abiding by “the way the game is played” meets the child at a very
deep level. The comfort and reliability of the game being repeatedly the same builds a sense
of security.
Finding my way back to imitation—The games can be a helpmate for those children
who display oppositional behavior. Finding comfort in imitating meaningful examples can
be a healing balm for children who have lost this as a first response.
The nature of the games

Many educators, like Peter and Jane Opie, have lamented the disappearance of childhood
games. The Opies wondered if this was primarily because of a change in how parents and
educators were viewing childhood. Below are three adult concerns that the Opies saw driving
this phenomenon in the 1960s.
1. Children have few diversions if left on their own (adult fear of child boredom)
2. Children are addicted to spectator amusements (media considerations)
3. Children will languish if left to rely on their own initiative (adult fear of child laziness
or lack of ability to play)1
The concerns above seem to question the ability of the children to play on their own
or with each other. It seems that lack of belief in the power of play has contributed to the
lack of value placed on children’s games. These adult fears seem even more amplified in our
time and yet, if children are given the opportunity to encounter these games, the timeless
attraction of traditional and social games still lingers for young children. Time and again, I
have seen groups of children come alive as the games cast their spell over them.
Another hindrance that the children of our time may encounter is finding playmates. Not
only have the games become more obsolete, but also unsupervised group play has become a
rarity for young children, and attending adults who influence play don’t necessarily realize
the hidden value of playing games. An antidote to these limiting belief systems is to help
the children encounter games as soon as possible so that this kind of life-giving activity can
prevail in the child’s growing life of soul.
In the history of the traditional games, we hear that these are games that children were
driven to play and they were played when children were left to their own devices. One can
have the image of the children in past times gobbling up their dinner, then going out into
the neighborhood and playing games until bath time before bed. Are these games becoming

extinct because children are no longer “on the streets,” and find themselves in lessons or
supervised adult-led situations so often that they have no free time? Parents’ worries about
safety have also limited the possibility of children gathering in free spaces. So instead, children
are finding themselves in all manner of adult-contrived “lessons” instead of playing out their
favorite games with their peers. It has been my experience that, once the children have been
introduced to the games, they easily gather together their peers and play them again even
when an adult isn’t present. We can still see some of this enthusiasm among the children of
our time in games like hide-and-seek, hopscotch, and ring-o-ring-o-rosie.
Yes, our world has changed, and yet… there is still a wealth of buried treasure—archetypal
rhythms and mystery wisdom—to unearth by reintroducing children to this intensely
meaningful pastime. The wonderful thing about these games is that nothing is needed but
the players themselves, and that lost street-play can be recovered by playing the games on the
preschool circle rug, or opening the front door of kindergarten and playing in the courtyard.
Games that in the past served to reconnect children to spiritual
forms and rhythms, to strengthen imaginations, to play out worldly …many of the games
things, to dream their lives as future adults, to develop skills and and verses in this
learn to socialize, are the perfect diet for early childhood. As teachers, book were created
we can nurture a wellspring of future possibilities for the children by by children during
reviving these games with the children in our care. neighborhood
Many of the songs included in this volume are mood of the fifth playtimes.
or pentatonic. Some of the traditional games and verses may not have
mood of the fifth notes, but their gestures certainly carry the mood of childhood. Most of the
verses and games in this collection are time-tested and have timeless origins. As mentioned,
children do find diversions if left on their own, and many of the games and verses in this
book were created by children during neighborhood playtimes. Please feel free to make the
necessary adjustments to make them your own. They can be simplified, shortened, and
altered according to your particular way of working and your age group.
Please enjoy!
Building relationships with children

The joy of children in and with their environment, must therefore be counted among the forces
that build and shape the physical organs. They need teachers that look and act with happiness
and, most of all, with honest unaffected love.2 —Rudolf Steiner
Rudolf Steiner observed that “Every child should stand before the soul of the teacher as a
question posed by the supersensible world to the sense world.”3
The essential priorities in cultivating positive results with our transitions and games times
are to gain the interest of the young child and to have curiosity about the child ourselves. For
the most part, children aren’t accustomed to adults showing sustained concern and interest in

them. Many children come into our classrooms expecting that we will be fleetingly interested
in them and then our attention will be distracted into more “adult” concerns.
Children can sense when the adults in their lives are truly attentive and intrigued.
Gradually, as they experience this kind of consistent attention, they will let down their barriers
and reveal more of their vulnerabilities. Trust will be fostered by this continuity, and then the
children can be authentic. Who hasn’t experienced the new child in the kindergarten who
self-consciously struts around the play, full of adult conversation? Isn’t this what the adults
expect? This same child, in a supportive early childhood environment, a few weeks later
could be dressed in the most flamboyant play clothes possible, engrossed in an imaginative
play scenario, oblivious to onlookers, and trusting that all present are in resonance with his
self-directed play. This same unconscious, wholehearted abandonment to the joy of the
transition or circle game also requires children and teachers to be in
It’s also important right rapport.
to the children that Another aspect of forming right relationship is to genuinely
we be available to understand that the child in front of us is not a miniature adult.
them both when their We have to be careful about our adult assumptions when making
parents are present observations because we can’t help but come from a biased context.
and when they The educator does well to carry a fascination, an open question about
are not. understanding the mysteries inherent in child nature. Children
deserve for us to make an effort to understand who they are and
what’s important to them. A teacher who can stay “in the moment,” who is constantly open to
new revelations about the mysteries of child development, provides healing attention. Simply
refraining from judgment while being present in the moment benefits the early childhood
classroom. Children sense the lack of shame or blame and they want to draw closer.
It’s also important to the children that we be available to them both when their parents
are present and when they are not. Bridging those adult relationships so that the child sees
us speaking to the parents as we do with the children on their own is an important aspect of
building commonality between home and school. We can use more intellectual conversations
to talk to the parents at adult-only evenings. At these gatherings, we can tell parents about the
child’s belief that everything in the early childhood classroom, all of the props and imaginary
figures, are real. Parents benefit from hearing how the child yearns to respond to something
greater, and that you, as the teacher, will sometimes be speaking from this awareness in front
of the child when the parent is present. For example, you might say in conversation with
parent and child together, “Blacky the Crow has been following us on our morning walks.
We think he likes the songs we sing.” This can be very affirming for the child and helps
deepen the parents’ appreciation of child nature.
The children also take great delight when festivities can be arranged so that the parents
can come and play traditional games with them. I have incorporated this into our May
festival and the end-of-year picnic. Also, using the same tone of voice with the children and

the parents together (no high squeaky voices please) lets the children know that we see their
activity as meaningful (not cutesy). Many adults raise the tone of their voices around children
and this can leave the child with an uneasy feeling of being taken less seriously.
Carrying the questions, “What is child nature?” and “How do I respond to it so that
the children unconsciously know that I understand them?” is important for the whole of our
practice. The desire to enter into interactions with each child in a meaningful way can lead to
accurate observation and record-keeping on our part, as educators. One of the best tools for
games time is to connect to the overheard children’s play and work imaginations.
As we develop our intentions to work as worthy role models, it’s also important that we
avoid using songs as disguised instruction to tell the children what to do at a transition or
activity (“Take your wet pants off, line your boots up, hang your coat up now”). Waldorf
educators strive to show children by example, leading through imitation. Of course,
sometimes a few words of direction are needed; offering them in a matter-of-fact way, as if
“that’s just the way we do it,” can be effective, especially if accompanied by a gesture. This is
much less awakening than singing a compelling direction that is intended to instruct.
Time and again, I have seen the children benefit from an educator working out of imitation
who carries, in an enthusiastic and warm way, a natural authority and sense for form. The
children sense into the adult and instinctively know that this person is to be followed. I would
go even further and say that things go better when the teacher can, as previously mentioned,
matter-of-factly insist upon this form. If this is consistently carried when building up group
times from the beginning of the year, the children develop a group habit of imitating what
the teacher is doing. I remember being present at a conference in 1984 when Freya Jaffke
visited North America to share some of her genius around early childhood pedagogy. A
conference participant asked her, “What do you do when the children do not come to circle to
participate?” Her response was, “Why—it never occurred to me.” This comment revealed
a little secret to me: the value of knowing, as a teacher, what you expect to happen at group
times. The children sense into this inner gesture of the teacher. Freya worked consistently
with imitation and also had strong forms, carrying a natural authority around her. Freya
Jaffke’s books Play with Us! and Let’s Dance and Sing!, published by WECAN, are other
important resources for early childhood educators who wish to capture the playful interest of
the young child at games times, indoors and outdoors.4
In working out of imitation while holding a sense of the form, we find the way to introduce
the games to the children so that the rules are not being explained. You can explain beforehand
to your assistant and then, when the time comes to enjoy a game with the children, you and
your assistant simply do the movements while the children follow.
Another way to build relationship with the children is to do what you say you will
do. Follow-through, on the part of the educator, draws the children toward a meaningful
relationship based on trust. It is also extremely important for the feeling of safety in the
younger children to see that the teacher takes care of the older children’s responses in the

right way. Holding the model for right behavior and doing the “healing deed” to make it right
is imperative to bring peace to the “land of early childhood.” The children need to know that
the teacher will even go so far as to protect them from each other. We can be the “guardians
of the land” so that the children can relax and trust that we hold the value of this being a safe
land.
The teacher’s compassionate and appropriate responses while facilitating order in a game
or activity goes a long way in building attachment among the children in a group and in building
a safe connection to the games. Being present in the moment and staying with situations
until they come to resolution assures the child on an unconscious
Do you believe in level that the caregiver is reliable. This creates a bond that fosters the
goodness, magic, child’s long-lasting sense of wellbeing. And how delightful when the
open secrets, teacher’s imaginations can transform a herd of galloping horses with
in the unseen life a sturdy “Whoaaaaa!” or gather the wandering butterflies under a
forms that rainbow.
children sense? Gordon Neufeld, a developmental psychologist from British
Columbia, Canada, uses the expression “collecting the children”
when he refers to the important activity of the adult building relationship with children.5
This is one of the tasks of every teacher each new year, and taking this seriously is one way
to assure that transitions and games times will go well. Neufeld recommends that the adult
make efforts to “collect” each individual child so that the child will sense that you are his ally.
How do we “collect”? With assuring glances, smiles, loving touch, and many of the things
discussed above.
Lastly, being someone who is of interest to the children is important. Do we want the
children to imitate our complacency or apathetic gestures? Do you believe in goodness,
magic, open secrets, in the unseen life forms that children sense? Do you truly enjoy the early
childhood curriculum—even clean-up time? How captivating are the games, stories, circles
and imaginations you bring to the children? Playing games regularly with the children will
guide you to see that the children believe in unseen powers and that they have a tremendous
urge to let their imaginations soar. Listening attentively to their conversations, especially
when they are unaware of our presence, helps us to see what exists in their participatory
consciousness. The young child, especially from age five onward, easily forms pictures in his
mind’s eye. Children tend to fall into step with others who connect to their interests. Adults
who work on developing the ability to offer picture imaginations find that this is one of the
best tools to foster cooperative relationships with the young child.
I have experienced this yearning for what I would call “magic” over and over again
through the years. I have repeatedly overheard conversations among the children. Here are
some of them.
“The scratches on the table are from the garden table gnomes skating at night”?
“The King Gnome climbs the ladder when it gets too noisy in the land”?

“Redbird twirls around when it gets too loud”? (Redbird sits on a stick by our window
and, assisted by the teacher, kisses the children when it is their turn to put out the snack
candle.)
“The farmer’s horse next door races around the farmyard if it gets too scary in the land”?
“The babies get frightened when those TV games happen”?
“If we leave the door open a crack, the birds might hear us and then build another nest by
our door”?
“There are three moons in the sky—one at home, one at school, and one in town”?
Each one of these statements was uttered breathlessly, maybe tenuously, with a please-
believe-me look in the child’s eyes. After far too long, I realized that perhaps the children
were unconsciously offering a gift to me. So I began to attach to these imaginations to help us
in our daily activities. “Jenny says the babies are waking up frightened. Let’s open the door
and let the robots go.” By attaching to the children’s play and being playful myself, I was
able to begin speaking a language the children truly understood. Harnessing the children’s
imaginations, belief in unseen powers, and surety that everything in the room is alive has
been one of the most bonding and effective tools for transforming our play and group times.
This has helped our games and transition times to flow smoothly too.
These are a few suggestions for fostering strong relationships with children. If this is who
you are to the children when you stand with them at group times, transition times, or games
time, then the experience is bound to be a joyful one for everyone involved.
Choosing the right game at the right time

In Children’s Games in Street and Playground, Iona and Peter Opie say, “A true game is one
that frees the spirit.”6 Historians agree it is quite possible that the singing games may have
evolved from adult ritual dances that have been passed down, and the Opies speculate that
many of the games, particularly those played by young children, are more akin to ceremonies
than competitions. This is evident in the attitude of dreamlike communion that the youngest
children adopt during a game, compared with the industry and exuberance with which the
older kindergarten children embrace games. The gestures of these two age groups differ
profoundly.
The nursery rhymes, social games, and traditional games have also been called incarnational
games. The strong rhythms and gestures within the games reflect the human journey to earth.
For this reason it is important that we choose the circle material wisely for the children in our
care. The gesture of the child as he incarnates is one of movement, first from his own body,
then into a cluster of others, and then into a circle. After the baby or toddler has discovered
more about his or her own body, then the moving circle, mirroring cosmic rhythms, can be
an unconscious reassurance to the growing child. However, the three-year-olds in circle may
be moving in an orbit, following the teacher around (in a form sometimes called “a bunch of
grapes”), while the older children are more able to hold the circle form. Both of these gestures

must find their way into a mixed-age kindergarten. “They’re not in the circle!” cries a six-
year-old. “They are doing it just the right way for them,” responds the teacher, matter-of-
factly. It is not until the transition time into grade school, when the child is readying to leave
the kindergarten, that the next developmental stage of “dissolving the circle” can be borne in
his or her soul.
In his book, The Singing, Playing Kindergarten,7 Daniel Udo de Haes clearly states that
“a great deal of responsibility and insight is demanded from us when dealing with a whole
group of children in the kindergarten.” He urges educators to not pull the younger children
and toddlers out of their dream world too soon by exposing them to the stronger rhythms of
the older children’s games.
As an educator, being able to honor these two age groups in one classroom requires sensing
into the children and also having a repertoire to draw from. It is my hope that, within the
collection of games in this book, you can find games that will contribute
Their games need to the wellbeing of both the younger and older children in your classroom.
to be repetitive so It is possible in a mixed-age kindergarten for the teacher to cultivate an
they can build up environment where both gestures can safely co-exist.
stamina, security Nevertheless, these joyful, love-filled exchanges are experienced
and confidence. differently for the younger children, aged two to four, than they are for
the children aged four to seven. As we said, the youngest children are still
discovering that they live in a body. Their games need to be repetitive so they can build
up stamina, security and confidence. They shy away from being in the center of things and
may even find it painful to have attention drawn directly towards them. They also are more
likely to imitate what is going on more fully. Simple games about fingers, hands, toes, and
feet are important to them. Slower-paced games with movements that are kept close to their
own bodies allow the children to dream into the activity. Games that have lots of changes
in movement are awakening for our dreamy little friends and, if they are in a mixed-age
kindergarten while playing these kind of lively games, we may see them intently watching
the older children, dreaming into their older peers’ activity, a reverence almost akin to hero-
worship.
Conversely, the older children love more complicated movements and are able to hold the
form of the circle. The older they are, the more they tend to seek out experiences in the games
that fulfill their need for free movements. Running and chasing games, games that involve
obstacles, and games with more complicated steps are relished by the older children. Further
in the book, you will find a section on working with the older children in the kindergarten.
There are also suggestions along the way for bringing certain games to older and younger
children together.
Rudolf Steiner encourages us to work with goodness as a guiding principle in early
childhood. He says, “Who you are in the presence of the child, what the child sees or hears,
is important. The child will become a good person when surrounded by good people…

People can activate the child’s good sense through their own good sense. Just as the mother’s
healthy body has a healthy effect upon the child’s body, the teacher must attempt to be a well-
rounded and self-contained person, to have high and good thoughts while in the presence of
the child.”8
I have found that there are so many incarnational games that carry this mood of wholesome
goodness that I need search no further for circle material. However, some games that carry
stronger themes can be helpful for the children as they grow older. Be sure that you have a
deeper understanding of the game if you plan to bring a stronger element. Later in this book,
I discuss the game of “Water, Water, Wallflower” and my own journey, with the children as
my teachers, into incorporating this into my kindergarten games time. We have to be careful
that as adults, we do not get caught in our literal interpretations, because the words in the
game could have a deeper soul/spiritual significance. Anything presented matter-of-factly
by a beloved teacher is accepted and then may sink into the child’s being, fostering future
wellsprings.
Notes
1 Iona and Peter Opie, Children’s Games in Street and Playground (London: Oxford University Press, 1969), 15.
2 Rudolf Steiner, The Education of the Child, (Great Barrington, MA: Anthroposophic Press 1996), 22.
3 Rudolf Steiner, Education as a Social Problem, (New York: Anthroposophic Press 1969), 67.
4 See Freya Jaffke, Play with Us! and Let’s Dance and Sing! (WECAN 2016).
5 See, for example, Gordon Neufeld, Hold on to Your Kids: Why Parents Need to Matter More Than Peers
(Ballantine Books, 2006).
6 Opie, Children’s Games, 23.
7 Daniel Udo de Haes, The Singing, Playing Kindergarten (WECAN, 2015), 17.
8 “Teaching from a Foundation of Spiritual Insight” in Rudolf Steiner, The Education of the Child and Early
Lectures on Education (Great Barrington, MA: SteinerBooks 1996), 44.

1. Social Games:
Playing Together
T
he social value of the games in this book cannot be overstated. As
mentioned, children in a mixed-age kindergarten who play games together are already
practicing social graces that help their transition to the grade school playground.
Often, strong bonds grow while playing the games, and these connections serve the children
well when, for example, the new second graders are welcoming the first graders into the fold.
The games also ameliorate the usual social strife that comes with children learning to
share, take turns, and accommodate others. This is discussed in the Introduction (see “Why
Play Games?”).
The teacher can also use the games therapeutically, for instance, to help “only children”
to have the experience of waiting for a turn; to help two children who won’t play with each
other; to help leaders learn to allow others to lead, and so on. The possibilities are endless
and dynamic. The teacher can experience a sense of creative artistry in wisely choosing or
adjusting the right game at the right time in his or her healing work.
There is a blurred distinction between some of the social games and the traditional games
in this volume. Some of the verses and games below are also useful for transition times.
A tip for circle time: Sometimes the children cannot settle when beside certain others at
circle. Celia Riahi, a colleague from Massachusetts, shared an idea about a graceful way to
change a child’s place at circle. It’s called “My House is Empty.” The teacher simply says,
“My (your) house is empty as you can see. I wish that (you) would visit
me (you).” Of course, accompanying this with the gesture of patting the space beside you, or
gesturing toward the space beside your assistant or another child, will more likely capture the
attention of the child you want to move. Young children are more likely to have interest in our
gestures than our words.
11

Games for playing with fingers
Fee, Fie, Fo, Fum (author unknown)
Fee, fie, fo, fum right index points to left baby finger for fee
and then others
See my finger hold up right index finger
See my thumb hold up right thumb
Fee, fie, fo, fum repeat first instructions
Finger’s gone hide finger in left hand folded over
So is thumb hold thumb up on its way to same “nest”
Two Fine Gentlemen Meet on the Lane

Two fine gentlemen meet on the lane 2 thumbs held up
Bow most politely, bow once again bow to each other
How do you do and how do you do take turns bowing
And how do you do again
Repeat same activity with:
Two fine ladies (pointer)
Two tall policemen (tall finger)
Two strong farmers (ring finger)
Two baby pinkies then “everyone together” meets in the lane
1, 2, 3, 4, 5 (traditional song)
One, two, three, four, five hold up 5 fingers on right hand one at a time
Once I caught a fish alive action of reeling in a fish
Six, seven, eight, nine, ten hold up fingers on left hand
Then I let it go again gesture letting go
Why did you let it go? hold out palms in inquiring gesture
Because it bit my finger so. gesture biting with right hand fingers and
thumb
Which finger did he bite? again hold palms out in inquiring gesture
This little finger on the right. left hand grasps right index finger
12

Two Mother Pigs Lived in a Pen (author unknown)
Two mother pigs lived in a pen hold up thumbs
Each had four babies and that
made ten show fingers and thumbs
These four babies were black
as night show right hand 4 fingers
These four babies were black
and white. show left hand 4 fingers
But all eight babies loved to play wiggle and interlace fingers
And they rolled and rolled in mud
all day. roll hands with thumbs tucked in
At night with mother, they curled up
in a heap. make fists again
And wiggled and wiggled ’til they
went to sleep. wiggle fist slightly, then be still
One Royal Penguin with Nothing Much to Do (author unknown)

One royal penguin with nothing
much to do, hold up index finger
Called for his brother and that made two. wiggle index finger and hold up second
Two royal penguins happy as could be, hold up 2 fingers
Called for their sister and that made three. wiggle second finger only and hold up third
Three royal penguins wishing
there were more, hold up 3 fingers
Called for their mother and that made four wiggle third finger only and hold up fourth
Four royal penguins learning how to dive, hold up 4 fingers
Called for their father and that made five. wiggle fourth finger only and hold up thumb
Five-four-three-two-one! fold down fingers from last to first
13

Here Is a Ball for Baby (traditional)
Here is a ball for baby (or the child’s name) cup hands to make a ball
Big and soft and round
Here is baby’s hammer one fist hitting into palm
See how it can pound.
Here is baby’s music clap hands
Clapping, clapping so
Here are baby’s family hold fingers on right hand up straight
Standing in a row
Here is baby’s trumpet put both fists in front of mouth
Toot-toot-toot, toot-toot singsong voice
Here is the way that baby
Plays at hide and seek put hands over eyes and take them away
quickly
Here is baby’s umbrella hold hands in upside down V over head
To keep our baby dry
And here is baby’s little bed fold arms together and rock back and forth
Rock-a-rock-a-bye singsong voice
This Little Boy Is Ready for Bed (adapted by Mima Djordjevic)

This little boy is ready for bed hold up thumb
And on his pillow he places his head place right thumb on left open palm
He wraps himself in his blanket tight use right fingers to fold over left fingers
Kisses his family and says goodnight kiss hand, can close eyes and pause
Morning has come. He opens his eyes wiggle fingers; open eyes
Up with a toss the blanket flies unfurl fingers
Up he gets and makes his bed thumb up and thumb pushes left fingers down
Dresses himself in his shirt and pants left hand strokes right thumb
Then off to kindergarten he goes to play right thumb wiggles up left arm
Lots of fun for another day.
Then hands and thumbs can be reversed and the game is played with the left thumb
saying, “This little girl is ready for bed.”
14

Playing in circle
If closing or hiding eyes is part of a game, some children have difficulty keeping their eyes closed
so it’s always good to have some games tucked up your sleeve, like the first few below, where the
children can keep their eyes open.
Little Treasure Goes Round and Round

In this game someone goes around the circle while the children have their cupped hands
outstretched and all eyes can be open. First the adult can be the treasure-dispenser and later, the
children delight in having their turn. The treasure drops from the hand of this person into the
hand of another seated in the circle. Even though everyone is looking, it’s very hard to see who
has it. Then one child is chosen to guess, “Who has it?” And… the game begins again.
Little treasure goes round and round
Round and round and round and round
Little treasure goes round and round
Will it ever, ever, ever be found?
This can also be played like the game below.
Rock Oh Rock You Have to Wander (adapted by Mima Djordjevic)

This game happens when the children pass the rock around the circle and then hide their hands
behind their back so that another child, who has been hiding his eyes can guess where the rock is.
This could also be played like the game above.
Rock oh rock you have to wander child hides eyes while
From the one hand to the other rock is passed around the circle
Can you see, can you see? child opens eyes
Where the little rock could be? points around circle to find rock
Squirrel Is Hiding in the Tree (submitted by Celia Riahi)

Squirrel is hiding in the tree teacher hides nut in one hand
Now where did he go hands move up and down
Up above or down below? children guess which hand
If the children guess right, “Squirrel is home. There is no doubt.”
If the children guess wrong, “Squirrel’s not here. He has gone out.”
15

Shoemaker, Shoemaker
Shoemaker, Shoemaker Mend Me a Shoe (traditional)

4
&4 œ œ œ œ œ œ œ ˙ œ œ œ œ œ
œ œ
Shoe - ma - ker, shoe - ma - ker, mend me a shoe. Have it rea - dy by
& œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
half past two. Is it red or is it brown? Is it up or is it down?
Shoemaker, shoemaker mend me a shoe Teacher hides little shoe (or gem, or other
small object) in her hand
Have it ready by half past two and shifts it back and forth to her other hand
Is it red or is it brown and rolls hands until song stops.
Is it up or is it down One child guesses which hand it is in.
Children can also have turns hiding the “shoe.”
Woodcutter, Woodcutter Saw the Wood (by Angela Light)

Woodcutter, woodcutter saw the wood child sits facing adult on legs or floor
Woodcutter, woodcutter saw the wood
Logs for the fire, we stack them up higher they join hands and “saw”
Logs for the fire, we stack them up higher
By day and by night, see our fire
burn bright
TheGoes
The Tide Goes in and the Tide TideOut Goes
(attributed In
to Olivia Stoney, adapted by Ruth Ker)
For this game, the children join hands in a circle. As the “tide goes in and out,” they move
toward the center and back. When the “big wave comes,” all run and hide. After a pause, all
come back to the circle and repeat.
3
&4 Ó ˙ œ ˙ œ œ ˙ œ ˙ œ ˙ œ œ
œ ˙ œ
The tide goes in and the tide goes out, the tide goes in and the
˙ œ œ ˙ œ œ
& ˙ œ ˙ œ ˙ œ
tide goes out. A big wave comes and we all run and
& ˙ œ ˙ œ œ œ œ œ ˙™
hide, and then we come back a - gain.
16

Good Morning, Merry Sunshine (sung to its traditional tune, adapted by Ruth Ker)
Another expansion-contraction game.
Good morning, merry sunshine, holding hands, move to the center of circle
How did you wake so soon? raise arms up together
You’ve scared the little stars away lower arms, fluttering fingers
And shined away the moon. still holding hands, return to circle.
I saw you go to sleep last night skip or shuffle around circle
Before I stopped my playing.
How did you get way over here,
And where have you been staying? stop, face inwards with questioning gesture
I never go to sleep my dear. repeat gestures, hold hands again and move
to center
I just go round to see
My little children of the east
Who rise and watch for me
I waken all the birds and bees flying and fluttering gesture around circle
And flowers on my way cupped hands while still moving around circle
And last of all the children little skip and turn inward
Who stayed out late to play stop, face inwards in circle
Tic Toc, Tic Toc, Hickory Dickory Dock (traditional, adapted by Ruth Ker)
Tic toc, tic toc, hickory dickory dock Sitting on floor with legs outstretched,
The mouse ran up the clock fingers (the “mouse”) crawl up legs to head
The clock struck one, the mouse ran down clap hands above head once, then mouse
runs down and players sway back and forth
Hickory dickory dock, tic toc, tic, toc as the clock “ticks.” Each time, toes can be
squeezed with fingers. Verses can be created:
clock strikes two, the mouse ran on my shoe,
strikes three the mouse ran up a tree, and so on.
17

Sally Sat A-Sewing in Her Little Housie (traditional)
In this game one child is in the middle and another child goes outside the circle to a hiding place.
With the younger children it can happen all in the safety of the circle and more than one person
can be in the inside.
Sally sat a sewing in her little housie Child is in the middle of the circle
No one came to see her except pretending to sew. Another child visits.
a little mousie
Rise children rise, close both your eyes Children rise.
Point to the east and point to the west Point to others who now have a turn.
And point to the one that you like best.
Here
Here Comes a Bluebird into MyComes a Bluebird
Garden (traditional, adapted by Ruth Ker)
For this game, the children in the circle join hands and raise their arms, forming arches. One
child is chosen to weave back and forth through the arches as everyone sings. At “Jump in my
garden,” the first child and his or her partner go to the center of the circle and jump.
4
&4 œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
Here comes a blue-bird in - to my gar - den, hey did-dle did-dle day - day - day.
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
Stop at a part - ner, jump in my gar - den, hey did-dle did-dle day - day - day.
Here comes a bluebird into my garden child weaving through arches

Hey diddle-diddle-day-day-day
Stop at a partner
Jump in my garden 2 children go in the center and jump
Hey diddle-diddle-day-day-day now the second child goes through arches and
the game leads him or her to a different
partner
For subsequent verses, the “second bluebird” becomes the “weaver” and you can make up new
actions for the “bluebirds,” such as “peck in my garden,” “fly in my garden,” and so on.
18

See the Little Hare
See the Little Hare (German traditional, adapted by Jennifer Aulie) 1
&C œ œ œ œ ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙
See the lit - tle hare so fast a - sleep, fast a - sleep. Lit - tle
& ˙ ˙
˙ ˙ w
˙ ˙
˙
˙
œ œ ˙
hare, O are you ill, that you lie so qui - et and
& w ˙ œ œ w ˙ œ œ w ˙ œ œ
w
still? Hop lit - tle hare, hop lit - tle hare, hop an - y - where.
Suggested directions for toddlers:

First four lines: children crouch on the floor
Last line: children hop about
Suggested directions for nursery children:
First four lines: Some children walk in open circle formation,
while others crouch in the center.
Last line: Children in the center hop to a chosen child in
the circle and touch his or her feet.
These children now become the new hares.
Five Little Speckled Frogs (author unknown, adapted by Sarah Cabena)

This song was said to have been scribed quickly by someone who overheard a child singing it in
a bus in England. Straight from the source!
Five little speckled frogs five children crouched on a bench
Sitting on a speckled log
Eating some most delicious bugs gesture eating with hands
Yum, yum rub tummy
One jumped in to the pool one child jumps off the “log” into the “water”
Where it was nice and cool
Now there are four green speckled frogs repeat song with 4 frogs then 3, 2, 1, 0
…and start over again
19

Ponies
Ponies (Ruth Ker)
This game begins with the children holding the circle as the “stable” and the children in the center
as the “ponies.”
4
&4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ
I have some lit - tle ponies, I feed them oats and hay. I o - pen up the
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sta - ble door and send them out so they can play. They gal - lop here, they gal - lop there, they
& œ œ œ œ œ œ œ œ œ œ œ œ œ
gal - lop ev - 'ry - where. They don't come home un - til I call.
& ™™ œ œ œ œ ˙ ˙ ˙ ˙™
™™
Come home, ponies, come home!
I have some little ponies

I feed them rosy apples (oats and hay) circle children hold out hands to feed the ponies
I open up the stable door teacher holds arms open the stable and
ponies go out
And send them out so they can play. ponies gallop around room or outside of circle
At “Come home ponies, come home,” the ponies come back into the stable. Ponies and stable now
switch places and the game begins anew.
The Nest Game (traditional, adapted by Ruth Ker)

My Nest Is Best
First, the teacher creates a round nest in the middle of the circle with a large cloth. Then,
while the children in the circle hide their eyes, the teacher goes around the classroom hiding
colorful feathers, all the while repeating the Nest Game song, until enough feathers are hidden
for everyone in the circle.
3
&4 Ó œ œ œ
˙ œ ˙ ˙ œ ˙ œ ˙
My nest is best, my nest is best, in all the
& ˙ ˙ œ ˙ ˙ œ ˙ ˙ œ ˙™
œ œ œ
world my nest is best. In all the world my nest is best.
20

“The Nest Game” is followed by “Five Little Chickadees,” below.
Five Little Chickadees (adapted by Nancy Blanning, Laurie Clark, and Ruth Ker) 2
After the teacher hides the feathers for “The Nest Game” and comes to sit down in circle, the
children open their eyes. Teacher
Five then calls on
Little five children to fly to “the tree,” a place close by
Chickadees
on the circle periphery. The following song is sung and one by one the children fly away from the
tree, find a feather, fly back to the circle, and put their feathers in the nest. When the verse says
“one” flew away, the child’s name can be substituted (for example, “Jeffrey flew away”).
4
&4 ˙ œ œ œ œ ˙ œ œ œ œ w ˙ œ œ ˙ ˙
Five lit - tle chick - a - dees sit - ting at the door. One flew a - way and
œ
CHORUS:
& ˙ œ œ w œ œ ˙ œ ˙
then there were four! Chick - a - dee, chick - a - dee,
& œ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙ w
hap - py and gay, chick - a - dee, chick - a - dee, fly a - way.
Four little chickadees sitting in a tree Repeat with another child, and so on, down
to one.
One flew away and then there were three
CHORUS
Three little chickadees, don’t know what to do
One flew away and then there were two
CHORUS
Two little chickadees sitting in the sun
One flew away and then there was one
CHORUS
One little chickadee all alone
He flew away and then there was none
CHORUS
At the end of the verses, five more children can be chosen. I have also adapted this game to
include more children. (“Six little chickadees sitting on some sticks,” and so on).
21

A Little Brown Bulb (A. Fairman, adapted by Ruth Ker) 3
In this circle game, the teacher welcomes some children to the center of the circle to be the bulb
children and they are then covered by a big blanket. Those on the outside imitate the motions for
the words and move around the circle. The younger and older children enjoy this activity very
much and beg to play it often. At some point in the year, the older children (ages six and seven) will
suggest that the teacher say the verse silently (mouthing the words with no sound). The children
under the blanket listen attentively and inevitably jump up at the right time. Younger children
who do not yet have the memory capacity to “hear the words in their heads” are supported in this
activity by the older ones. Below, IC means the inside circle; OC means outside circle.
A little brown bulb went to sleep
in the ground. IC children lie down in center, covered
In his little brown nightie he slept
very sound. OC children lay heads on hands while circling
King Winter, he raged and he roared
overhead OC stops, swirl hands over IC, then twirl
And that little brown baby stayed
all snug in his bed OC children lay heads on hands again
Then, when Lady Spring went tiptoeing
over the lea OC children tiptoe and circle
With fingers to lips as quiet as could be OC children put fingers to lips (shhh gesture)
That little brown bulb he peeked up
his head OC stops, IC children take off covers
Threw off his covers and jumped out
of bed OC still stopped, IC children jump up
22

Zoom, Zoom, Zoom, Bees Amongst the Bloom (author unknown,
adapted for a game by Ruth Ker)
Zoom, zoom, zoom
In this game, the teacher goes around the circle saying to each child, “Here’s a bee” or “Here’s
a bloom.” The “bees” point their fingertips together and the “blooms” make “blossom cups” of
their hands. This is a good game to help the children with impulse control. “Of course, the bees
are oh so gentle with their friends the flowers.”
4
&4 œ œ ˙ œ œ œ œ ˙ œ œ ˙
Zoom, zoom, zoom, bees a - mongst the bloom, zoom, zoom, zoom,
œ
& œ œ œ œ ˙ œ œ œ œ œ œ œ
bees a - mongst the bloom. Gol - den gifts and scen - ted hon - ey,
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙
flow- 'ry, fragrant, soft and sun - ny. Zoom, zoom, zoom, bees a-mongst the bloom.
While singing the first two lines, the “bees” fly around the circle dipping their fingers into the
“blossom cups.” During the last line, the bees become the blossoms and the blossoms become the
bees.
Zoom, zoom, zoom bees amongst
the bloom the bees fly around circle dipping
Zoom, zoom zoom, bees amongst
the bloom their fingers into the blossom cups
Golden gifts and scented honey
Flowery fragrant, soft and sunny
Zoom, zoom, zoom bees amongst
the bloom now the bees become blossoms and the
blossoms become bees
23

The King and Queen (song and game by Eleanor Winship)
There is much conversation in the field of early childhood education about some children’s inability
to imitate the example of the adults around them. The following games create opportunities for
the children to imitate both the adults and their peers. Games can be a helpmate in our practice
when we want to give opportunities to the children to find their way back to this natural intrinsic
impulse of childhood—imitation.
It’s important to be aware that the younger children may not want to go into the middle of the
circle. This can be a painful experience for them socially so please do respect their need to dream
into the game and not be singled out at the center. However the younger children often like to
The King and Queen
participate on the periphery of the circle and the older children can delight in being asked to go
into the middle. Some games can be adapted to circle format where the younger child can sit by
the teacher or even on the teacher’s lap at circle when it is their time to have a turn. It is always
good for the adult to show the way when a new game is presented.
4
&4 œ œ ˙
œ œ œ œ œ ˙ œ œ œ œ ˙
The king and queen are walk - ing, the king and queen are walk - ing,
& œ œ œ œ œ œ œ œ 6œ œ œ œ œ
w ˙™ 8 J
'round our cas - tle walls, 'round our cas - tle walls. 1.O - pen the gates and
j
2.La la la la la
œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ j
& J J J œ œ
let them in! O - pen the gates and let them in! Now we all
j
la la la, la la la la la la la la, la la la
& œ œ œ™ œ œ œ j œ œ™
œ œ œ œ
dance and sing, now we all dance and sing.
la la la, la la la la la la.
Round I: Children stand in a circle holding hands

while the King and Queen walk around them.
Round II: Children in the circle raise hands (“open the
gates”) so that the King and Queen may
enter. All dance!
24

Happy Children in the Autumn (game by Ruth Ker, sung to the tune
of “Did You Ever See a Lassie”)
Happy children in the autumn substitute also winter, springtime, summer
The autumn, the autumn child in the center does something that others
imitate
Happy children in the autumn Dancing All Together
Do this way and that
Round and Round the Ring We Go (Michael Winship)

6œ œ œ j œ œ œ™ j j
&8 J œ J œ œ œ œ œ™ œ™
Round and round the ring we go, dan - cing all to - ge - ther.
2. Reach so high we touch the sky, dancing all together.

3. Bend right down and touch the ground, dancing all together.
4. Now we all shall clap our hands, dancing all together.
Punchinello (French traditional)

There are many ways to play this game. This version has been adapted by Ruth Ker.
What can you do, Punchinello, funny
fellow? One child is in the center being
What can you do, Punchinello, funny
friend? Punchinello. Whatever she does
We can do it too, Punchinello, funny
fellow. (jumping, bouncing, clapping etc.)
We can do it too, Punchinello, funny
friend. the children imitate. Then another
Whom do you choose, Punchinello,
funny fellow? child is chosen to show a motion.
Whom do you choose, Punchinello,
funny friend?
25

Lubin Loo
Lubin Loo (traditional, adapted by Ruth Ker)

## j w j
&#Cœ œ œ œ™ œ œ œ œ œ™ œ w
Here we go Lu - bin Loo, here we go Lu - bin Light,
### œ™ j w œ œ œ œ œ œ œ
& œ œ œ œ w
here we go Lu - bin Loo, all on a Sat - ur - day night.
As the first verse is sung, the children move in a circle, holding hands. For the second verse, drop
hands and perform the actions. The first verse can be sung again as a refrain between subsequent
verses or to finish the game.
2. Put your foot right in, place foot in circle
Take your foot right out place foot behind you
Give your foot a shake, shake, shake shake foot
And turn yourself about twirl in your place in circle
For subsequent verses: put your hand… nose… hip… knees… elbows (and so on) right in
In the end, sing “Put your whole selves in” as children jump into the circle or take hands and
move into the center of the circle.
Oh Where, Oh Where Has My Little Dog Gone (traditional nursery rhyme, music by
Irene Phillips Moses, game adaptation by Ruth Ker)4
This can be played in a similar way to “Duck, Duck, Goose.” The children move around in a
circle with one child in the center or on the outside going around in the opposite direction. The
OH
child in the center skips WHERE...DOG
around GONE
while the song is sung, stops on the last word, and touches the
friend in front of her. At this point the circle raises their arms into arches and then she chases
him wherever he leads until he is caught… or not. He then becomes the new center-of-the-circle
person and the game is repeated.
#3 œ ˙
& 4œ ˙ œ œ œ œ œ œ œ
˙
œ œ œ œ ˙™ œ œ œ
Oh where, oh where has my lit - tle dog gone? Oh where, oh where can he be? with his
# œ ˙
& ˙ œ ˙ œ œ œ œ ˙™
œ œ œ œ ˙ ˙
ears cut short and his tail cut long, oh where, oh where is he?
26

Old King Cole (traditional nursery rhyme, adapted by Ruth Ker) 5
In this game, the teacher-selected Old King Cole can call for whatever action he desires, and
each time a new King Cole calls out a different action (jumpers, drummers, clappers, pianists,
hoppers, pointers, running-in-place) the children do the action in their place around the circle. I
have invited different siblings from the grade school to come and play their particular orchestra
Old King Cole
instrument for us and then join us in this circle game. One year, when a favorite “big boy”
played the cello for us, the children loved to call out repeatedly “the cello players” in this game.
I could see that the children had made a deep connection with the gesture of the cello. This more
complicated game is appropriate for the older children in the kindergarten.
#2 j
& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ
Old King Cole was a mer - ry old soul, and a mer - ry old soul was he. He
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ
called for his pipe and he called for his bowl and he called for his fid - dlers three; and he
# 4œ œ œ œ œ œ
& œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ˙ 4
called for his fiddlers three; and he called for his fid-dlers three. Ev' - ry fid-dler had a
# œ œ œ
& œ œ œ œ œ œ œ œ œ ˙ Œ œ
ver - y fine fid - dle, a ver - y fine fid - dle had he, and
#
& œ œ œ œ œ œ œ œ œ œ œ ˙ Ó
œ œ œ
we'll all fid - dle for Old King Cole, and be as mer - ry as he.
Old King Cole was a merry old soul, Circle around together, one child in center
And a merry old soul was he;
He called for his pipe and
He called for his bowl
And he called for his fiddlers three. Stop and face inward; King Cole beckons
three friends into the center.
And he called for his fiddlers three. King Cole and fiddlers do fiddle motion
And he called for his fiddlers three.
Ev’ry fiddler had a very fine fiddle,
27

A very fine fiddle had he,
When I Was
And we’ll all fiddle for Old King Cole Onedo the fiddle motion
Everyone
And be as merry as he.
When I Was One I Had Some Fun (traditional, tune and game adapted by Ruth Ker)
4
&4 Ó Œ ‰ j œ œ œ œ œ œ œ œ œ œ œ j
œ œ œ™ œ
When I was one I had some fun the day I went to sea. I
& œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ
hopped on board a pi - rate ship and the cap - tain said to me, "We're go - ing
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
this way, that way, for - wards and backwards, o - ver the deep blue sea."
When I was one I had some fun hold up 1 finger

The day I went to sea thumb gesture over shoulder
I hopped on board a pirate ship hop onto pretend boat
And the captain said to me salute
We’re going this way, that way side stepping one way & another
Forwards and backwards into circle and back out
Over the deep blue sea wave motion with right arm and hand
Continue with the following first lines and repeat the the last six lines of the refrain (“I hopped
on board a pirate ship…”).
When I was two, I tied my shoe 2 fingers, tie shoes
When I was three, I climbed a tree 3 fingers, climb tree
When I was four, I slammed the door 4 fingers, clap hard
When I was five, I found a beehive 5 fingers, gesture big round beehive
When I was six I picked up sticks 6 fingers, bend and pick up sticks etc.
When I was seven, I climbed to heaven 7 fingers, reach high
When I was eight, I shut the gate 8 fingers, clap to shut gate
When I was nine, I felt so fine 9 fingers, rub torso
When I was ten, I’d do it all again 10 fingers, turn in a circle
28

Row, Row, Row Your Boat (traditional, words adapted by Ruth Ker)
Row, row, row your boat 2 children or 1 child and 1 adult face each
other, joining hands
Gently down the stream and “rowing” back and forth
Merrily, merrily, merrily, merrily continue
Life is but a dream
Spoken:
Now Brother Wind is blowing strongly…
Rock, rock, rock your boat 2 “rowers” rock bodies back and forth
as they row
Gently down the stream
Merrily, merrily, merrily, merrily
Life is but a dream
Spoken:
Now we have a storm. Let’s row back
quickly…
Row, row, row your boat sit up straight in boat and row quickly
Gently down the stream
Get out, get out, get out of the boat
We’re back home now on shore. stand up out of boat
29

Scarecrow Game (by Elizabeth Matterson, adapted by Ruth Ker) 6
On all first lines, go from a standing position to a crouching position balancing on the balls of the
feet. On second lines jump up from crouching position back to standing.
1. When the cows are all sleeping
and the sun has gone to bed sleeping gesture
Up jumped the scarecrow and this is
what he said:
CHORUS
I’m a dingle dangle scarecrow, dangle arms
With a flippy floppy hat flip hands alternately near head
I can shake my hands like this, shake hands in air vigorously
I can shake my feet like that! kick legs straight out, L then R in rhythm
2. When all the hens were roosting

and the moon was behind a cloud hands tucked in armpits
Up jumped the scarecrow and said
right out loud:
CHORUS
3. While the farmer was still sleeping

just before the break of day sleeping gesture
Up jumped the scarecrow and quietly
did say: fingers to lips
CHORUS
Giving children, especially as they approach the six/seven-year change, a chance to offer
suggestions to alter the game can be very satisfying to them and help them to exercise their
planning strategies. Some of the games below adapt themselves to this.
30

Here Is a Box (author unknown, adapted by Ruth Ker)
Children are sitting in a circle with legs outstretched and feet touching, making a fenced area, so
the “animals” can’t get out. Each child around the circle says what’s in the box, makes a home
for it in his or her space and tends the new addition. Group imaginations build as the game goes
on, such as “My kitty wants to visit your dog,” and so on.
Here is a box teacher cups left hand, palm curved
And here is the lid right hand placed over left-hand cup
I wonder what teacher looks around circle at children
inquisitively
Inside is hid lift lid and peek inside, hold box out to one
child
It’s a… child says what it is
Without a doubt Here teacher can make a suggestion about
making a home for the animal, for instance:
“Where will he live?” or “Bunnies like holes.
Can you dig a hole for him?”
Let’s lift up the lid I travelledteacher overlifts off lid
And let it out teacher gestures emptying box toward child
I Travelled over Land and Sea (Norwegian traditional, words by Frances B. Wood) 7
#2 j
& #4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
I tra - velled o - ver land and sea, I met a man who said to me, an
# œ œ œ œ
&#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
old, old man who said to me, "Pray where do you be - long to?" Oh! I be - long to
#
&#œ œ œ œ œ œ œ œ œ œ œ œ
March - ing Land, to March - ing Land, to March - ing Land. And
# œ
&#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
ev - 'ry one who can march like me, why, he be - longs to March - ing Land.
31

ADAM 7 SONS
Adam He Had Seven Sons (traditional)

#4 œ
& #4 œ œ œ œ œ œ ˙ œ œ œ ˙™ œ
A - dam he had sev - en sons, sev - en sons had he. They
#
&#œ œ œ œ œ œ œ œ œ œ œ œ œ w
would not eat, they would not drink, but they all went just like me.
The Grand Old Duke of York (traditional)

The Grand Old Duke of York walk forward in circle
He had ten thousand men
He marched them up the hill lift feet higher to march
And down the hill again walk backward
And when they were up, they were up walk forward
And when they were down,
they were down walk backward
And when they were only halfway up face into circle, halfway up
They were neither up nor down feet apart on ground, bent over, arms
outstretched in questioning gesture
Jack in the Box (adapted by Ruth Ker)

This game begins with the teacher crouching, pretending to put a lid on a jack-in-the-box and
then also pretending to turn a crank. This can be a playful moment, with inquisitive expressions.
No one jumps up until the teacher says, “Yes, he will” and jumps up too.
Jack in the box see above
Sit so still
Crank, crank, crank right hand and arm rotates
Will he come up? pause
Yes he will!!! jump up
There can be variations to this game using animals in place of Jack (according to the children’s
suggestions). When they jump up as “animals,” they make the corresponding animal sound. It is
always helpful to end with a bunny or some quiet creature.
32

I AM A BLACKSMITH
I Am a Blacksmith (Dutch traditional, music adapted by Nancy Foster,
game adaptation by Ruth Ker)8
#6 j j j j
& 8œ œ œ œ œ œ œ™ œ œ œ œ œ
œ J œ
I am a black - smith good and true. Best of work I al - ways
# j j œ œ j
& œ™ œ œ œ œ œ™ œ œ œ œ
œ œ œ J J
do. All day long my ham - mers go, cling - ing, cling - ing, clang - ing
#
& œ œj œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ ™
so, a - rick -et - y tick - et - y tick - et - y tick, a - rick - et - y tick - et - y tick - et - y tick.
I am a blacksmith strong and true standing tall, raise flexed arms

Best of work I always do
All day long my hammers go
Clinging, clinging, clanging so
The Dutch traditional lyrics can also be used, with the accompanying game.
I am a blacksmith strong and true standing tall, raise flexed arms

Best of work I always do
Working with one hammer like me “hammer” with 1 hand, then 2, then 3 (2
hands, 1 foot),
Clinging, clinging, clanging so then 4 (2 hands, 2 feet),
A rickety-tickety-tickety-tick then 5 ( 2 hands, 2 feet, and the head)

A rickety-tickety-tickety-tick
Dipping rhymes
Dipping games, sometimes called counting-without-numbers rhymes, have a very long
tradition. For this reason, they are suitable even for the younger children. For centuries,
children have used these rhymes to select turns through a fair process of elimination. I use
them in the early childhood program, especially with the older children, to playfully do a
variety of things—dismiss the children one by one to go to the bathroom, to choose leaders
in a game, to settle certain differences of opinion. I’m sure you will find your own uses for
these and you’ve probably played them yourselves for reasons not mentioned. They make
wonderful transition games as well.
33

Peas Porridge Hot, Peas Porridge Cold (author unknown)
Peas porridge hot, peas porridge cold
Peas porridge in the pot nine days old
Some like it hot, some like it cold
Some like it in the pot nine days old
Papa likes it hot, Mama likes it cold
But I like it in the pot nine days old
The teacher may gently bump each child’s fist or cupped hand; and when she gets to the end
of the verse and bumps a hand more firmly, that child goes, for instance, to the bathroom at
bathroom transition time.
This game can also be a clapping game for the older children where the children can sit
opposite a partner and they clap their own hands and then their partner’s. Different rhythms
and clapping actions can be added.
Eeny, Meeny, Miney, Moe (author unknown)

Eeny, meeny, miney, moe
Catch a tiger by the toe
If he hollers, let him go
My mother says to choose this one
Issy Dissy Do, Compliments to You (author unknown)

Issy dissy do, compliments to you
Compliments to issy dissy
Issy dissy do
One Potato, Two Potato (author unknown)

One potato, two potato
Three potato, four
Five potato, six potato
Seven potato more
Another version:
One potato, two potato.
Three potato, four
We will load the farmer’s wagon
Then we’ll load some more.
34

Bell games
At the beginning of the school year, one of the first playful moments that I have shared with
the children is “the bell game.” This game, although simple, is a way that, through play, I
can make sure that the children will come to me when it is necessary. I show them my magic
bell and tell them that I am going to hide and… “When you hear my magic bell, come and
find me.” We play this several times and then sometimes some of the older children ask for a
turn too. For the next few days, on our morning walks, I say, “I wonder if the bell game will
happen today?” After a few times of playing this game, the children develop a group habit
of running to the person who is ringing the bell. I have tried to find a bell that is tuned to the
sun tone “A.” This game has made it possible for us to safely journey away from our school
yard and, when the children are spread out over large distances, there is no need to call loudly
or herd them together. Instead, I simply ring my magic bell.
The Farmer Went to the Pasture Green (Laurie Clark) 9

This bell game was developed by Laurie Clark as part of a Late Spring Circle. In this game, the
teacher tiptoes to different parts of the room and rings a small bell. I have found the children love
to be the bell-ringers too. Sometimes we play this game outdoors on our grassy meadow.
The farmer went to the pasture green
There the sheep and little lambs
could be seen
They were trotting along, trotting along crawling
They had bells around their necks
that would ring teacher rings small bell
Farmer Brown counted the lambs— count everyone, sitting still in circle
There was one missing! raise one finger
Close your eyes and listen
for the lamb’s bell children hide eyes while teacher hides
Point to the place where you hear it well. bell rings, children point
35

Riding comfort songs
These games can be useful when the child needs a distraction; this “intervention” often helps
him to find new direction. Perhaps the child is having difficulty letting go of a parent at the
garden gate or has suffered some other disappointment and needs a comforting touch.
A Farmer Went Riding upon His Grey Mare (traditional)

A farmer went riding upon his grey mare sway knees back and forth
Bumpety, bumpety, bump bump knees up and down
With his daughter behind him
so rosy and fair sway knees back and forth
Lumpety, lumpety, lump bump knees up and down
A raven cried, “caw” and they all
tumbled down hold child and lower off lap
Bumpety, bumpety, bump raise child up again and bump knees
The mare hurt her knees and the farmer
his crown. rub child’s knees and brow
Lumpety, lumpety, lump bump knees
The mischievious raven went flying away hug child while swaying knees
Bumpety, bumpety, bump bump knees up and down again
And vowed he would serve them
the same the next day sway knees
Lumpety, lumpety, lump bump knees
On a Ride to Boston (Astrid Lackner)

This verse is submitted by a colleague from British Columbia who has a group of eight preschool
children. She explains, “When the children are done washing up in the bathroom, they come and
sit on the waiting bench one by one. This is a great opportunity to connect with each one of them
by offering a ‘ride on the lap’ game while we are waiting for the rest of our friends to finish. The
ride is short so everyone can have a turn.”
On a ride to Boston bump knees up and down
On a ride to Maine
On a ride to Tumble Town lift child up
And back home again sit child back down on lap
The following verses can be used in a similar way at a variety of transitions. Some of them are
more appropriate for the very young and others are appropriate for older children.
36

Acka Backa Soda Cracker (traditional, adapted by Ruth Ker)
Acka backa soda cracker, acka backa boo bump knees up and down
Acka backa soda cracker I love you continue bumping and hug
Acka backa soda cracker acka backa boo bump knees
Acka backa soda cracker up goes you lift child up
Bumping Up and Down in My Little Red Wagon (traditional, adapted by Ruth Ker)
This game can be adapted to other movements (tipping over, sitting still, and so on)
Bumping up and down in my
little red wagon bumping knees up and down
Bumping up and down in my
little red wagon
Won’t you be my darling! hug at end
One Currant Bun in the Bakery Shop (author unknown, music and game adaptation
by Ruth Ker)
This game is a favorite of mineOne
becauseCurrant Bun
it involves a ride on the teacher’s lap and also engages the
children to take turns in “purchasing” the currant bun. I have found it to be helpful if I open up
the bakery shop (pull up a bench) at the outdoor transition time. The children hurry to get their
things on and then come to sit on my lap to be the first currant bun.
4
&4 œ œ œ œ œ œ œ œ ˙ œ œ œ œ
œ
One cur - rant bun in the bak - 'ry shop, round and fat with a
& œ œ œ œ œ™ j œ œ œ œ œ œ œ œ œ œ œ
œ œ
cher - ry on the top. A - long came (child's name) with a pen - ny in his hand and
& œ œ œ œ œ œ œ œ œ ˙
took the cur - rant bun right back to his land.
One currant bun in the bakery shop 1 child on teacher’s lap while knees bumping
Round and fat with a cherry on the top teacher touches child’s head
Along came with a penny
in his hand another child gives pretend money and
And took the currant bun right back
to his land takes friend back to her bench
37

Touching games
Finding opportunities to have safe, respectful touch will ultimately assure the children that
they can trust this world. It is a wonderful way to deepen the discipleship with the children
in your care and at the same time to give them living examples of qualities that we want them
to imitate back out into the world—gentleness, goodness, calmness—love in action. Wilma
Ellersiek’s game “Bind-a Bind a Band” is a fine example of this.10
I have witnessed a very wonderful transition in a few different kindergartens where the
teacher, at the end of nap time, motioned to the children who wanted to have their hair brushed
to come up one by one while she gently brushed their hair. Not all children want this and the
object is not to untangle the hair but rather to lovingly and gently stroke the child’s hair. Each
child has her own brush, kept in a compartmentalized cotton hanger in the classroom. I also
saw that the children loved to play “hairdresser” and would copy the teacher’s gestures at play
time as they administered this loving touch to their peers.
Below are some other games that give us the opportunity for us to model healing touch.
Toot, Toot (author unknown, submitted by Astrid Lackner)

Toot toot firmly press 2 fingers in a tapping circular
motion into the palm of the child’s hand
7 times
The little train goes up the tracks tapping, make your way up child’s arm to ear
Honk it’s horn, “Tooooot” lightly pull on the right earlobe
And goes right back go back to the “station” (child’s palm)
Knock on the Door (traditional)

Knock on the door gently tap forehead
Ring the bell gently pull ear
Lift the latch gently push up on nose
Walk inside open mouth and walk fingers inside
The Moon is Round (German traditional, adapted by Jaimen McMillan) 11

The moon is round with a soft gentle hand, circle child’s
forehead, maintaining light contact
The moon is round place both hands on sides of forehead
It has two eyes draw along eyebrows
And knows gently stroke finger down the nose
No frown using both thumbs, gently draw outside of lips
upwards toward a smile. Adult smiles too!
38

Round and Round the Garden (traditional)
Round and round the garden draw circles on the child’s palms
Like a teddy bear
One step, two steps, walk with fingers
Tickle you under there gentle tickle
Toes Tiddlying, Toes Tiddlying (author unknown, submitted by Morgan Wade)
Toes tiddlying, toes tiddlying wiggle toes
Shin shanking, shin shanking rub shins
Knees napping, knees napping hands up and down on knees
Inchy, pinchy… inchy, pinchy squeeze thighs
Whiney bulgy, whiney, bulgy rub belly
Breast berry, breast berry hands crossed, up and down chest
Chin cherry, chin cherry caress chin with right, then left hand
Moo merry, moo merry soft rotation of mouth
Nose nipping, nose nipping quick nip of nose 2 times
Eyes blinking, eyes blinking blink eyes
Over the croon and away with it 2 arm raised, reach over shoulders and back
again
Swishing, Swashing, Swishing, Swashing (Robyn O’Brien, submitted by Adrienne Doucette)

The standing child has his back to the teacher as she gently, while sitting, speaks softly and
strokes his back and arms. This game could be used in the kindergarten and the children could
do this to one another around the circle. Of course it would need to be modeled by the adults
several times first.
Swishing, swashing, swishing, swashing while slowly speaking, rub sideways
All the clothes so fine lemniscate on the child’s back
Then wring them out and wring them out massage between shoulders and neck
And hang them on the line hold child’s hands and raise arms and hands up
Then we press and press and press squeeze child’s arm from shoulder to hand
like gently squeezing a tube of toothpaste;
don’t forget to gently include hands, first
right, then left, then press down the back
from top to bottom with both hands
Before we dress and dress and dress from hand to shoulder on right arm first, then
left arm; “put sleeve on” by stroking upwards
from hand to shoulder
Dress ourselves so fine. take hold of child’s arms and embrace them
from behind
39

Hiding games
Marie’s in the Garden (Ruth Ker)
Marie’s in the garden, in the garden
is Marie finger puppet appears.
All the trees and flowers are bigger
than she teacher asks one child to hide eyes
Marie she is hiding, hiding is she teacher gives Marie to a friend to hide in his
or her hands, all others hide hands too
Open your eyes… and say where
she could be the child hiding eyes guesses who has Marie
Two Little Blackbirds Sitting on a Hill (traditional, adapted by Ruth Ker)

Two little blackbirds sitting on a hill 2 hands closed, thumbs up to resemble birds
One named Jack and one named Jill slightly raise one hand and then the other
Fly away Jack, fly away Jill one hand at a time flies behind back
Come back Jack, come back Jill right and left hand come back to original
position
Ricketty, Racketty, Round and Round (submitted by Esther Chase)

Ricketty, racketty, round and round closed fists, one hand enclosing a “mouse”
The mousie runs around the town hands circling at heart level
Did she go up? hands still; teacher, nodding, chooses child
to guess
Or was it down?
Doggy, Doggy Who’s Got the Bone? (traditional, adapted by Ruth Ker)
In this game, there is one child in the center of the circle who is the doggy. Younger children may
wish to stay in the circle’s outer rim or be beside the teacher. The game begins by the teacher
choosing a child to curl up, hide her eyes and then place a “bone” (crystal, rock, or something
similar) on her back. Then the teacher motions to another child who quietly creeps up to take the
bone away and go back to hide hands at circle with the others.
Doggy, doggy who’s got the bone? child with bone on his back hides eyes
Someone took it from my home bone taken away; all hide hands behind backs
Open your eyes, doggy, and see center child opens eyes
Where it could possibly be points to friends until bone is discovered
40

Isn’t It Funny How a Bear Likes Honey? (traditional, adapted by Ruth Ker)
This is played similarly to the one above. Mr Bear goes into the center of the circle with his honey
pot and crouches down, hiding his eyes. The honey pot is then picked up by another child and
Mr. Bear guesses who took it.
Isn’t it funny how a bear likes honey bear goes into center and hides his eyes
Yum, yum, yum child takes pot; all hide hands
Open your eyes, Mr. Bear
And see if you can find some Mr. Bear points to others to find honey pot
Ringline, Ringline You May Wander (traditional, adapted by Ruth Ker)

Ringline, ringline you may wander A long thin rope is used to pass a ring around
From the one hand to the other the circle. When the song stops, the children
Ringline, ringline you way wander all clench their hands on the rope.
Oh my lovely ringline
Hide the Slipper
One child, who has been hiding her eyes, now
guesses who is holding the ring
Hunt the Slipper (traditional, music by Ruth Ker)

6 j j j œ œ œ œ œ œ œ™
&8 œ œ œ œ œ œ œ œ œ œ™
Cob - bler, cob - bler, mend me my shoe and pray you see quick - ly a - bout it.
& œ œ œ œ™
œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ™
Put a nail here, put a nail there, for I can - not go lon - ger with - out it.
In this game, the children are seated in the circle with their knees up and feet flat on the floor. A
child seated in the center of the circle takes off his shoe, gives it to a child in the circle, and then
hides his eyes. The children in the circle pass the shoe under their knees until the song ends. Then
the cobbler opens his eyes and finds the shoe hidden behind one child’s back.
Cobbler, cobbler mend me my shoe cobbler hands shoe to child in circle
And pray you see quickly about it cobbler hides eyes, children pass shoe around
Put a nail here, put a nail there, this can be repeated
For I cannot go longer without it. cobbler opens eyes and finds shoe
41

Tommy Thumb, Tommy Thumb (traditional, adapted by Ruth Ker)
Although this finger play below seems simple, it has been my experience that children of all ages
love it. After the various fingers say, “How do you do,” the older children take great pleasure in
having the fingers kiss and hug each other. One child suggested they could do tricks and this was
fun to craft together—stretches, pushups, trampoline jumps, and so on.
Tommy Thumb, Tommy Thumb hold up each thumb
Where are you? hide thumbs (in hair, pockets, shoes for
example)
Here I am, here I am bring out thumbs one at a time
How do you do? bow to each other
Continue with Peter Pointer, Toby Tall, Ruby Ring, Baby Small, and then the whole family
together, called Family All.
Where Is Thumbkin? (traditional)

Where is Thumbkin? both thumbs are hidden
Where is Thumbkin?
Here I am right thumb appears
Here I am left thumb appears
How are you this morning? right thumb bows and gestures toward left
Very well I thank you left thumb responds in kind
Run and play right thumb disappears behind back
Run and play left thumb disappears behind back
We’ve Lost Two Children, We’ve Lost Two Children (traditional)

The children are seated in a circle. Two children go out of the circle and hide their eyes. The
teacher chooses two children by gesturing and they hide under a sheet in front of her. The song is
sung and the two children come and try to guess who is hiding. Sometimes the younger children
cannot guess so the teacher asks the others to give hints. Usually the older children who are
gaining memory function are able to guess.
We’ve lost two children, we’ve lost
two children, calling out in sing-song voice
Now tell us who they are
Come back , come back
And tell us who they are
42

Caterpillar Wind About (submitted by Cheechum Soby)
Cheechum Soby writes of this game, “Although around Easter we see only the bravest of early
butterflies in Calgary, I love the picture of renewal and transformation in this game.”
Caterpillar wind about one child crawls/wriggles in and out
Round and round and in and out amongst standing circle
Caterpillar wind about
Round and round and in and out
When you are fed
Come make your bed child curls up in center of circle
As a caterpillar die teacher puts colorful silk over child
Awaken as a butterfly
Fly butterfly, fly in a singsong voice
Fly butterfly, fly child flies freely with arms up and down so
the cape flutters
Linking arms
Humpty Dumpty Sat on a Wall (traditional nursery rhyme)
Humpty Dumpty sat on a wall link arms and sway together
Humpty Dumpty had a great fall let go and fall backwards
All the king’s horses and all the king’s men kick feet in air
Couldn’t put Humpty together again lay flat, shake head no, pause and sit up
Rub a Dub Dub, Three Men in a Tub

Rub a dub dub, three men in a tub link arms and sway
And who do you think they be?
The butcher, the baker,
the candlestick-maker
Turn them out, knaves all three fall backwards alternative: turn your back on
the circle (good outlet for six-year-olds)
43

TWO LITTLE BOATS
Two Little Boats (traditional, submitted by Laurie Clark) 12

6 œ œ œ œ j j j j j j
&8 J J œ œ œ œ œ œ œ œ œ œ œ œ™
Two lit - tle boats are on the sea, all is as calm, as calm can be.
& j j j j
œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ™
Gent - ly the wind be - gins to blow, two lit - tle boats rock to and fro.
j œ œ™ j œ œ œ
& œ œ œ œ œ œ J œ œ œ œ œ œ J J
Loud - ly the wind be - gins to shout! Two lit - tle boats are tossed a - bout. Gone
œ œ j j j j j
& œ J œ œ œ œ œ œ œ œ œ œ j
œ œ
is the wind, the storm, the rain. Two lit - tle boats all sail a - gain.
Sensory games
Sandwich
This is a helpful game for children who need a good squish but do not wish to be singled out for
individual therapeutic games. This also is good for children who need help experiencing their
body boundaries and others who crave touch in general.
Children lie on a large pillow. Put toppings on the “sandwich” with gentle touch. Then press
down the sandwich top—which is another pillow.
Munch, munch, munch
We’ll have some lunch
What do you want on your sandwich?
We’ll eat a bunch.
44

Here is another version:
All around the Sandwich Shop (traditional tune, words by Ruth Ker,
sung to the tune of “All around the Mulberry Bush.”)
All around the sandwich shop teacher gestures to one child to lie on pillow
The children come to munch
What kind of sandwich
Shall we have for lunch?
Teacher asks: “Lettuce or tomato?” Child chooses and teacher “chops” on the back of the child.
Teacher asks again: “Mustard or Mayonnaise?” Child chooses and teacher “spreads,”
massaging the child.
Many toppings can be spread, kneaded, massaged, sprinkled onto the child. Then the top
slice of bread (another pillow) is put on top and pressed down.
Some children like to lie there for a few moments savoring this cozy nest.
Rock-a-Bye-Baby (traditional)
This game is a good one for parent/child classes. Children and the parents both enjoy it immensely.
A large blanket is spread on the floor and the parents form a circle around it. A child comes
and lies down on the blanket. Two parents pick up the edges of the blanket and gently sway the
child back and forth singing, “Rock-a-bye-baby.” At “when the bough breaks, the cradle will
fall,” the parents gently put the blanket and child back on the floor.
Caterpillar Roll (Nancy Foster, game adaptation submitted by Esther Chase) 13

A child lies down on a long cloth, preferably rainbow-colored. Make sure his head is out of this
cloth when it is rolled up. If capable, some children like to roll themselves up. Others like to have
the teacher or the class do this.
Caterpillar wind about child is rolled up in the cloth
Round and round and in and out
When you are fed, come make your bed. child, face down, has back rubbed gently
Go to sleep, deep… deep
As a caterpillar die
Wake up as a butterfly! joyfully pull cloth so child rolls away free;
the child then can fly to the next transition
(for example, to the bathroom)
45

In the Heart of a Seed Buried Deep, Deep, Deep (author unknown,
adapted by Ruth Ker)
Another variation of the games above. This is a game in which all the children can participate.
In the heart of a seed buried deep,
deep, deep roll child in cloth or long rug
A dear little seed lay fast asleep teacher and other children gently rub “seed’s”
back
Awake said the voice of the raindrops light teacher and other children lightly tap seed
Awake said the voice of the sunshine bright teacher and other children gently rub back
in circles
And the little plant heard and arose to see teacher and other children help child roll out
of blanket
What the wonderful outside world
might be!
Bowl of Grain
Beforehand the teacher will have buried some treasures, two of each, in a large bowl of grain:
identical marbles, wooden animals, hair barrettes, clothes pins, and the like. The children take
turns pulling out first one and then the matching object and then laying them on a cloth on the
floor. When the bowl is empty, the items go back in and the children play it again.
A variation of this game is to have a beautiful cloth bag with doubles of things inside. The
children reach in and find one thing and then reach in again to find its identical mate. This is a
good game for the older children in the kindergarten.
Working with the Older Children in the Kindergarten

One of the gifts of the six-to-seven year transformation is the arrival of causal thinking. This
new capacity grants the children a sense of “If I do this, then that will happen.” Of course, the
way that the children explore this change in consciousness is to play with it. We as educators
need to be prepared for this maturation because we then encounter children who are playing
with time and sequence. We see the children experimenting with what happens when they
speed up or slow down at circle and games times. Unconsciously, they want to see what
happens when they turn their back on the group or fall on the floor in the middle of everyone.
At the same time, their six-year-old displays of self-consciousness, another part of the
transformation, show us that they are awakening to their own individuality and are now
“playing at” what happens when they separate themselves from others.
46

These newfound tendencies can, of course, be distressing for early childhood group times
if the educator is not prepared for them.
However, these tendencies can be soothed and addressed by the wisdom inherent in some
of the social and traditional games. It is now the time for the educator to practice being more
direct with the children, and the games can provide a healing balm during this transition.
Please believe me, the younger children will be relieved that the teacher, rather than their six-
year-old peers, is still in charge.
While still modeling right activity, these gentle reminders on the part of the teacher can
bring the kind of loving authority that the older children now seek. The child often meets this
shift with relief. If the children could, they might say, “Thank goodness the rules still are the
same, even though everything seems to be changing in me.” The teacher becomes the strong,
firm wall that they can bump into or, in some cases, reach out to and touch for reassurance.
Helpful strategies would include finding ways to show the children that “we’re all together
here”; or “I know you know all about these games so you probably didn’t mean to interrupt
us”; or “Can you watch and see if anyone else plays the game by falling in the middle? Let me
know. I’m pretty sure that that’s not the way of the game.”
Using picture imaginations is also helpful to transform these situations. “The older birds
in mama bird’s nest always show the little ones just how to play the games.”
As mentioned, giving the older children a chance to add to the game or to help set up
scenarios allows them to try out their newfound interest in planning. Being open to their
suggestions is another way the educator can gain their respect and deepen the bond with
them. When the child approaches seven, he is still in need of the old, reliable forms but wants
to add something of himself to them.
Other verses for older children, age six and up

One, Two, How Do You Do (traditional, adapted by Ruth Ker)
Stomp alternate feet when counting and suit actions to words.
One, two, how do you do
One, two, three, clap with me
One, two, three, four, jump on the floor
One, two, three, four, five, look bright and alive
One, two, three, four, five, six, my shoe to fix
One, two, three, four, five, six, seven, look up to the heavens
One, two, three, four, five, six, seven, eight, a big round plate
One, two, three, four, five, six, seven, eight, nine, I feel pretty fine
47

Babies Walk Upstairs (Trevor Smith) 14
Begin with hands together, fingers pointing away from your body. Move a finger on each syllable
of the verse.
Babies walk upstairs
Move pinky… ring… middle finger;
One step at a time.
middle… pointer… thumb;
Boys and girls fly up and down
pinky… ring… middle… pointer… thumb… pointer… middle;
As fast as light- ning can.
ring… pinky… ring… middle pointer thumb;
Old men often slip and slide
pinky… ring… middle… cross!… middle… cross!
On their way to bed.
middle… pointer… thumb;
La- dies step so lightly
pinky… ring… middle… pointer… thumb… pointer;
You can hard- ly hear them tread.
middle… ring… pinky… ring… middle… pointer… thumb.
The Bear Went over the Mountain (traditional tune, words adapted by Ruth Ker)
In this game the teacher sits on the floor in circle, clapping out the rhythm on her legs,
with the older children imitating. Other movements are written below. The children call
out imaginations when the song says, “And what do you think he saw?” Then the child’s
suggestion is enacted and the game goes on and someone else has a turn.
The bear went over the mountain clapping rhythm on legs
The bear went over the mountain
And what do you think he saw? arms open in questioning gesture
The other side of the mountain right hand over brow, looking
The other side of the mountain, then clapping
The other side of the mountain
Was all that he could see
48

and what do you think he saw?
Clapping games for older children

The strong rhythms of the nursery rhymes lend themselves quite well to clapping games.
They are so therapeutic for the young child who is on a path of incarnation. Adapting the
imitated gesture to suit the stage of development ensures that all children can benefit. The
baby may have little taps to the closed palm; the toddler, gentle taps on outstretched palms;
the preschooler may clap without crossovers; the older kindergartener can imitate crossovers,
even migrating to touch her own shoulders or knees as well as the hands of her partner. Older
children love to make up their own patterns.
In addition to the following rhymes, consider these and many others:
Ride a Cock Horse to Banbury Cross
Hippity Hop to the Barber Shop
Diddle, Diddle Dumpling, My Son John
Hickory, Dickory, Dock
Wee, Willie Winkie
Little Miss Muffet
Twinkle, Twinkle, Little Star
Yankee Doodle
Jack Be Nimble, Jack Be Quick
Jack and Jill
Baa Baa Black Sheep
To Market to Market to Buy a Fat Pig
A Sailor Went to Sea, Sea, Sea (traditional)

A sailor went to sea, sea, sea, children sitting or standing opposite, clapping
their hands, imitating teacher’s patterning
To see what he can see, see, see
And all that he could see, see, see
Was the bottom of the deep blue
Sea, sea, sea
49

Hot Cross Buns
Hot Cross Buns (traditional)

#c œ œ œ œ œ œ œ œ œ œ œ
& œ ˙ œ ˙ œ ˙
Hot cross buns! Hot cross buns! One a penny, two a penny, hot cross buns!
#œ œ œ œ œ œ œ œ œ œ
& ˙
If you have no daugh - ters, give them to your sons.
#œ œ œ œ œ œ
& œ œ œ ˙
œ
One a pen - ny, two a pen - ny, hot cross buns!
Hot cross buns, hot cross buns children sitting or standing opposite, clapping
One a penny, two a penny
Hot cross buns
If you have no daughters
Give them to your sons
One a penny, two a penny
Hot cross buns
Simple Simon Met a Pie Man (traditional)

Simple Simon met a pie man children sitting or standing opposite, clapping
Going to the fair
Said Simple Simon to the pie man
“Let me taste your wares.”
Said the pie man to Simple Simon
“Show me first your penny.”
Said Simple Simon to the pie man,
“Sir, I have not any.”
50

Memory games for older children
A Tired Gnome Put Down Her Sack (Robin Laskowski)
A few jewels are wrapped in a star cloth. One child is chosen to go around the circle, lay down a
sack, and hide eyes with other children. One child, chosen by teacher, takes something out of the
sack and the children all open their eyes. Then the teacher chooses another child to guess what
is missing.
A tired gnome put down her sack
Took out her jewels and turned her back
Another gnome took one jewel away
Which gnome is it?
Can you say?
Another version:
A Little Gnome Came Down the Track (Angela Sheppard)

A little gnome came down the track
And took the sack from off her back
On the ground she laid her stones
Then slept inside her little home
A little friend came by to peep
While that gnome lay fast asleep
Little gnome, now waken
Find the stone that’s taken
Bruno the Bear Is Sleeping in His Cave (traditional, adapted by Ruth Ker)
One child hides eyes and another child is covered with a big cloth. No peeking! First child guesses
who is under the cloth.
Bruno the bear is sleeping in his cave
Come and find him (or her)!
Are you brave?
51

Bean bag games15
The following games are reprinted with the permission of Laurie Clarke.
Some of these games may be complicated for some of the older children and it is important
that this is not drawn to their attention and that they are left free to imitate. It can be revealing
when, for instance, the teacher witnesses a child’s consistent inability to imitate some gestures.
Pat-a-Cake, Pat-a-Cake
Pat-a-cake, pat-a-cake right hand to left hand to right hand (same
rhythm for next three lines)
Baker’s man
Bake me a cake as fast as you can
Pat it pat bean bag
Roll it roll bean bag with both hands
Mark it with a B “draw” with pointer finger on bean bag
Throw it in the oven small toss in the air and catch the bean bag
For baby and me It is fun to substitute each child’s name for
the word “baby.”
Hey, Diddle Diddle (traditional, adapted by Ruth Ker)
Hey, diddle diddle right hand to left and then left to right
The cat and the fiddle right hand to left and then left to right
The cow jumped over the moon palms up near knees—toss bean bag from
right hand to left hand over legs
The little dog laughed to see such a sport
And the dish ran away with the spoon right hand picks bean bag up and “runs” with
it and hides it behind the back
Leg over Leg (traditional, adapted by Ruth Ker)

Leg over leg, legs straight out in front, crossing one over
As the dog went to Dover, the other to the rhythm
When he came to a stile, stop leg movement
Jump! He went over. hold beanbag in right hand, hands near knees,
toss to left hand over knees; repeat left to right
52

Hickory Dickory Dock (traditional)
Hickory dickory dock bean bag goes from right hand to left hand to
right hand
The mouse ran up the clock right hand “walks” bean bag up left arm and
bean bag is placed on head
The clock struck one hold one finger up with bean bag still on head
The mouse ran down lean head forward, let bean bag drop into
both hands
Hickory dickory dock right hand to left hand to right
Tick, tock! two light tosses and catch
Two Little Blackbirds (traditional)

Two little blackbirds sitting on a hill,
One named Jack, place one beanbag on right shoulder…
And one named Jill. … and one beanbag on left shoulder
Fly away Jack! right hand takes beanbag off shoulder and
places it behind back
Fly away Jill! left hand takes beanbag off shoulder and
places it behind back
Come back Jack! right hand retrieves beanbag and places it on
right shoulder
Come back Jill! left hand retrieves beanbag and places it on
left shoulder
Jack and Jill

Begin sitting with legs out front and bean bag in each hand, moving alternately up the legs to
shoulders to the rhythm of the verse.
Jack and Jill went up the hill legs straight out in front—beanbag slowly
“climbs” from toes to shoulders
To fetch a pail of water
Jack fell down and broke his crown lift right shoulder and lean forward a little so
bean bag falls off
And Jill came tumbling after lift left shoulder and lean forward so bean
bag falls off
53

Up Jack got and off did trot as fast
as he could caper pick up bean bag with right hand,“walking”
it up left arm and balance it on head
To old dame Dob, who patched his nob stand up, trying to keep beanbag balanced on
head without letting it fall
With vinegar and brown paper while standing, lean head forward, letting
bean bag fall into both hands
Dance Little Baby

Dance little baby, dance up high, lift hands on “high”
Never mind baby, mother is by. on “mother” place beanbag near heart
Crow and caper, caper and crow, bean bag is held in both hands in rocking
motion across body
There, little baby! There you go! throw beanbag up, then to the floor
Backwards and forwards, round
and round, follow indicated directions
Dance little baby and mother will sing. rocking motion, side-to-side rhythm
With the merry choral, ding, ding, ding. 3 small tosses and catch on “ding”
About the Bush Willie

Beanbag begins in the right hand. Pass it behind the back to the left hand; left hand passes it
around front to right. Repeat this motion througout the verse.
About the bush, Willie,
About the bee-hive,
About the bush, Willie, I’ll meet thee alive.
See-Saw, Margery Daw

One bean bag is on the back of each hand, arms straight out in front. As one hand goes up, the
other comes down in a seesaw motion to the rhythm of the words. You can speed or slow down as
you repeat the verse.
See-saw, Margery Daw
Jacky shall have a new master.
Jacky shall have but a penny a day,
Because he can’t work any faster.
54

Two Birds on a Stone
There were two birds sat on a stone, 2 bean bags balanced on back of flat left hand
(palm down)
Fa la la la lal a dee.
One flew away and then there was none, right hand takes one beanbag in a “flying”
motion

Fa la la la dee. and places it behind back
The other bird flew after right hand takes other beanbag
and then there was none, and places it behind back
Fa la la la dee.
And so the stone was left alone, hands open, palm up
Fa la la la dee.
One of these birds back again flew, right hand reaches behind back, places one
bean bag on left hand
Fa la la la dee.
The other came back and then there
were two, right hand reaches behind back, places other
bean bag on left hand
Fa la la la dee.
Says one to the other, “How do you do?” right hand takes one bean bag and “talks” to
the other
“Very well, thank you, and how are you?” left hand “answers” with a slight shaking
motion
55

There Was an Old Woman Tossed in a Basket
There was an old woman tossed in a basket throw and catch a bean bag
Seventeen times as high as the moon. hold bean bag up high
But where she was going no mortal
could tell shake head, “no”
For under her arms she carried a broom. put beanbag under arm
“Old woman, old woman,” said I,
“Whither, oh whither, oh whither, so high?” bean bag goes around body from front to back,
from right hand to left hand, then left to
right, circling higher until it is above the head
“To sweep the cobwebs from the sky, bean bag does sweeping motion overhead
But I’ll be with you by and by.” bean bag in both hands, reach to center of
circle on “you” and then back toward heart.
Pop! Goes the Weasel

Bean bag goes from hand to hand around body throughout the verse.
All around the cobbler’s bench
The monkey chased the weasel.
The weasel thought it was all in fun,
Pop! Goes the weasel. on “Pop!”, throw beanbag up and try to catch it
When the bean bag games are finished, a big basket can be placed in the center of the circle
for children to toss their bean bags into as each name is whispered. This helps auditory
processing development. Another fun way to collect the bean bags is to have the children
stand and put the bean bags on their heads. The teacher comes behind and touches the upper
back of each child with the basket. The child leans his or her head backward and tries to make
the bean bag land in the basket. This encourages the sense of touch and vestibular sensing.
Another way to get the bean bags to the basket is to pick them up with the toes to put them
in. This helps ground the children, bringing consciousness down to their feet.16
56

Outdoor games
Although many of the games shared below are more appropriate for the five- to seven-year-
olds, it is very touching to see what fun can come about in a mixed-age kindergarten when
the older children gently take the younger ones by the hand and guide them. For children who
do not have younger siblings, this can help develop nurturing skills that they otherwise may
not have a chance to practice. For those who are older in the kindergarten but the youngest in
their family, it is an opportunity to practice leadership. These games also help the children
practice self-regulation in their movements.
What Time Is It, Mr. Wolf? (traditional)

One child stands at the end of the play area with his back turned to the group. The children
call out “What time is it, Mr. Wolf?” “Mr. Wolf” says a time, such as “seven o’clock.” Then
the children walk forward, counting out seven steps. This continues until they get close to the
wolf, who finally calls out, “Dinner time!” and chases the children back to the starting place.
The first child the wolf touches becomes the next wolf, and the game starts all over again.
One day when the children were playing this game, a “wolf” called out, “twenty o’clock!”
One of the group yelled out, “There’s no such thing!” The wolf responded, “There is in this
land! The games make it magic.”
Mother, May I (traditional)

This game can be played in a circle with one child in the middle, or with one child standing
apart from the others in a play area like in the game above. A child in the group calls out,
for instance, “Mother, may I take six giant steps?” “Mother” may respond “Yes”; or she
may respond, “No, you may take three frog jumps,” and so on. When the children get close
enough to touch Mother, she chases them back to the starting area or to the edge of the circle.
When she touches another child, that child becomes the new Mother.
I have seen great fun arise in this game by children scheming different ways to make
the steps: twirly steps, pigeon-toes, baby steps, one-legged hops, backward steps, and my
personal favorite so far, “Bruno-the-bear bumbles.”
57

Grandpa, Grandpa, Grab my Shoe
The older children take great delight in playing this game on their own and changing the
name of the person who is “it” to Grandma, Sister, Brother, Mother, Uncle and so on.
One child stands at the end of the play area with her back turned to the group. This child
puts her shoe, boot, or what have you behind her. This child calls out “Auntie, auntie (or
whatever relation decided), grab my shoe!” While the child calls this out as many times as
desired, the others advance to try to grab the shoe. The children can move while the caller
is speaking but when the caller turns around, the children must stand still as statues. The
caller turns around quickly and if any children are seen still moving, they must go back to the
starting place. Then the caller turns her back again and calls out. The game finishes when
someone grabs the shoe. The shoe-grabber then gets to be the caller.
The older children, especially, like to experiment with the rules. Sometimes, someone
might ask for changes to the rules, such as the caller wanting to chase the movers back to the
starting area. The teacher should be close by to make sure that any changes are fair and really
are okay with the others.
Knots in May (traditional, music adapted by Frank Kidson) 17

You may recognize this game KNOTS
as “Nuts in May.”INIt’sMAY
helpful to know that the “knots” in the title
refer to the tight hawthorn (or “Mayflower”) buds. Some inquisitive seven-year-old may ask.
However, for most of the games it does not occur to the children to ask. They are too eager to get
on with the game and prefer to dream into it.
#6 œ j j j
& 8œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ™
J J
Here we come gath' - ring knots in May, knots in May, knots in May!
# œ œ œ œ j j
& œ œ œ œ œ œ œ œ™ œ™
J J œ œ œ
Here we come gath' - ring knots in May so ear - ly in the mor - ning.
2. Who will you have for knots in May? …

3. We’ll have (first child’s name) for knots in May …
4. Who will you have to pull her (him) away? …
5. We’ll have (second child’s name) to pull her away …
The children form two lines. The lines move towards and away from each other to begin
with, and then one line at a time moves toward the other in a call-and-response format. It is
helpful to have one teacher or other adult in each line to help guide the children. The game ends
with one child pulling the other over a marked line. This is a game that I usually play at the very
end of the kindergarten year, if at all. It is important that the teacher hold a matter-of-fact,
58

non-competitive mood for this game. Sometimes, we play it by keeping a balanced number on
each side of the line.
At the end of the kindergarten year the older children like to test their strength and a carefully
guided game of “tug-of-war” can help them to be more magnanimous in their gestures. The
younger children often prefer to watch.
Other well-known social games to consider for older children include:
Knick Knack Paddy Wack (also could be used for a clapping game)
Hokey Pokey
Skipping or jump rope rhymes

Using jump ropes for skipping in an early childhood setting must be carefully considered.
When the older children in the kindergarten are going through the birth of the etheric they
experience newfound levity, and the life body assists this by giving their feet an arch to cushion
their movements. Jumping rope is a very different experience for the younger children, who
still have fairly flat feet and little ability to lift themselves off the ground without jarring
the whole body. It is best to have a way that these games, if played at group times, can be
incorporated into a mixed-age kindergarten without limiting the older children or harming
the younger children. One doesn’t want to discourage the older children’s eagerness to have
their younger friends join them, either. It helps everyone feel included if the teacher has
some games for the younger children that incorporate the use of the skipping rope. Don’t be
surprised if the older children ask, “Can I have a turn too?”
Adapting jump rope games for younger children

Jumping over the Snake
Two teachers (or a child and a teacher) at either end of a large skipping rope wiggle the rope
sideways on the floor. The younger child is chosen to jump over the “snake.” “Don’t let him
nibble your toes!”
Waterfall
Two teachers (or a child and a teacher) at either end of a large skipping rope wiggle the rope
up and down on the floor in a wavelike motion. The younger child is chosen to jump over the
waterfall. “I wonder if he’ll get his toes wet?”
59

Over the Mountain and Jump the Stream
Two teachers at either end of a large skipping rope simply turn the rope once over the top of
a child, who is standing in the center, and say, “Over the mountain.” The rope lands by the
child’s feet. When a teacher says, “And jump the stream,” the child jumps over the “stream”
(the rope). This can be repeated slowly a few times.
Leg over Leg, the Dog Went to Dover

Leg over leg, the dog went to Dover. two teachers hold rope a little off the floor
When he came to a stile, teacher signals to child to come
Jump! He went over. child jumps over and returns to group
For older children at the end of the kindergarten year

Fishing
The teacher stands in the middle of the circle swinging a rope with a bean bag tied to the
end. Needless to say, this works better outdoors and, if done indoors, the stage must be set
carefully. The children jump when the beanbag scribing the circle nears them. If the beanbag
touches one of the children, then the “fisherman” has caught a fish, and that child climbs
aboard the fishing boat (a bench or designated area) to watch while the other fish are caught.
60

Other social games to explore
The following traditional jump-rope verses and rhymes for older children were compiled by
Barbara Klocek and Ruth Ker.
Teddy Bear, Teddy Bear

Teddy Bear, Teddy Bear, turn around
Teddy Bear, Teddy Bear, touch the ground
Teddy Bear, Teddy Bear climb the stairs
Teddy Bear, Teddy Bear say your prayers
Teddy Bear, Teddy Bear say goodnight
Teddy Bear, Teddy Bear turn off the light
How many dreams did she (he) have?
One, two, three, four, …
Down by the River, Down by the Sea

Down by the river, down by the sea
I found a starfish as pretty as can be
How many legs did it have?
In this variation, player’s “fill in the blank” with the the jumper’s name.
Down by the river, down by the sea
went fishing with Daddy and me.
How many fish did catch?
Down in the Valley

Down in the valley where the green grass grows
There sat as pretty as a rose
Along came Mother and kissed him (her) on the cheek
How many kisses did he (she) get this week?
61

Oh Little Playmate
Oh little playmate, come out and play with me
And bring your dollies three
Climb up my apple tree
Slide down my rainbow into my cellar door
And we’ll be jolly friends for ever more
More! Shut the door!
How many friends came to play?
Jack Be Nimble
Jack be nimble, Jack be quick
Jack jumped over the candlestick
Careful Jack! Don’t burn your clothes.
Just jump right on your tippy-toes.
How many times did Jack jump?
Ice Cream Soda

Ice cream soda with a cherry on top,
How many friends shared, I forgot?
Jack and Jill

Jack and Jill went up the hill
To fetch a pail of water
Jack fell down and broke his crown
And Jill came tumbling after
How many bumps did they have?
Bubble Gum, Bubble Gum

Bubble gum, bubble gum in a dish
How many pieces do you wish?
62

Up in the Green Orchard
Up in the Green Orchard (Nancy Foster, adapted from Acorn Hill anthology by Ruth Ker) 18
#6 ™ œ œ œ
& 8Œ ‰ ‰
œ
j œ œ œ œ œ œ œ œ J
Up in the green or - chard there is a green tree, the
#œ œ œ œ œ œ j
& œ œ œ œ j œ œ œ œ œ
œ
fin - est of ap - ples you e - ver did see. The ap - ples are ripe and
# œ œ œ œ œ œ œ œ œ
& œ œ J œ œ œ œ™
rea - dy to fall, and here is a bas - ket to ga - ther them all.
The last line is spoken just before the counting begins:

How many apples did she pick?
Tomatoes, Lettuce, Carrots, Peas

Tomatoes, lettuce, carrots, peas.
Mother said, “Eat lots of these.”
How many then, if you please?
Tell Me, Tell Me

Tell me, tell me, tell me true.
How old, how old, how old are you?
Hippity, Hop to the Barbershop

Hippity, hop to the barbershop
To buy a stick of candy
One for you and one for me
And some for sister Mandy
How much candy for sister Mandy?
63

Here’s the Ant Hill
Here’s the ant hill with no ants about
And I say, “Little ants, please come out!”
Out they come trooping in RINGLE, RANGLE
answer to my call
One, two, three, four, … That’s all
Ringle Rangle Rowdy (music by Nancy Foster) 19

4 ˙ ˙
&4 œ œ œ œ ˙
œ œ œ œ
w œ œ œ œ ˙
Rin - gle ran - gle row - dy, cock - a - doo - dle doo. Walk -ing in a gar - den
& œ œ œ œ w œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
pick -ing ber -ries blue! One for me, one for you, and the grump must have one too!
After singing the verse, sing or speak the following line and begin counting.
How many berries did he (or she) pick?
Bouncing Ball
Most of the above verses for skipping rope also lend themselves to ball-bouncing. The older
children, at the end of the school year, are delighted with a basket of sponge rubber balls. The
teacher can stand close by, saying the rhymes, until the children remember them. Having a
flat hard surface for bouncing also helps.
64

Notes
1 Jennifer Aulie, Spring (West Midlands, England: Wynstones Press 1999), 45.
2 Nancy Blanning and Laurie Clark, Movement Journeys and Circle Adventures Volume 1 (2006), 56.
3 Aulie, Spring, 25.
4 Milton Bradley Co., A Book of Games for Little Children (Boston: Stanhope Press 1915), 42.
5 Ibid., 71.
6 Elizabeth Matterson, Games for the Very Young (New York: McGraw-Hill 1971), from Blanning and Clark,
Movement Journeys Volume 1 at 67.
7 Herbert Wiseman and Sydney Northcote, Clarendon Book of Singing Games, Book 1 (London: Oxford
University Press 1957), 14.
8 Nancy Foster, Let Us Form a Ring (Silver Spring, MD: Acorn Hill Children’s Center 1989), 2.
9 Blanning and Clark, Movement Journeys Volume 1 at 67.
10 Wilma Ellersiek, Giving Love, Bringing Joy (WECAN 2003), 30.
11 © 1990 Jaimen McMillan. Jaimen first set down this translation and created his adaptation of the game “in
haste from an airplane.”
12 Blanning and Clark, Movement Journeys Volume 1 at 68.
13 Aulie, Spring at 41.
14 Kim Brooking Payne, Games Children Play (Gloucestershire, UK: Hawthorn Press 1998), 5.
15 Nancy Blanning and Laurie Clark, Movement Journeys and Circle Adventures Volume 2 (2016), 136-141.
16 Ibid.
17 Frank Kidson, 100 Singing Games (Glasgow, Scotland: Bayley & Ferguson 1916), 31.
18 Foster, Let Us Form a Ring at 3.
19 Verse by Julius Knierim, translated by Karen Klaveness, Quintenlieder (Stuttgart, Germany: Verlag Freies
Geistesleben 1994), excerpted from Nancy Foster, Dancing as We Sing (Silver Spring, MD: Acorn Hill
1999), 44.
65

2. Traditional
Games
F
rank Kidson, the editor of 100 Singing Games, Old, New and Adapted
speaks about the source of the games collection he published in 1916 as being
“from the lips of the children who now hold them traditionally and inherited from
generations of bygone children.”1 Most of the traditional games have long histories and
are played slightly differently, depending on the country or district in which they are used.
Iona and Peter Opie discovered this when they began to collect these precious games in the
1950s and 60s. By the time they began their research, the games were already in danger of
being lost.2
As mentioned earlier, games which used to be played every day in the streets are now
played much less frequently than in the past. In Mr. Kidson’s time, the Board of Education
in England recommended the use of singing games as part of the curriculum. In our times,
this cultural heritage is fading toward extinction, and yet these games possess age-old
developmental wisdom and are still cherished by the children who have the privilege of
playing them today, when teachers introduce them into the classroom and playground.
Many of these games were developed at a time when people were still intuitively able to
identify with the world of the child. Just as fairy tale images have a profound effect on the
child’s soul, the archetypal forms inherent in circle games have a deep impact on children,
helping them to play their way into life. These games, played repetitively, help children to
deepen in many ways. Some games help the children to practice social graces, to pretend into
adult life, and to understand the world around them. Others speak to the children’s need for
a safe, supportive outlet that engages with strong images and rhythms, connecting them to
dim memories of a cosmic past.
Nancy Foster, in a discussion of traditional games in Dancing as We Sing,3 expresses
much wisdom about traditional singing games. I have included some of her descriptions of
the meaning and role of archetypal images in singing games in the following paragraphs as
well as in some of the games reprinted from her book.
Again, like fairy tales, the singing games contain themes which touch on deep aspects of the
human experience, both of individual development and of human evolution. In fairy tales
these themes appear as verbal pictures; in the singing games, the elements of movement and
67

form are added. As we walk in form, moving through space, we create inner pictures which
are archetypal in nature.
…Many singing games describe, in form and movement, aspects of the process of
incarnation, through which the child comes to earth and to self-awareness, and finds a place
within the spheres of family and community… [For example,] the well-known game of “Ring
Around a Rosy” presents an image of cosmic circling, ending in the birth into the physical
world as “we all fall down.”4
This path of incarnation in traditional games is also mirrored in the circle forms they take.
We see first the elementary “bunch of grapes” form, with the children clustering around the
teacher. Then follows the state of being-at-one as we circle all together (you will see some of
these games depicted in “All together in a ring,” below), then the clumping together in the
circle of relationships as some children occupy the middle of the circle (see “One person in the
center”). When the six-year change marks a strong experience of individuation, it becomes
more fitting to have one child enter the middle on his or her own. Finally, we are able to have
the circle dissolve as life’s developments lead the children in new directions (see “Weaving
around the circle” and “The circle breaks form”). In this last stage, the teacher will need to
be a firm guardian of the form.
SALLY go round the sun

All together in a ring
Sally Go Round the Sun (traditional, adapted by Nancy Foster) 5
#6
& #8 œ œ œ œ œ
j ˙™ œ œ œ œ œ
j
˙™
Sal - ly go round the sun, Sal - ly go round the moon,
# j œ™
&#œ œ œ œ œ
j œ œ œ œ œ œ œ œ œ œ œ œ™
Sal - ly go round the chim - ney-tops on a Sat - ur - day af - ter noon. Whoops!
“Sally Go Round the Sun” may be experienced as a picture of the individual’s journey through
the spiritual world down to earth, right to the “chimney pot” of its chosen home and family.
“As the circle contracts in the final ‘Whoops!’ the child is born into physical existence.”6
68

JING A RING
Jing-a-Ring (traditional) 7
This is a version of “Ring o’ Roses” sung to the tune of “Knots in May.”
6 œ œ œ œ™ j j
&8 œ œ œ œ J J œ œ œ™ #œ œ œ™
Here we go round by jing - a - ring, jing - a - ring, jing - a - ring.
œ j j
& œ œ œ œ œ œ œ œ œ œ œ™ œ™
J J œ œ #œ
Here we go round by jing - a - ring and dance the mer - ry ma - tan - sie.
1. Here we go round by jing-a-ring

Jing-a-ring, jing-a-ring the children dance around in a ring
Here we go round by jing-a-ring
And dance the merry ma-tan-sie turn around dancing
2. Twice about and then we fall,

Then we fall, then we fall,
Twice about and then we fall,
Down by merry-ma-tansie. wait until last line to fall
All My Little Ducks (Austrian traditional) 8

ALL MY LITTLE DUCKS
The children stand in a circle, one behind the other. They march round to the music, moving
their arms as if swimming. At “Their heads are in the water,” they stop marching, bend
forward with heads down, and swing their arms backwards.
#4
& #4 œ œ œ œ ˙ ˙ œ œ œ œ w œ œ œ œ ˙™ œ
All my lit - tle ducks are swim-ming in the mere, swim-ming in the mere. Their
#
&#œ œ œ œ ˙ œ œ œ œ œ œ ˙™ œ œ œ œ œ w
heads are in the wa - ter, their tails are in the air, their tails are in the air.
69

Have You Ever Heard of the Seven (Dutch traditional, game adapted by Ruth Ker) 9
This version has also been called “The Seven League Boots” and various other names. It is an
incarnational game that contains an abundance of unconscious wisdom. The children reenact
the contraction into gravity while counting out the number seven. The number seven, of course,
is related to the element of time. We know that there is so much to learn about the seven-year
cycles inherent in human development. Even the creation of the earth took seven days according
to the Bible. This game also hints at the true possibility of human nobility as we pass through
life. Of course, all of this is unconscious for the young child, but it can strengthen the teacher’s
love and purpose when he or she sees the children taking this wellspring right down into their
movement. I have found thisHAVE to beYOU
a good game for the older children in the kindergarten and,
EVER HEARD OF THE SEVEN
if there are younger children present, they seem to be carried along by the activity. It’s also an
energetic game.
As with most traditional games, there are a variety of ways to play it. Here is my version.
4
& 4 œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ™ œ œ™ bœ œ œ œ bœ œ œ™ œ
J
Have you e - ver heard of the sev - en, the sev - en? Have you e - ver heard of the sev - en steps? They
& œ œ™ œ œ œJ œ bœ œ œ œ bœ ™ œJ œ™ œJ bœ œ œ œ œ ˙™ œ œ
™
say that I dance just like a pan! But I can dance like a nob - le - man. Here is one! Here is
& ˙™ œ œ ˙™ œ œ ˙™ œ œ ˙™ œ œ ˙™ bœ œ œ œ ˙
two! Here is three! Here is four! Here is five! Here is six! Here is sev - en!
REFRAIN:
Have you ever heard of the seven,
the seven? the children move clockwise in a circle
Have you ever heard of the seven steps
They say that I dance just like a pan clumsy dance, bent over with arms dangling
But I can dance like a nobleman upright rhythmical movement,
swinging arms
Here is one! circle stands still, all put right foot forward,
facing into circle
After each presentation of each number, one through seven, the first verse is sung as a refrain
and the clockwise movement repeated.
Here is one! Here is two! Circle still, all put right and then left foot
forward
70

REFRAIN
Here is one! Here is two! Here is three! right and left foot, right knee on the ground
REFRAIN
Here is one! Here is two! Here is three!
Here is four! right and left foot, right and left knee on the
ground
REFRAIN
Here is one!… Here is five! right and left foot, right and left knee, right
elbow on the ground
REFRAIN
Here is one!… Here is six! right and left foot, right and left knee, right
and left elbow on ground
REFRAIN
Here is one!… Here is seven! all feet, knees, elbows, and head touch ground
At this point the head is bent down between the hands and everyone is crouched on the floor (like
the child’s pose in yoga).
Then the first verse is sung again and the numbers are sung all together in reverse as everyone
gradually stands up.
Here is seven! head rises
Here is six! left elbow off ground
Here is five! right elbow is off the ground
Here is four! left knee raised and right knee still down
Here is three! standing
Here is two! left foot forward
Here is one! right foot forward
Other whole-circle games to look for in the Resources:

Ring around a Rosy
London Town
The Washerwomen
The North Wind
Here We Go Round the Mulberry Bush
When I Was a Farmer
71

Several friends in the center
In Holland Stands a House (Nancy Foster) 10
At the beginning, one teacher and a child are chosen to be the “man” in the center. They stand
with hands joined. All stand still during the verse, and walk around each time the chorus comes
(Heigh-ho jig-jiggety…). To avoid confusion and interruption, the teacher chooses who will be
each character, inserting the name quickly between the lines, thus: “And that man he had a wife
(Sarah!), and that man he had a wife…” When the teacher says the name, that child joins the
inner circle in time to circle around on “Heigh-ho.”11
Nancy Foster writes, “In the game ‘In Holland Stands a House’ (similar in theme and form to
‘The Farmer in the Dell’), the individuality is finding its place, organizing its small world, so to
speak. If we picture the house as a body, we could also say that this game describes the task of the
first seven years of life: forming the organs of the body. In the game, as the inner circle increases,
the growth forces are active; as it decreases, the growth forces rest, allowing the necessary pole of
dissolution to occur. AnInimportant
Holland Stands
play activity of the a House
young child can also be seen here—filling
up and pouring out—as well as the in and out rhythms of the human breath, of day and night,
and of life and death. The children’s satisfaction in this experience of expansion and contraction,
of breathing in and out, is evident, and this singing game creates a wonderful mood of joy.”12
#6
& 8 j œ œj œ œj œ ™ œ j œ œj œ œj œ ™ œ œ œ œ œœœ
J
œ œ J
In Hol-land stands a house, in Hol-land stands a house. Heigh - ho, jig-jig et - y,
# j œ
& œ œ
J
œ œ
J
œ œ
J
œ œ œ œ œ œ J
ting - a - ling, join hands to - geth - er and form a ring! In
# œ œ œ™ œ™ œ œ œ œ œ
& œ œ
J J J œ™ œ
Hol - land stands a house, in Hol - land stands a house.
Continue with “In the house there was a man…”, “And that man he had a wife…”, and so on,
through child, nurse, dog, cat, mouse, as you wish.
72

Nix in the Water (Nancy Foster) 13
The teacher chooses three children to be the nixes, and they stand in the center of the circle.
Others join hands around, but do not walk in a circle; just stand still. On “Wash your legs…”
all rub thighs with hands;NIX
on “TieIN yourTHE
hair…”WATER
make appropriate gesture around head. On
“Nix catch me,” each nix goes to a child and puts arms around him or her in an “O” gesture.
Then those children become the nixes. Or, the teacher may choose new nixes, thus ensuring that
everyone has a turn, regardless of who is chosen by the nixes.14
4
&4 ˙ œ œ ˙ #œ œ œ œ œ œ œ ˙ #˙ œ œ œ œ
Nix in the wa - ter, you are the Riv - er King's daugh - ter. Wash your legs with
w
& œ #œ ˙ œ œ œ œ œ œ #œ ˙ ˙ ˙
sil - ver sand, tie your hair with a gol - den band. Nix, catch me!
Oats, Peas, Beans and Barley (traditional, adapted by Nancy Foster) 15

Here we see some of the hidden mystery of these wise, old games and how they resemble the fairy
tales. I have often reflected that the marriage that is spoken of here and the guidance dispensed
of being “true, kind and good” have more to do with the alchemical marriage (soul and spirit
Oats, Peas, Beans
as depicted by prince and princess, uniting with our physical deeds) than with an everyday
marriage. This is something for the teacher to reflect upon that takes the game to another depth.
It’s interesting to note that many of the modern day versions do not include the last two verses.
#6 j j œ œ œ j j
& 8œ œ
J
œ œ œ œ œ™ J œ
J
œ œ œ œ
Oats, peas, beans, and bar - ley grow, oats, peas, beans, and bar - ley grow. Can
# œ œ j j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
J J J J
you or I or an - y - one know how oats, peas, beans, and bar - ley grow?
Verse 1: Teacher and two children are farmers, standing in the center with hands joined. Others
circle around. In the following verses, both farmer and outer circle do all the gestures. The final
line may be amended to “And take good care to chop the wood.”
73

2. First the farmer sows the seed, sowing gesture
Then he stands and takes his ease. hands at sides
Stamps his feet and claps his hands stamp and clap
And turns around to view his lands. each turns while shading eyes with one hand.
3. Waiting for a partner, Each farmer chooses a partner—with

teacher’s
Waiting for a partner, help as needed—and they form a small circle
Open the ring and take one in within the outer circle.
While we all gaily dance and sing.
4. Now you are married you must obey, Both circles go around, stopping in time to
You must be true to all you say. “chop” with forearms on last line.
You must be kind, you must be good,
And help your wife to chop the wood.
My Pigeon House (Nancy Foster) 16

Older children in the kindergarten are quite capable of flying around the classroom in a large
My Pigeon House
group. It is a good exercise for impulse control as well, as long as the teacher has the wherewithal
to hold a space for form. Also helpful imaginations about the “birds” can be provided, when
needed, such as “The birds stay around the farmer’s field. They would never land on his kitchen
table.”
œ œ œ œ ™ œj œ œ œ œ ˙
&c œ œ œ œ œ œ œ
My pig - eon house I o - pen wide and set all my pig-eons free.
U
& ˙ œ œ œ ˙ ˙ œ œ œ˙ ˙ œ œ œ œ
œ œ
Coo - oo - oo roo, coo - oo - oo roo, coo - oo - oo oo roo.
Verse 1: Two children and a teacher are pigeons and stand inside the circle. The outer circle
raises joined hands to form arches, and pigeons go through to the outside.
Verse 2: The pigeons “fly” around the outside of the circle.
Verse 3: The outer circle again forms arches and the pigeons fly back inside. All may end with a
gesture of resting or sleeping.
74

2. They fly around on every side,
Up to the highest tree.
Coo-oo-roo, coo-oo-roo, coo-oo roo.
3. Then they come back at evening
and close their eyes and sing.
Coo-oo-roo, coo-oo-roo, coo-oo roo.
Here’s a Pretty Branch So Gay (adapted by Ruth Ker) 17

The teacher goes around the circle passing out imaginary branches to every other child, then
Here's a Pretty Branch So Gay
beckons the children with branches to come inside the circle. The children inside the circle hold
their branches high while the outer circle moves around them. At “would you like…” the inner
circle chooses someone on the outside to dance. At the chorus, “dance away,” they hold hands
and swing each other around. Anyone without a partner (usually the teacher) claps along.
3
&4 ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙™ ˙™ ˙ œ
Here's a pret - ty branch so gay, a branch the fair - ies gave us. Would you
& ˙ œ ˙ œ œ œ œ ˙ œ ˙ œ ˙™ ˙™
like to dance with me, with a branch the fair - ies gave us?
˙ œ
& ™™ ˙ œ ˙™ ˙ œ ˙™ ˙ œ ˙ œ ˙™
Dance a - way, dance a - way, hold - ing high the branch so gay.
75

One person in the center (or teacher and a child)
Sometimes, during the school year, the older children will ask to go into the circle on their
own, as in the games below. Some of the games above can also be adapted to accommodate
this. The younger children must not be asked to do this unless they are eager to give it a try.
Rosy Apple, Mellow Pear (Nancy Foster) 18

Two children and a teacher are in the center of the circle.
For the first verse, two in the center join hands, while the circle joins hands around them.
After the first verse,
ROSY two in the center breakMELLOW
APPLE, apart and find partners
PEAR from the circle.
For the second verse, the outer circle raises joined hands, forming arches. The inner group
joins hands and, led by the teacher, weave in and out the arches of the circle. The second verse
may be sung twice to allow more time to play!
#4
& #4 œ œ œ œ œ œ ˙
œ œ œ œ œ œ ˙
Ro - sy ap - ple, mel - low pear, bunch of ro - ses she shall wear.
# œ™
&#œ œ œ œ œ œ œ œ œ œ
J œ œ œ ˙
Gold and sil - ver by her side I know who will be my bride.
2. Take her by the lily-white hand,

Lead her ’cross the water,
Give her kisses, one, two, three,
She’s a lady’s daughter.
String a Ring (Norwegian traditional) 19

One child is at the center of the circle. Those in the circle hold a piece of string that goes all the
way around. On the string is STRING
a curtain ring orA something
RING similar, which slides along from hand
to hand, front to back, as quickly and secretly as possible. The child in the center must guess who
holds the ring at the end of the song. If she finds it, she joins the circle and the one holding the
ring takes a turn in the middle of the circle to become the new seeker.
#6 j j j j
& #8 œ œ œ
J œ œ œ œ œ
j œ œ œ
J œ œ œ œ œ
j
String a ring and ring on string, from hand to hand the ring must go. So
#
&#œ œ œ œ œ
J
œ œ œ™
J œ œ œ
J œ
j œ œ œ œ™
swift - ly we pass it to and fro. Can you tell us who has it now?
76

Other examples that are easily available:
The Farmer in the Dell (sometimes called “The Farmer’s in his Den”)
There’s a Great Girl in the Ring, tra-la-la-la-la (Anna Rainville) 20
Weaving around the circle

In and Out the Bonnie Bluebells (traditional, adapted by Jennifer Aulie) 21
The circle raises joined hands to form arches. Two children, or the teacher and a child, go in and
out of the arches, and at each “Pitta-patta-pitta-patta” tap a child’s shoulder. The tapped child
joins the two leaders to weave through the arches.
A variation: at the words, “Pit-a-pat,” the first child (child A) stands behind the child she
has come to in the circle (child B) and then child A pats child B on the shoulders. Child B and
child A then go through the arches and stop at two other children (C and D), who are likewise
chosen to join in and goIN AND
through OUT
the arches BONNIE
with pats on the shoulders. Children A, B, C and
D repeat the process with four other children, and so on, until all of the children are in the line.
They then reform the circle and pat the shoulders of the child in front of them.
4 j j j
& 4 œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ
In and out the bon - ny bluebells, in and out the bon - ny bluebells, in and out the
& œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
bon - ny bluebells, you shall be my part - ner. Pit - ta pat - ta, pit - ta pat-ta on your shoulder,
œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pit - ta pat - ta, pit - ta pat - ta on your shoul - der, pit - ta pat - ta, pit - ta pat - ta
œ œ œ œ œ œ ˙ ˙
& œ œ
on your shoul - der, you shall be my part - ner.
77

Round and Round the Village (traditional, adapted by Ruth Ker)
Here is another
ROUND traditionalAND
game thatROUND
gives the child THE
the experience of coming from the outside,
VILLAGE
seeking incarnation, greeting relationship with others, and then going into the world (to London).
The words “as we have done before” hold the wisdom of the ancient games, which often refer to
reincarnation and other life mysteries.
#2
& #4 œ œ œ™ œ œ
j œ™ œ œ œ™ œ œ
j œ™
Round and round the vil - lage, round and round the vil - lage,
# œ™
&#œ œ œ œ
J
œ œ
J
œ œ œ œ œ
Œ
round and round the vil - lage, as we have done be - fore.
Round and round the village, round

and round the village group in circle while
Round and round the village,
as we have done before. one child walks around the outside
In and out the windows, in and out
the windows group makes arches and
In and out the windows,
as we have done before. child weaves in and out
Stand and face a partner, stand and face
a partner stops in front of partner and
Stand and face a partner,
as we have done before. takes his hand
Off we go to London, off we go to London they weave together through
Off we go to London,
as we have done before. the arches
The game starts over again with two children going around the circle. The first time around, be
sure to choose an eager older child to be the one alone in the middle. You can also choose to start
with more than one child in the middle.
78

I Sent a Letter to My Love (traditional) 22
This game is best played later in the year when the children are comfortable with being on their
own, circling the group. The teacher chooses one child to start. The other children sit in a ring.
The first child walks around the outside holding a “letter” (a handkerchief or anything else will
do). This person drops the letter behind someone and either runs around the circle or, in some
cases, runs in and out of the circle with the pursuer (the child who received the letter) following
I Sent a Letter
his exact path. If the first person gets to the vacant place and sits down without being touched,
then the second player carries the letter for the next round.
This game exercises a social form that the children easily learn—everyone gets a turn before
Traditional
anyone has seconds.
6 j œ œ œ j j
& b8 œ J
œ
J œ œ œ
œ
j œ œ œ œ œ
I sent a let - ter to my love and on the way I
œ j œ œ œ j j œ œ œ œ
& b œ™ œ J œ
J
œ œ œ œ œ J
dropped it, and some - one must have picked it up and put it in his
j j j j j
& b œ™ œ œ œ™ œ œ œ™ œ œ œ œ œ œ
pock - et. I dropped it, I dropped it, a - dree, a - dree, I
j j j j
&b œ™ œ œ œ™ œ œ œ œ œ œ œ™ œ
dropped it, I dropped it, a - dree, a - dree, I dropped it.
In addition to the following, here are other traditional weaving games to try.
A Tisket, a Tasket
Softly, Softly Through the Darkness
White Bird
Kind Old Man, St. Nicholas Dear
Pop! Goes the Weasel
Duck, Duck, Goose
Briar Rosebud
79

The circle breaks form
One familiar version of this kind of game is “London Bridge Is Falling Down.”
Water, Water, Wallflower (Nancy Foster) 23

Nancy Foster writes that this game “offers an experience of another step in the incarnation
process, the path into the physical world, through early development toward self-aware wholeness.
It represents powerful images and experiences and is therefore best saved for the last part of the
kindergarten year. As the game begins, the children walk with hands joined, safe in the circle of
the young child’s experience of ‘we,’ of participatory consciousness. Then, however, each one
must ‘die’ to this consciousness, and by turning the back to the circle, experience the loneliness
of the individual ‘I.’ As part of this process, each individual must overcome and transform the
forces of heredity, and create itself anew. But the game does not end here. Each child in the end
turns back to the ring, finding the self within the group once again, but now as a free self-aware
individual.”24 Nancy recalls expressing her own surprise when she first took part in this game. “I
was surprised at the power of the experience of isolation created by turning my back to the ring,
and the immense sense WATER
of relief—almost of rebirth—at returning to the wholeness of the circle.
WALLFLOWER
This game offers, in song, form and movement, a strong picture of the pain which life transitions
can bring, and the new strength and sense of life which can result when the transition has been
accomplished.”25
#2 œ œ œ œ
& 4œ œ œ œ œ œ œ œ œ œ œ Œ œ œ
Wa - ter, wa - ter wallflow'r, grow-ing up so high, we are all God's chil - dren,
#
& œ œ œ œ œ™ œ
j œ œ œ œ œ œ œ œ œ œ œ œ Œ
and we all must die, ex - cept for (Li - sa and Sa - rah), fair-est of us all.
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
They can dance and they can sing and they can wear a wed - ding ring.
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ
Fie, fie, fie, for shame, turn your back to the ring a - gain.
80

Water, water, wallflow’r, growing up
so high, Hands joined, children circle around.
We are all God’s children and we all
must die.
Except for (Lisa and Sarah), fairest
of us all. Name two children to the teacher’s left
They can dance and they can sing and
they can wear a wedding ring. and stop circling.
Fie, fie, fie, for shame, All shake a finger in a “ for shame” gesture.
Turn your back to the ring again. Those named turn their backs on the circle
and join hands again.
Repeat the verse as desired, choosing new named children for each round. By the end, when
everyone has been chosen to “turn your back,” the entire circle should be “inside out.”
Once the entire circle is inside out, change the last line as follows:
Turn your face to the ring again. All turn to face in to re-form the “normal”
circle.
It was many years before I could bring myself to play this game with the children in my
kindergarten. The words presented a challenge to my literal interpretation of them. Then I noticed
the many ways in which the older children showed me how their new self-consciousness brought
them to experience shame very easily in the second half of the kindergarten year. This sometimes
manifested in the children turning their back on their circle of friends. Nancy Foster’s explanation
above is something that helped me to engage with this game, and I have found the children love
to play it. A word of caution: please take the time to explain the game to the parents beforehand.
The children love singing “Fie fie fie for shame” (even if they don’t know intellectually what it
means), and parents can raise an eyebrow at this unless they understand that these words point to
their child’s new and tender sense of self-awareness.
81

Shepherd Maiden
Nancy Foster
Shepherd Maiden (traditional) 26
#2
& 4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
See the shep-herd mai den here, stand-ing with her sheep so dear. With her
# œ œ
& œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œœ
part-ner she will make for her sheep a se - cret gate. Run- ning quick -ly they will pass to the
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
up - land yel low grass, where the pas - ture is the best, 'til the sun sets in the
# œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ
west. Shep -herd mai - den, call them home, day is done, no more they'll
# U
roam. Safe with - in the guarded fold, shelter them from harm and cold.
See the shepherd maiden here, Teacher and one child are the shepherd
Standing with her sheep so dear. maidens; they stand in the center of the
With her partner she will make circle, who stand with joined hands.
For her sheep a secret gate. A second teacher should be in the circle.
Running quickly they will pass Shepherd maidens form an arch by joining
To the upland meadow grass, hands and raising arms.
Where the pasture is the best,. The second teacher drops the hand of the
child to her left.
’Til the sun sets in the west
Shepherd maiden, The second teacher leads the children through
Call them home. the arch, moving in a counterclockwise
direction so
Day is done, that backs are to the arch after passing
through.
No more they’ll roam. Continue circling and go through the gate
again. From Dancing as We Sing (YEAR)
82

If the full circle is not completed by the first time through, repeat the section beginning “Shepherd
maiden, call them home,” until the movement has come full circle. End with the following lines.
KLING, KLANG,
Safe within the guarded fold, GLORIA
All stoop down in a resting position.
Shelter them from harm and cold.
Kling, Klang, Gloria (A. Künstler, adapted by Nancy Foster) 27

j j
&C ˙ ˙ œ™ œ ˙ œ œ œ œ œ™ œ œ œ
Kling, klang, glo - ri - a, ro - sa - ro - sa fi - li - a. Who
sits in yon - der cas - tle there? A love - ly mai - den, young and fair.
& œ ˙ Ó ˙ ˙ ˙™ œ
œ œ œ
May we see her too? No, no, no! The
& œ œ œ œ œ œ œ œ œ œ œ œ ˙™ Œ
cas - tle wall is far too high. You must break off a stone.
& œ œ ˙™ œ œ ˙™ œ œ ˙™ ˙ ˙ œ œ ˙
First stone, sec-ond stone, third stone. All with me must go.
Ending:
Yes, yes, yes! The lovely maiden young and fair is now forever free, is now forever free.
Three children, as “lovely maiden,” sit in center of the circle. One teacher and one child, as
“prince,” stand outside the circle.
Kling klang Gloria, rosa rosa filia Circle moves clockwise, hands joined. The
“prince”
Who sits in yonder castle there? walks around the circle counterclockwise,
A lovely maiden, young and fair. hands clasped.
May we see her too? No, no, no, All stop walking. On “No,” they shake their
heads.
The castle wall is far too high, Outer circle raises arms, hands joined, to
make the castle wall.
83

You must break off a stone.
First stone, second stone, third stone, The prince taps three children on the head to
be the
All with me must go. “stones.” The tapped children join the prince’s
line and he leads them for the next round.
Rounds continue until all the children have become “stones,” and only the teacher is left as the
castle wall, holding arms in a large “O” gesture. Then, instead of “No,” sing “Yes,” making a
rising gesture with the arms. The maidens all stand up, all clap lightly or bow on “is now forever
free.”
I have found that, as the game is repeated, the children soon ask to be the prince and princess
on their own.
Oh the Big Ship Sails through the Illy-Ally-O (traditional, adapted by Ruth Ker)
THE BIG SHIP SAILS
In this game the children, holding hands and in a line, follow the teacher all around the room.
Eventually the teacher guides the line to spiral inward and then outward again. Pausing in the
middle gives an experience of being closely woven together.
#4 œ œ™ œ œ™ œ ˙
& 4œ œ œ œ™ œ œ™
The big ship sails through the il - ly al - ly oh,
#
& œ™ œ œ™ œ ˙ œ™ œ œ™ œ œ
œ œ œ œ™ œ œ™ œ
il - ly al - ly oh, il - ly al - ly oh, the big ship sails through the
# ™ ˙
& œ œ œ™ œ œ œ œ œ™ œ œ ˙ œ
il - ly al - ly oh on the first day of Sep - tem - ber!
Oh the big ship sails through

the illy-ally-o children holding hands following teacher in
Illy-ally-o, illy-ally-o a line
Oh the big ship sails through
the illy-ally-o
On the first day of September
And the children bend way down
upon the sea all holding hands, bend low as they walk
Down upon the sea, down upon the sea
And the children bend way down
upon the sea
84

On the first day of September
And the captain said that will never,
never do begin to spiral inward
Never, never do, never, never do
And the captain said that will never,
never do
On the first day of September. SNAIL GAME pause in middle of spiral
First verse is repeated as the teacher leads the children back out of the spiral into a circle again.
Snail Game (German traditional)

#2 œ œ œ œ ˙
& 4œ œ œ œ œ œ œ œ œ œ œ
Hand in hand you see us well creep like a snail in - to its
# œ œ œ œ œ œ œ œ
& ˙ œ œ œ œ œ œ
shell. Ev - er near - er, ev - er near - er, ev - er clo - ser, ev - er
# œ œ
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
clo - ser. Who'd have thought this lit - tle shell would have held us all so well?
Hand in hand you see us well children form a line with joined hands and
Creep like a snail into its shell. follow the “snail” (the leader);
Ever nearer, ever nearer, the snail stands still while the line winds
Ever closer, ever closer. around him to form a “shell”
Who’d have thought this little shell all sing while shell is formed
Would have held us all so well?
The snail lives in his hard round house
In the orchard under the tree.
Says he: “I have but a single room,
But it’s large enough for me.”
The snail in his little house doth dwell
From week’s end to week’s end.
You’re always at home, Master Snail, the “shell” unwinds and another “snail” is
that’s very well, chosen
But you never receive a friend.
85

The Noble Duke of York (traditional) 28
For the older children and those younger children who are supported by the teacher and older
children, “The Noble Duke Theof York,”
Noblesometimes
Duke called
of“The Grand Old Duke of York,” can be
York
played in two dance lines.
Please feel free to adapt this game so it suits your group. The older children love it and it is
a wonderful game to play with the parents at the end-of-year festivals.
j j j
6
&8 œ œ œ j j ™ ‰ ‰ œj œ œ œ œ œ™ ‰ ‰ œj
œ œ œ œ
Oh, the no - ble Duke of York, he had ten thou - sand men. He
œ œ œ œ œ œ j
& œ œ œ œ œ
J
œ œ
J œ œ œ™
led them up to the top of the hill and he led them down a - gain.
Oh the noble duke of York children facing each other in two lines;
He had ten thousand men end couple join hands and slide down the
He led them up to the top of the hill middle of the lines and back up again
And he led them down again.
Now when they were up, they were up couple then form arch;
And when they were down, they were
down other children go through the arch;
But when they were only halfway up all children bend down, including arch
They were neither up nor down.
Oh, a-hunting we will go, This is sung while next ‘top’ couple gets
A-hunting we will go, ready to begin again.
We’ll catch a little fox and put him in a box,
And then we’ll let him go.
Draw Me a Bucket of Water (traditional, submitted by Holly Richards) 29

This game comes from Anna Rainville’s collection and was passed on to me by Holly Richards
from the Waldorf School of Orange County. On a visit to her kindergarten, I saw her children
begging to play it and sure enough, the reaction was similar with my kindergarten children when
I tried it back home in Canada. Before playing it, I set out a “watching bench” for the children
who wished to watch, often the younger children. Sometimes the younger children would ask for
the game just so they could watch and marvel at the wide-eyed glee and complicated movements
of their older friends.
This game, definitely an end-of-the-year readiness game, is very good for working with
some of the social discrepancies that arise in our kindergarten groups. The children gather in
86

groups of two couples who overlap their joined arms and then seesaw back and forth. You can
understand this if you imagine one couple facing north/south with arms clasped outstretched
and the other couple facing east/west, clasping arms on top of the north/south couple. Then the
couple with arms outstretched on the top drape their arms over the shoulder of one child in the
Draw Me a Bucket of Water (1)
“bottom” couple. This is repeated in the next verse and the second child is drawn in. Then the
other couple do the same thing for the first couple and soon all four children are “in the bucket.”
That is when they keep their arms linked and hop up and down saying “Frog in the bucket and
he can’t get out.”
4 j j
& b4 œ œ œ œ œ œ ˙ œ
Œ œ œ œ œ ˙ œ œ
Draw me a buck-et of wa - ter for my old - est daugh - ter. Got
j j j j Œ œ™ œj œ œ
& b œ œ œ œ ŒDraw
œ œMe
œ aœBucket (2) ˙ ˙ ™™
1.none in the bunch, four out the bunch. Come sis - ter Sal - ly.
2.one three
3.two two
4.three one
& b ™™ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ
Frog in the buck - et and he can't get out, frog in the buck - et and he
&b œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ
can't get out. Frog in the buck - et and he can't get out,
œ œ œ
1.
œ œ œ œ œ
2.
&b œ œ œ œ œ œ œ Œ ™
™ œ œ œ œ œ Œ
frog in the buck-et and he can't get out. frog in the buck-et and he can't get out.
Draw me a bucket of water 4 children overlap arms and seesaw;

For my eldest daughter
Got none in the bunch, four out the bunch couple “on top” draws 1 child
Come sister Sally into the middle from other couple
Draw me a bucket of water seesaw again
Got one in the bunch, three out the bunch another child is drawn into
Come sister Sally the middle
87

Draw me a bucket of water seesaw again
For my eldest daughter another child is drawn into the
Got two in the bunch, two out the bunch
Come sister Sally middle
And so on. At “Got three in the bunch, one out the bunch,” sing the final verse:
Draw me a bucket of water
Got four in the bunch, none out the bunch
Come sister Sally
Frog in the bucket and he can’t get out everyone jumps up and down
Frog in the bucket and he can’t get out
The first time we played this game the children were so excited that it was hard to contain their
enthusiasm. The next day they begged for the game again. My response was, “I’m not sure we
can play it again. Redbird almost flew out the window because it was so loud in our land.” One
older child piped up, “Yes, we can play it! We can just all sit down quietly after the game is
over.” This became our practice each time we played this game and, if any other child spun-out,
the others took charge and reminded him or her about what we agreed upon. The older children
especially love to do this with each other. The game is also fun to play with the parents, especially
at outdoor festivals.
88

Notes
1 Frank Kidson, 100 Singing Games, Old, New and Adapted (London: Bayley and Ferguson 1916).
2 See Opie, Children’s Games in Street and Playground.
3 Foster, Dancing as We Sing at 53.
4 Ibid.
5 Ibid., at 57.
6 Ibid.
7 Wiseman and Northcote, The Clarendon Book of Singing Games, 8.
8 Ibid., at 12.
9 Wil van Haren and Rudolf Kischnick, Games for Life for Children (Gloucestershire, UK: Hawthorn Press
1995), 31.
10 Foster, Dancing as We Sing, at 60.
11 Ibid.
12 Ibid., at 53.
13 Ibid., page 61.
14 Ibid.
15 Ibid, at 62a.
16 Ibid, at 62.
17 Adapted from “Here’s a Branch of Snowy May,” Aulie, Spring, 59.
18 Foster, Dancing as We Sing, 66.
19 Wiseman & Northcote, The Clarendon Book of Singing Games Book II, 46.
20 Anna Rainville, Singing Games (Fair Oaks, CA: Rudolf Steiner College Press 2006), 130-131.
21 Jennifer Aulie, Summer (Stourbridge, England: Wynstones Press 1999), 23.
22 Wiseman & Northcote, The Clarendon Book of Singing Games Book II, 10.
23 Foster, Dancing as We Sing, 65.
24 Ibid., at 54.
25 Ibid.
26 Ibid., at 63.
27 Ibid., at 64.
28 Adapted from “The Noble Duke of York,” Rainville, Singing Games, 156.
29 Adapted from “Draw Me a Bucket of Water,” ibid., at 110-111.
89

3. Transitions
H
aving a collection of verses and songs at my fingertips for transition
times has been a saving grace in my early childhood practice. This repertoire has
helped to alleviate the sometimes chaotic group moods that can arise at unforeseen
times. The children can be “massaged” into calmness by the distraction of a verse or game. It
is a joy for me to share this fruitful harvest with you. It has been a long growing season. Yet,
I also have some trepidation.
Transitions are an important part of our day where much can be revealed, and we need to
discern where and if our intervention is needed. Children need silence and concentrated focus
as they struggle through important tasks during transition, like getting dressed for outdoor
time, scrubbing pots, cleaning up, and “dreaming” into activities like painting and drawing.
Disrupting transition with yet another wonderful verse, song, or game can be a spell-breaker
that disregards the children’s need to be immersed in their own experience. Everywhere
they go these days, children are exposed to unwelcome and invasive
background sounds—radio, recorded music, traffic noises, computer Children need silence
sounds, muzak in stores, and so on. Let’s remember to tread wisely and concentrated
when we pass through our classroom transitions, carefully assessing focus as they
the quality of the sounds we hear and not producing our own form of struggle through
“muzak” to fill spare moments. important tasks
Nancy Foster writes, “[C]onstant singing may prevent children during transition…
from experiencing their own internal music or rhythm or imaginations
as they participate in an activity … Further, the art of conversation—‘more precious than
light,’ to quote Goethe—has its humble beginnings in early childhood. Teachers sometimes
hear wondrous exchanges among children hard at work on their watercolor painting or
kneading their dough. Wouldn’t it be a pity if such conversational forays were frustrated by
constant singing? … [W]ork songs can be wonderful for priming the pump as an activity
begins, and for drawing the mood together if needed along the way, but it is good to leave the
children inwardly and outwardly free to find their own rhythm and mood as they work. Many
teachers have experienced the magical hum in a room full of busy children; this hum may be
the most beautiful music of all!”1
With the above in mind, we can go on to find ways for transition songs and games to
91

contribute to the overall health of the classroom. Reliving past enjoyments with finger games
and other games that we know the children love to play can also build a culture of common
interest within the group. Simply offering a verse or song, saying, “Let’s play this or that
while we get undressed” or “I’m opening up the bakeshop when we have our things on,” or,
for the older children when causal reasoning has arrived, “when we’re finished with this, we
will play that game”—all of these strategies can help us to smooth out our transitions and
bring “peace to the land.”
However, the most effective approach that I have found is to bring picture imaginations
to the children, such as “Redbird told me that he saw the duck and
Verses, games, the turkey out for a walk the other day.” This often engages the
and songs are children’s attention because everything comes to life for them, even
important ways to the characters in the verses. Then, while providing an example for
foster harmony and the children to imitate, the teacher can share the “Duck Went Out to
wholeness throughout Take a Walk” fingerplay in this chapter, for instance, or a nonsense
the day. game like “A Ram-Sham-Sham,” also included below. The children
are often content afterwards and then can proceed with what is
supposed to be happening during that particular transition.
It seems to me that seamless transitions do not only happen because a teacher is a “good”
teacher. Rather, smooth transitions can happen each and every day when the teacher has a
few “tools” up his or her sleeve. By matter-of-factly accepting the troubling influences that
the children sometimes bring, and then by finding ways to transform the disturbance for the
benefit of the whole, the teacher becomes an artistic and creative weaver.
Verses, games, and songs are important ways to foster harmony and wholeness throughout
the day. By listening carefully to the children’s conversations with each other and noting their
interests, we can choose appropriate verses or games that might be of interest to them. This is
a much more effective strategy for rescuing our transitions than ordering the children around.
On the last point, Rudolf Steiner writes, “In the science of the spirit we have quite definite
rules for educating children in different stages of life. Care of everything connected to the
physical body is what counts up to the seventh year. This includes harmonious development
of the organs by influencing the child’s senses. The physical body is what matters therefore,
and needs to be educated. We do this by offering everything to the child that encourages
development of the senses… The child is… an imitator, everything is for him under the sign
of imitating things he sees and hears. Dictates and prohibitions carry little weight at this
age.” Rudolf Steiner goes on to say that it is “who” and “the way we are” that is of utmost
importance to the child and that “everything around the child should breathe pleasure and
joy, and those around him should make it their concern to create them even in the color of
clothes, wall paper and objects.”2
92

Before group times
Sometimes it takes a while for all of the children to make it to the circle, story, or group time.
We can help this happen more quickly by engaging their imaginations: “Come little squirrels,
the nuts are over here,” or “Little lambs out there in the meadow, come back, come back to the
barnyard.” The verses below can also help to engage the children’s movement and bring it to
stillness in readiness for circle to begin.
I Wiggle My Fingers, I Wiggle My Toes (author unknown)
Suit actions to words
I wiggle my fingers, I wiggle my toes.
I wiggle my shoulders and wiggle my nose.
Now the wiggles are out of me
And I’m as still as still can be.
Tommy Thumb Is Up, Tommy Thumb Is Down (author unknown)

Tommy Thumb is up, Tommy Thumb is down
Tommy Thumb is dancing all around the town
Dancing on my shoulders, dancing on my head
Dancing on my knees and tuck him into bed
Here Are Grandma’s Glasses (author unknown)

Here are grandma’s glasses thumbs and forefingers make circles like
spyglasses
Here is grandma’s cap, point hands above head
These are grandma’s hands now cup hands together
Folded in her lap. place hands in lap
My Hands Upon My Head I Place (author unknown)

Suit actions to words.
My hands upon my head I place,
On my shoulders, on my face
On my knees and at my side.
Then behind me they will hide.
Then I raise them up so high
Until they almost reach the sky.
Swiftly count them … one, two … see! count hands, then quietly lay them on lap
Just how quiet they can be.
93

I Can Turn Myself and Turn Myself (M. de Havas) 3
I can turn myself and turn myself
Or curl up when I will,
I can stand on tiptoes reaching high,
Or hold myself quite still.
OH GOLDEN SUN
Transition into circle
Oh Golden Sun So Shining Bright (music by Janet Kellman, lyrics by Nancy Foster)
U
4
&4 Ó Œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
Oh, gol - den sun so shi-ning bright, please warm us with your
U
& œ œ œ œ œ œ œ œ œ œ œ œ
gol - den light. Let's join our hands that there may flow a
& œ œ œ œ œ ˙
œ
stream of warmth and gol - den glow.
Oh golden sun so shining bright

Please warm us with your golden light
Let’s join our hands that there may flow
A stream of warmth and golden glow
Who’ll Come into My Wee Ring (traditional, sung to the tune of “Knots in May”)
This is a song the teacher could sing to call the children together.
Who’ll come in to my wee ring
My wee ring, my wee ring?
Who’ll come in to my wee ring
And make it a wee bit bigger?
94

Come to the Circle where Dreams Are Found
Come to the Circle Where Dreams Are Found (Rose Maynard) 4

3
&4 œ œ œ œ œ œ ˙ œ ˙™ ˙ œ ˙ œ
Come to the cir - cle where dreams are found. Hold my hand and
& ˙ œ ˙
4œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ 4
dance a - round! Hi - ho, hi - ho, hi - ho, hi - ho. Round and round and round we go.
Come to the circle where dreams

are found children and teacher hold hands…
Hold my hand and dance around …and circle
Hi-ho hi-ho hi-ho hi-ho
Round and round and round we go
Our Friends’ Hands We Take (German traditional, adapted by Astrid Lackner)

This verse can be spoken in a sing-song voice or sung with simple notes.
Our friends’ hands we take
A circle we make
Other familiar songs that are good for the transition into circle time include “Let Us Form a
Ring” and “Rinca, Rinca Rosey Ray.”
95

Verses for circle
The Heavens Above and the Earth Below (author unknown, adapted by Ruth Ker)
The heavens above and the earth below match words with simple actions
And angels weaving to and fro
And on the earth so firm I stand
I reach out far with helping hands
To say hello and greet my friends. shake the hands of friends in circle beside you
Good morning, good morning.
The Earth Is Firm Beneath My Feet (author unknown)

The earth is firm beneath my feet bend down to touch ground at feet
The sun shines bright above stretch high
And here I stand so straight and strong arms at side and feet stomp at end of line
All things to know and love. arms circle in front, then move into chest area
and rub heart area
The Front Door Is Shut (author unknown)

This verse is good for impulse control. There are both loud and quiet movements.
“We wouldn’t want to break the windows.”
The front door is shut clap hands firmly in front of chest
The back door is shut clap hands firmly behind back
The big window is closed hands gently close in front of chest
The small window is closed gently close hands a little lower down
The basement window is closed fingertips closing window down by feet
The tiny window at the top is closed 2 fingers touch way above head
I am in my house close hands over chest and stomp each foot
ONCE
96

Down is the earth (P. Patterson) 5
Down is the earth
Up is the sky
Here are my friends
And here stand I
Fish in the water
Stones on the land
Birds in the air
I’m in God’s hand
With Joy I Greet this Brand New Day (author unknown, adapted by Ruth Ker)
With joy I greet this brand new day,
With love I do my work and play
Good morning to all of my dear friends
May angels guide us to day’s end.
Awake, the Sun Is Shining Bright (author unknown, submitted by Deborah Laurin)
Awake, the sun is shining bright
It drives away the long dark night
The moon and stars have gone to rest
And Mother Earth is softly dressed
Now let us open wide our hearts
For of this world we all are part
And if we work, or sleep, or play
Dear Sun shine down on us today.
97

Circle is ending
I Dance with the Flowers, I Sing with the Sun (author unknown)
I dance with the flowers, I sing with the sun
The warmth of my heart I bring everyone
Candle time
My candle shines so brightly (author unknown)
My candle shines so brightly
It warms me with its light
Shine little candle
Shine little candle
Candle, Candle Burning Bright (author unknown)

Candle, candle burning bright
Dance and share your shining light
HERE IS A SPARK
Here Is a Spark of Father Sun’s Light (Nancy Foster) 6
Parents may wish to bring this simple song home for bedtime transitions.
j j
6
&8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J œ œ œ™
J
Here is a spark of Fa - ther Sun's light to keep in our hearts all through the night.
98

Gentle Fairies, Wise Elf Men
Gentle Fairies, Wise Elf Men (words and music by Barbara Klocek) 7
3
&4 œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ œ ˙ œ œ
Gen-tle fai - ries, wise elf men, come join us, please do. We bring gol - den light from our
œ ˙ œ œ œ œ œ œ œ œ œ œ ˙
& œ œ œ œ œ œ œ
gar-den to you. Our an - gels, they guard us by day and by night. In the sun and the
œ œ œ ˙ 4œ
& œ œ œ 4 œ œ œ œ œ
moon and the stars shi - ning bright. Light fai - ries come to us,
& œ œ œ œ œ œ œ
Alternate ending
œ œ œ œ œ œ œ
bring to us your gol - den light. bring to us your gol - den light.
Gentle fairies, wise elf men, come join us please do

We bring golden light from our garden to you
Our angels they guard us by day and by night
In the sun and the moon and the stars shining bright.
Light fairies come to us, bring to us your golden light.
Spoken:
And the light fairies come, bringing light from stars and sun.
99

WELCOME, WELCOME
Snack and lunch time
Welcome, Welcome, Welcome to Our Table (Nancy Foster) 8
4
&4 ˙ ˙ œ œ œ œ ˙ ˙
˙ ˙
Wel - come, wel - come, wel - come to our ta - ble.
& ˙ ˙ œ œ œ œ ˙ ˙
˙ œ œ
Wel - come, wel - come, we all join hands to - ge - ther.
Thank You, Thank You (author unknown)

Thank you, thank you again I say
Thank you Mother Earth for our food today
Like the Birds in the Air (author unknown)

Like the birds in the air
And the beasts of the land,
The fish in the sea
We are all in God’s hand
We Thank the Water, Earth and Air (author unknown)

We thank the water, earth and air
For all the helping powers they bear
We thank the people loving, good
Who grow and make our daily food
And last of all, we thank the sun
The light and life for everyone.
Also consider the well-known song, “Earth Who Gives to Us this Food” for meal- and snack-
time transitions.
Another simple transition strategy is to make use of the classroom props which the
children consider to be alive and all-knowing. Children believe that the dolls, toys, nature
table characters and sometimes even invisible beings know about the mysteries of their
“land.” In my kindergarten class, Redbird journeys around the table, lands in each child’s
cupped hand (“nest”), and then kisses a different child each day, whose task it is to put the
snack candle out. A daily moment of reverence and stillness descends when “Redbird is at
the snack table.”
100

Transition into story
At storytime, the magic of story language can prevail and the children can revisit the dream
communion that was once their inheritance as new arrivals on the earth. It is important to
build up respectful boundaries around “how we are” at storytime. Setting the stage with
candle-lighting and a song can be effective and, I find nowadays, this is a time that the teacher
must be very clear about her own parameters. Here again, imaginative pictures can help. One
might say, “The puppets are shy and wait for quiet to show us their story”; or “The story
waits for quiet. Whoops! It just left … Oh, it’s back now in our quiet land”; or a simple verse,
such as “When everything is oh, so quiet, the light fairies can come, bringing light from the
stars and the sun.”
Simply saying, matter-of-factly, “We’ll be listening now” can also be effective in some
cases, especially with the older children in the kindergarten.
Anything Can Happen
The familiar “Mother of the Fairy Tale,” which is known in many different mood of the
fifth versions, provides a good transition into story, as does the following.
Anything Can Happen (Rose Maynard, music adapted by Ruth Ker) 9

4
&4 œ œ œ œ ˙ œ œ œ w
œ œ œ œ
A - ny - thing can hap - pen in a fai - ry tale or rhyme
& œ œ œ œ œ œ ˙ œ œ œ œ w
when you hear the ma - gic words, "Once u - pon a time."
101

Sail Away, Silver Boat
Transition out of story
Sail Away, Silver Boat (Barbara Klocek) 10
6 j œ™ j œ™ œ œ j
&8 œ œ œ œ œ œ
J
Sail a - way, sil - ver boat, o - ver shi - ning
j œ œ j
& œ œ œ™ J œ™ œ œ œ™
waves a - float. Sail a - way, sil - ver boat.
Snip Snap Snout (traditional)

Snip snap snout Baking Day
This tale is told out
We Will Empty Any Pot (Julius Knierim) 11

4 j j j j
&4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ™ œ œ ™ œ œ™ œ œ™ œ
We will emp-ty a - ny pot, lit-tle chil-dren eat a lot. Big - ger folks will have to fast, I
j j j j
& œ™ œ œ ™ œ œ™ œ STIRRING œ ˙ œ œ œ œ œ œ ˙ ˙
œ™ œ œ œ œBATTER
do not think ourbread will last. But see what's in the ma - king: an - o-ther loaf is ba - king.
Stirring Batter (M. Tittmann) 12

4
&4 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
Stir - ring bat - ter, stir - ring bat - ter, stir it so it does not spat - ter.
œ œ œ œ ˙ œ œ œ œ
& œ œ œ œ œ œ ˙ œ œ œ
Round a - bout the bowl is right, white and gold and gold and white. Winds it - self and
œ œ œ œ œ œ ˙
& œ œ œ œ œ œ œ œ œ
finds it - self and smooth and stick - y binds it - self. Pat - ient stir - ring
œ
& œ
œ ˙ œ œ œ œ œ œ ˙
œ
makes the cake which the ba - kers - man can bake.
102

Painting or drawing transition
The following songs can be used to call the children out of play to the painting or drawing
table. When the children have gathered, I open the window and ring a chime to invite the
Rainbow Fairies
rainbow fairies in to help us. Of course, the fairies are used to quiet. Sometimes the children
ask if they can ring the chime.
Rainbow Fairies Come to Me (author unknown, adapted by Ruth Ker)

4
&4 œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ
Rain - bow fai - ries come to me! Dance u - pon my pa - per free.
& œ œ œFrom œ œ ˙ œ œ œLand

œ w
œ the Shining Rainbow
Bring to me the col - ors clear. Rain - bow fai - ries come.
From the Shining Rainbow Land (author unknown, adapted by Ruth Ker)
4
&4 œ œ œ ˙ œ œ œ ˙
œ œ œ œ œ œ
From the shi - ning rain - bow land, fai - ries dan - cing hand in hand
come to play where chil - dren are, bring - ing col - ors from a - far.
103

Clean-up time
Freya Jaffke in her book, Work and Play in Early Childhood, speaks about doing the same
thing every day to signal the beginning of clean-up time. “At the end of playtime, the adults
begin by tidying up their own work place, putting tools and other equipment back in their
place. Sometimes the floor will need to be swept. This heralds a general period of tidying up
in which the children can participate in a number of ways depending on their age.”13 Children
notice the teacher’s regular, repetitive habits and are drawn into imitating this example.
Teachers can make headway in clean up transitions by giving this strong example in
the same way every day. However, many colleagues are finding that the days when an early
childhood educator could sing a song calling the children to eagerly join clean-up time are
disappearing. In my travels, I have seen that this strategy is more likely to succeed with the
younger children. Sometimes a little narrative from the teacher helps: “Oh dear, I wonder
where Baby Rosemary’s blanket is?”
With many of the children aged five and older in the kindergarten, this picture seems
to be changing. Often, when clean-up is signaled, some children will disappear into the
bathroom and peek out through the door-crack until their peers are finished, before suddenly
reappearing; or wander aimlessly around the room with limp arms, suddenly paralyzed; or
keep on playing and are upset when their peers come to pick up the things they still want to
play with; or will even begin to run around with raised voices and then flop down, kicking
their feet. Does this sound familiar?
In conversation with some of our colleagues, comments on the reason for this phenomenon
include the following:
In our world with emphasis on extra-curricular lessons and every spare moment being
planned, children get less and less time to “ just play.” As a result, children are so desperate
to play that it is hard for them to stop themselves when they are deeply involved in an
engrossing imagination. “What if I don’t get another chance for a long time?” is their inner
gesture.
Many children do not know how to tidy because it is done for them at home by guilt-
ridden parents with busy lifestyles who are reticent about asking their children to tidy up at
the end of a long day. Sometimes it’s just easier for the parents to tidy up rather than deal
with the resistance of the child.
Many children are used to the chaos in their own environment of having many toys and
possessions lying about so it does not seem that there is a need to put things in order in the
early childhood classroom either. They simply do not have a habit of putting things in their
place, and order does not have purpose or meaning to them.
104

At a recent visit to Tami Arndt-Beatty’s class in Houston, Texas, I saw a unique solution.
In her rhythm, clean-up time preceded lunch time. The teacher began to tidy up and some
of the children joined in while the others still played. At a certain point, the lunch song was
sung, the children washed their hands, and all had lunchtime. After lunch, all children
seemed more ready to tackle clean-up and each one joined in until the room was back in order.
Some other strategies that I have seen work:
Make plenty of time: Giving the children lots of time and being willing to slowly
transition to the next daily event can alleviate everyone’s stress. Indirect questioning can
sometimes help: “I wonder if the babies are warm enough?”
Play during clean-up: Overturned benches become carts, which the “squirrels” can use
to “pick up the nuts.”
Putting things in baskets: A colleague on the coast of British Columbia has been
successful at using baskets to bring form to her kindergarten clean-up. The signal for the end
of playtime is Miss Begona laying out some baskets around the circle carpet and beginning to
fill them with various toys and props. When the clean-up transition song is sung, the children
come and sit in front of the baskets, one for each child. Continuing to sing, Miss Begona pairs
the children up, gives each pair a task, and off they go to put away the things in their baskets.
When they finish with the first basket, they help each other to do another task.
A pause in activity marked by a candle or verse: This gives children a way to stop and
separate from their play, as part of the classroom ritual.
Pictures or items that represent tasks: Some teachers have had success at having children
select from a basket a picture or item that represents a kindergarten task.
Giving children assigned tasks: Although I have personal resistance to this because I
feel that we must do everything we can to motivate the child’s willingness to imitate and
participate of their own accord, I do see this working in some kindergartens.
Share a treat and then tidy together: Introducing an imagination like “come little mice
and nibble some crumbs” is a way to collect the children together, then participate in a
nourishing moment together and then tackle the task at hand.
Finding a way to stop all together and treat clean-up time as a separate activity: I saw
the verse below, which is attributed to Rose Maynard, being used as the kindergarten teacher
went about visiting all the play scenarios, giving different tasks to the children who were not
already engaged in a tidying activity. This could also be sung in a simple tune:
Now, little birds, let’s stop and say
It’s time for us to end our play
And every child throughout the land
Will help us with their helping hands.
105

Save some tasks for children who like to “hide out”: I have found this practice to
be effective. When, for instance, a child re-emerges from the “bathroom,” she will take her
turn to put away a mound of things that was saved for her. It is important for everyone to
participate in the clean-up transition.
Here are someWe'll
versesLight
and songs Our Little
that may Candle Now
be helpful.
We’ll Light Our Little Candle Now (Ruth Ker)

This song signals the children to gather around the candle.
4
&4 Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ
We'll light our lit - tle can - dle now, and help it shine so bright.
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
It will help us ti - dy up, we'll work with all our might.
We’ll light our little candle now teacher lights candle and all sing together
And help it shine so bright some children enjoy sitting on teacher’s lap
It will help us tidy up
We’ll work with all our might. Candle carried to place for next transition at
the end and children begin tidying.
Oh Where Are the Merry, Merry Little Men (author unknown)

Oh where are the merry, merry little men to help us with our work today?
And where are the merry, merry little men to help us with our play today?
Upon each hand, a merry little band, for work and play are ready.
The first to come is master thumb,
Then pointer, strong and steady.
Tall man high
And just close by, the bendy one does linger.
And last of all, so fair and small, the baby little finger.
Yes, here are the merry, merry little men to join us in our play today.
And here are the busy, busy little men to help us with our work today.
106

In a Little Mouse Hole (Wendalyn von Meyenfeldt) 14
In a little mouse hole, there lived a little mouse
Who wore a checkered apron and kept a tidy house.
With her wee small broom, she swept and swept each room
And every little shelf, she tidied by herself.
She tucked her children into bed, their fairy stories read.
She was a good kind mouse-y. She kept a tidy house-y.
Cling Ding Ding Clean Up Song (Laurie Clark) 15

This song, sung along with the chiming of a sweet-toned small bell or chime, provides a cheery
Cling Ding Ding
transition. Laurie Clark recommends a round bell worn as a necklace, called interchangeably a
chime ball, chime necklace, or harmony ball.
The words can be changed to indicate what activity will follow clean-up, for example, “We’ll
have a story soon.”
4
&4 œ œ œ ‰ œJ œ œ œ œ œ ‰ œj œ œ œ œ œ
œ œ
Cling ding ding, the fai - ry bell does ring. It's time to clean our room then
& œ œ œ œ œ œ œ œ ‰ œJ œ œ œ œ ˙
œ
we'll go out side soon. Cling ding ding, the fai - ry bell does ring.
107

Resting transition songs
These verses and songs can be accompanied by the rubbing of backs, hands, arms, or feet,
and they work well at rest times. Singing any of the children’s favorite lullabies or restful
All the
melodies, such as the following, Little
can also Birds effect. Of course, simply having
have a calming
Mood of the
quiet is a welcome relief for the children too. Fifth
All the Little Birds Are Sleeping in Their Nest (author unknown, adapted by Ruth Ker)
6
& 4 œ™ œ œ œ ˙ œ œ™ œ œ œ ˙™ œ™ œ œ œ ˙ œ
All the lit - tle birds are sleep - ing in their nest. All the lit - tle birds are
œ œ œ œ œ œ œ ˙
& œ™ œ œ
J ˙ œ œ œ œ œ Œ
hav - ing a rest. They do not e - ven twit - ter, they do not e - ven tweet.
& œ œ œ œ œ ˙ œ œ œ œ ˙™
Ev - 'ry - thing is qui - et up and down the street.
All the little birds are sleeping in their nest children lying down on the floor
All the little birds are having a rest
They do not even twitter
They do not even tweet
Everything is quiet
Up and down the street.
At the end of rest, as the teacher pats the child on the back to go to the bathroom or into the next
transition, the following is spoken softly or in a sing-song voice:
Along comes Mama bird and taps them on the back.
Come with me, come with me,
We’ve finished up our nap
or
Fly away and play
108

I’m Looking to See Who’s Quiet as Can Be
This verse is generally spoken in a sing-song voice and used to see who is ready to be chosen for
a special task, such as playing the kinderharp at rest time.
I’m looking to see SLEEP, BABY, SLEEP
who’s quiet as can be.
Sleep, Baby, Sleep (traditional) 16

#6 j œ œj œ œ œ œ™
j
& 8 œ™ œ œ œ œ™ œ œ œ œ œ œ œ
œ œ J
Sleep, ba - by, sleep. Thy fa - ther tends the sheep, thy mo - ther shakes the
#œ j
& œ œ™ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ ˙™
J CRADLE SONG
dream-land tree. Down fall the lit - tle dreams for thee. Sleep, ba - by, sleep.
Cradle Song (Johannes Brahms) 17

3 j j
&4 œ œ œ™ œ œ œ Œ œ œ œ œ™ œ œ œ
œ œ œ œ œ œ
Lul - la - by and good night, with lil - lies of white and ro - ses of
& œ Œ œ œ œ œ œ Œ ˙ œ œ ˙
œ œ œ œ œ œ
red to pil - low your head. May you wake when the day chas -es
& œ œ œ ˙ ˙ œ œ ˙
œ œ œ œ œ œœœ œ ˙
dark-ness a - way. May you wake when the day chas-es dark - ness a - way.
109

When My Little Children Sleep
When My Little Children Sleep (traditional verse, music by Marilyn Lange)

6
&4 ˙ œ œ œ œ ˙™ œ ˙™ ˙™ ˙ œ ˙ œ
œ ˙ ˙ œ ˙
When my lit - tle chil - dren sleep, lit - tle stars are wak - ing. An - gels bright from
˙ œ ˙ œ ˙ œ ˙ œ ˙™ ˙™
& ˙ œ ˙ œ
hea - ven come un - til the dawn is break - ing. They will guard them
& œ œ œ ˙™ ˙ ˙ œ œ œ ˙™
œ œ
through the night, bring sweet dreams 'til morn - ing light.
˙ œ œ œ œ ˙ œ ˙™ ˙ œ œ œ œ ˙ œ ˙™
&
When my lit - SHEPHERDS,
tle chil - dren sleep, SHEPHERDS
stars and an - gels watch do keep.
Shepherds, Shepherds Softly Sleeping (M. Winship) 18

4 œ j œ
&4 œ œ œ œ œ œ œ œ™ œ œ œ œ ˙
Shep- herds, shepherds, soft - ly sleep - ing on the hill - side by their sheep,
j j
& œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ œ ˙
while a - bove the
Skye
watch they're keep - ing,
Boat an
Song
- gel song doth fill the deep.
Skye Boat Song (traditional)

6
&4 œ œœ œ œ œ ˙ œ œ œ
œ œ ˙ ˙ œ ˙™ ˙™
™
Speed bon-nie boat like a bird on the wing, On - ward! the sail - ors cry.
& œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ ˙ œ ˙™ ˙™
™
Car - ry the lad who is born to be king o - ver the sea to Skye.
110

Other well-known rest songs and lullabies to consider include:
Sleep My Baby
Hush, Little Baby
Mantle of Mary (sung at Advent)
Twinkle, Twinkle, Little Star
I Have Heard a Mother Bird Singing in the Rain
The Sunlight Fast is Dwindling
Off to the bathroom

Little Tommy Tittlemouse (traditional, submitted by Esther Chase)
As a transition game, the first “mouse” can, for instance, go to the bathroom while the child who
“woke Tommy” becomes the next mouse.
Little Tommy Tittlemouse
Slept in his little house child, curled up face down, hidden in front of
teacher
Someone came knocking, teacher chooses other child to gently tap
“mouse”
Someone came calling
Wake up Tommy Tittlemouse “mouse” is taken onto teacher’s lap, looks out
into group
Who woke you up? “mouse” chooses different children, clues can
be given
111

Wash Hands, Wash! The Farmer’s Gone to Plough (traditional nursery rhyme,
music by Elisabeth Lebret, adapted by Ruth Ker)19
The following transition song could also be adapted for a circle game. I have found this song lends
itself to a slightly different way of warming and washing children’s hands. After our morning
walk, when the children re-enter the classroom, they are motivated to quickly take off their
outdoor clothes and hang them up because the warm cloths are waiting in the crock pot at the
circle rug. The children hear thisWASH
song as a signal;
HANDS come to get a cloth from the teacher; wipe their
hands and faces; and drop the cloth into a small laundry basket. This is a rich sensory experience
and a way to help the children settle into circle. It could also be used as part of a wash-up routine
at other times, perhaps after rest, on the playground before morning walk, and so on.
6 j j
& 8 œ™ œ™ œ œ ≈ ‰
R
‰ œ
J
œ œ œ œ ˙™
Wash, hands, wash! The far - mer's gone to plough.
j j œ
& œ j œ œ œ™ œ œ™ ˙™
œ œ œ J
If you want to wash your hands, wash your hands now!
Outdoor transition
Times when the children are dressing for outdoors can be chaotic and teachers often
want to hurry the pace along. But allowing ample time for children to dress themselves
and punctuating the transition with playful rhyme can make it much smoother and more
enjoyable for all. Children learn so much by dressing themselves. This is also a time of the
day when the social fabric of the kindergarten can be strengthened, with the older children
helping the younger ones. Often the older children will speed up their own process so they
can accompany a young friend.
Thumbs in the Thumb Place (author unknown)

Thumbs in the thumb place,
Fingers all together,
These are the words
We say in mitten weather.
Doesn’t matter whether
They’re made of wool or leather.
Thumbs in the thumb place,
Fingers all together.
112

Let’s Put On Our Mittens (author unknown)
Let’s put on our mittens
And button our coats
Wrap a scarf snugly
Around our throats
Pull on our boots
Fasten the straps
And tie on tightly
Our warm winter caps
Then open the door
And out we’ll go
Into the soft and feathery snow!
When It Is Winter I’ll Go Out in the Street (author unknown)

This is a rhythmical movement game for getting clothes on. Movements can be adapted for
hands or feet.
When it is winter I’ll go out in the street
Make the ice laugh with my two little feet
Crickle crackle crickle crackle creet
Crickle crackle, crickle crackle creet, creet, creet
113

Outdoor time
Morning walks with the children may find us encountering many landscapes. Here are some
verses and songs that can foster picture imaginations for the children and show them that
their teacher also has playful imaginations. Perhaps these can be revealed during morning
walks or at transition times to foster enthusiasm for the coming adventure. Keep in mind
that transition verses are not used to “fill in quiet times.” As mentioned before, silence and
concentrated focus are important for children and transition verses must not interrupt these
sacred moments.
Several of the following are simply spoken with or without actions while on a walk or
during outside circle.
Up Above the Grey Clouds Rumble (S. Jarman) 20

Up above the grey clouds rumble
And in a merry rush and tumble
Raindrops downward dance and spatter,
Pitter patter, pitter patter.
The Smell of Rain Is Lovely (author unknown)

The smell of rain is lovely
The feel of rain is good
One time I spent all morning
With raindrops in the wood.
Away Up High in the Apple Tree (author unknown)

Match appropriate, simple actions to the words.
Away up high in the apple tree
Two red apples smiled at me
I shook that tree as hard as I could
And down they came,
And hmmmmmmm they were good
114

APPLE PICKING
Apple Picking (words and music by Merwin Lewis) 21

6 j j œ
&8 œ œ œ œ œ
j
œ œ™ œ œ œ œ J ˙™
Ap - ples grow - ing ripe and sweet: O may we pick some, please?
œ œ j j œ œ œ j
& J œ œ œ œ œ J J œ œ ˙™
For the fruit which we do eat, we thank you, ap - ple trees.
I Am a Tall Tree (author unknown)

I am a tall tree
I reach toward the sky.
Where bright stars twinkle
And clouds float by.
My branches toss high
As the wild winds blow,
And they bend forward,
Laden with snow.
When they sway gently
I like it best.
Then they rock birds
To sleep in their nest.
Down the Slippery Slope We Slide (author unknown, submitted by Deborah Laurin)
Down the slippery slope we slide
Bumping, swaying side to side
If we tumble now and then
We’ll climb the hill and start again!
The sleds go zooming down the hill
But at the bottom they stand still
Then we must pull them up & up
And we’ll stay warm if we don’t stop.
115

Snowflakes So White (Ruth Ker)
Snowflakes so white
Snowflakes so light.
Cover the earth
And make it bright.
I’ll play with the snowflakes
With all my might.
A Chubby Little Snowman Had a Carrot Nose (author unknown)

A chubby little snowman had a carrot nose
Along came a bunny and what do you suppose?
That hungry little bunny, looking for his lunch,
Ate that snowman’s carrot nose,
Nibble, nibble, crunch
O WHERE DO YOU COME FROM

Songs to sing outdoors
Oh Where Do You Come From (German traditional) 22
#3
& #4 œ œ œ œ œ œ œ œ œ œ œ œ œ
Oh - where do you come from, you lit - tle flakes of
# œ œ
&#˙ œ œ œ œ œ œ œ œ œ œ œ ˙
snow? Fal - ling, fal - ling, soft - ly, fal - ling on the earth be - low.
2. Do you come from the treetops

Or the mountains afar?
Tell me snowflakes, do you come from
Where the angels are?
116

Jack Frost Was in the Garden
Jack Frost Was in the Garden (author unknown, music by Ruth Ker)
This can be sung during a walk on a frosty day.
4
&4 œ œ ˙ œ œ œ œ ˙™ œ
œ œ œ œ œ
Jack Frost was in the gar - den, I saw him there at dawn, a -
& œ œ œ œ ˙™ œ œ œ œ œ œ ˙™
dan - cing 'round the bush - es and pran - cing on the lawn.
Repeat the same notes for the second verse:

He turned the grass and bushes
From green to sparkling white
And all the garden’s puddles
From mud to fairy ice
Come, Little Leaves, Said the Wind One

Come littleDay (author unknown,
leaves
music by Elisabeth Lebret)23
Because this song has a lilting quality, it lends itself to soothing activity. However, it could be
used on an autumn walk, as well.
3
&4 œ œ œ œ œ œ Œ œ œ ˙ œ ˙ Œ œ œ œ œ œ œ œ
œ
Come, lit - tle leaves, said the wind one day, come o - ver the mea-dow with
˙ Œ œ œ œ œ œ œ œ œ œ œ
& ˙ œ œ Œ œ œ œ œ
me and play! Put on your dres -ses of red and gold! The sum-mer is
œ œœœœœœ œ Œ
& ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙™
gone and the days grow cold! Grow cold! Grow cold!
2. Then when the leaves heard the wind’s loud call

Down they came tumbling one and all
Across the meadow they danced and flew
Singing the soft little songs they knew
So soft, so soft
117

Traveling together
Transitioning from one place to another with a group of children can be an exercise in
frustration. Having a verse, game, or song in which the children take delight can be a saving
Puffer Train
grace. Along with well-known songs like “Come and Let Us Follow” and “Down by the
Station,” the following can be used inside or outside.
Puffer Train, Puffer Train (author unknown, submitted by Astrid Lackner)

4
&4 œ œ œ œ œ œ œ œ œ œ œ
˙ œ ˙
Puf - fer train, puf - fer train, are you go - ing to the cit - y?
& œ œ œ œ ˙ ˙
˙ ˙ w
Puf - fer train, Ringadingding
puf - fer
train, please take me!
Ring-a-Ding-Ding the Train Has Come (German traditional, translation and music
submitted by Astrid Lackner)
2
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ring - a - ding - a - ding, the train has come! Ring - a - ding - a - ding for ev' - ry one.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ring a ding a- ding, with one more song, ring-a ding a- ding, all the children come a - long.
When I Come In from Outdoor Play (author unknown)

This can be spoken outside the door just before coming inside or while the teacher undresses
inside. Having a model to imitate, especially if that person moves slowly, is compelling for the
young child.
When I come in from outdoor play

I take my boots off right away.
I set them by the door just so.
Then off my hat and mittens go.
118

Zip down my coat and snowpants too
And hang them up when I am through.
I’m a helper, don’t you see? point to self
Helping’s fun as fun can be. clap hands
Outside to inside play

Connecting to the children’s belief that everything in their environment is living is a way
to help bridge transitions. “The toys and friends are waiting for us inside. They might be
sleeping. We’ll go in quietly so as not to frighten them.”
Follow, Little Gnomes (author unknown)

Follow, follow, follow
Little gnomes are we
It’s time to go inside to play
Follow, follow me
Going home
Down the Dusty Road (Elizabeth Stubbs, submitted by Celia Riahi) 24
This hand game can be saved for special occasions, like waiting for the parents to arrive at a
birthday celebration or to pick up their children. It begins with everyone sitting down.
Down the dusty road pat hands on thighs
Swish through the grass! swish open palms across each other
Plop through the mud! interlace fingers while clapping palms
together
Swim across the river! swimming strokes like the crawl
Climb up the tree! step right hand up upright, left arm with
fingers outstretched
Slide down the tree! slide right hand down left arm
Climb up the mountain! big gesture of climbing hands/arms
And what does see? circle fingers for binoculars and ask one child
Or:
And what do I see?
119

Goodbye Now (author unknown, adapted by Ruth Ker)
This song below is useful for sending the children home in a playful, organized way after a
Good-bye Now
festival or busy day. Two people (generally the teachers) form an arch and the children are called
through one by one. Sometimes I call out, for instance, “Jeremy and his family will go through
the gate,” and the family enjoy going through the arch together as they leave. I may also say, “I’ll
know when our friends are ready because they’ll be waiting for their turn at the bridge quietly.”
6 j j
& 8 Œ™ ‰ ‰ œ
J œ™ œ ™
œ J œ
œ œ œ œ j œ œ
œ J œ
œ œ
J
Good - bye now, good - bye now, it's time for us to go back home. Good
j j
& œ™ œ ™ œ œ œ œ œ ˙™ œ œ œ œ j
œ J œ œ J œ
bye now, good - bye now, it's time for us to go. (Child's name) will go now,
j j
& œ œ œ™ œ œ œ œ j œ œ œ œ
œ J
through the gate. She will go now, she won't be late. Good -
j j
& œ™ œ œ™ œ œ œ œ œ ˙™
œ J œ J
bye now, good - bye now, it's time for her to go.
Bluebird, Bluebird through My Window (author unknown, submitted by Astrid Lackner)

Astrid Lackner in Squamish, British Columbia has a felted bluebird in her preschool class. To
the children, he is a regular part of the daily routine. Astrid explains, “Bluebird visits us at
the end of each day, as we transition from story to the cubbies for dressing. Often, he whispers
something important to me, like he enjoys visiting the children when they are sitting in their
chairs or walking quietly to the cubbies. Bluebird is a little felted bird on a string and he pays
each child a visit in their cupped hands, gently saying goodbye while I sing,”
Bluebird, bluebird through my window
Bluebird, bluebird through my window
Bluebird, bluebird through my window,
Oh what a lovely morning.
120

Nonsense verses for older children
Distraction from “the sillies” for the older child at transition times can often be accomplished
with verses and songs. It’s common for older children who are experiencing mighty changes
on all levels of their beings to “bubble over” in response to outside changes, including
transitions.25 The younger children in a mixed-aged kindergarten will gladly join in the games
below and, of course, should never be corrected in how they accompany the fun. They, too,
are carried along in the excitement of the moment. Some of the younger children may choose
to watch as the older children show their prowess and finger dexterity.
Johnny, Johnny, Johnny, Johnny (traditional)

This can be played first by the adult alone. The adult can then make gentle contact, taking the
child’s hand and demonstrating how to play the game.
Johnny, Johnny, Johnny, Johnny touch 4 fingertips lightly
Whoops! Johnny! slide down index up to thumb and touch
thumb
Whoops Johnny! slide down thumb to index and touch index
finger A Ram-Sham-Sham
Johnny, Johnny, Johnny touch last 3 fingers on hand
A Ram-Sham-Sham (author unknown, adapted by Ruth Ker)

4
&4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
œ
A ram sham- sham, a ram sham- sham, gooley, gooley, gooley, gooley,
& œ œ œ ™™ œ ˙ œ œ ˙ ˙
ram - sham - sham. A raf - fi, a raf - fi,
& œ œ œ œ œ œ œ œ œ œ œ
goo - ley, goo - ley, goo - ley, goo - ley, ram - sham - sham.
121

A ram-sham-sham
A ram-sham-sham hammer fists on top of each other
Gooley, gooley, gooley ,gooley tumble hands downwards
Ram-sham-sham hammer fists
Repeat above 4 lines
A raffi, a raffi rotate hands in air at head level

Gooley, gooley, gooley, gooley tumble hands downward
Ram, sham, sham hammer fists
Eye Winker (author unknown)

Eye winker wink and point to eyes
Tom tinker wiggle ears and point to them
Nose smeller sniff and point to nose
Mouth eater widen and open mouth and point
Chin chopper gently grasp chin w/ alternate hands
Chin chopper, chin chopper
Chin point to chin
Intree, Mintree, Cutree Corn (author unknown)

Intree, mintree, cutree corn clap hands on lap to the beat of the verse
Apple seed and apple thorn
Wyer, brier limber lock
Twelve geese flying in a flock move arms in flying motion
One flew east, one flew west move right, move left
One flew over the cuckoo’s nest take a leap forward
Fuzzy Wuzzy (traditional)

Fuzzy Wuzzy was a bear
Fuzzy Wuzzy had no hair
Fuzzy Wuzzy wasn’t very fuzzy
Was he?
122

On the Bibblibonty Hill (Dutch traditional) 26
Adopt simple actions to match the words.
On the Bibblibonty hill
Stands a Bibblibonty house
In the Bibblibonty house
Are Bibblibonty people.
The Bibblibonty people
Have Bibblibonty children.
And the Bibblibonty children
Take a Bibllibonty sup
With a Bibblibonty spoon
From a Bibblibonty cup
Way Down South Where Bananas Grow (author unknown)

Way down south where bananas grow
A grasshopper stepped on an elephant’s toe.
The elephant said, with tears in his eyes,
“Pick on somebody your own size.”
Spontaneous finger and movement games

The games below are useful for those times when the children may need some distraction to
shift the mood of the transition. They can be simply spoken while the teacher is involved in
the activity at hand or they can be accompanied by gestures.
I’ve also discovered that in a situation where, for instance, a whole group of children is
getting ready for something, those who are ready can play games with one teacher while the
slower ones finish their preparation. It could be that the slower ones still need to finish up
with an artistic activity, dress for outdoors, finish tidying up, and so forth. When the slower
children see their friends playing games, they tend to speed up the task at hand so they can
join in the game too.
When you find a group favorite, be sure to play it repeatedly.
Children are very interested in animals, and having a repertoire of animal games is sure
to catch their attention. Also, mastering finger dexterity is important for all young children
and they love to play at this. Sometimes we will see them “practicing” these gestures at other
times during the day.
123

Animal finger games
Here Is the Little Beehive (author unknown)
Here is the little beehive. hold right hand in a fist with fingers and
thumb
Where are the bees? curled under
Hidden away where nobody sees.
Soon they come creeping bring out thumb and fingers one at a time
Out of the hive
One, two, three, four, five!
Here Is a Nest for Robin Redbreast (author unknown)

Here is a nest for Robin Redbreast fingers interlocked, palms facing up
Here is a hive for busy bee fingers interlocked making arch, palms facing
down
Bzzzzzzzz thumbs separate rotating under arch
Here is a hole where Peter Rabbit lives fingers interlocked, palms facing sideways
And here is a roof for me fingers interlocked above head
Here Is a Bunny (author unknown)

Here is a bunny index and tall finger make “floppy ears”
With ears so funny
And here is his hole in the ground left hand makes circle
At the slightest he hears
He pricks up his ears “ears” stand up straight
And pops in his hole in the ground “ears” inserted in hole
The Old Grey Cat (author unknown, submitted by Morgan Wade)

The old grey cat is eating, eating, eating eating gesture
The old grey cat is playing, playing,
playing hands flowing in lemniscate
The old grey cat is sleeping, sleeping,
sleeping sleeping gesture
The little mouse is creeping, creeping,
creeping shhh gesture and exaggerated creeping gesture
The little mouse is nibbling, nibbling,
nibbling mouth moving and fingers gesturing at
“nibbling”
124

The old grey cat is waking, waking,
waking
The little mouse is running, running,
running
All through the house
These Are the Brown Leaves (author unknown)

These are the brown leaves fluttering
down flutter hands to the ground
And this is the tall tree bare and brown hold up left arm
This is the squirrel form fist with right hand, thumb up
With eyes so bright form 2 circles with thumb and index finger
Hunting for nuts with all of his might scurry right hand (squirrel) around
This is the hole where day by day form hole with left hand and index finger
Nut after nut he stores away “squirrel” puts nuts in hole
When King Winter comes with his
cold and storm circle left hand around right fist
Squirrel sleeps curled up, snug and warm.
Duck Went Out to Take a Walk (author unknown)

Duck went out to take a walk hold up right thumb, move towards center
One day in pleasant weather
He met Turkey on the way hold up left thumb, move towards center
And there they walked together move thumbs together forward
“Gobble, gobble, gobble.” wiggle top of left thumb
“Quack, quack, quack.” wiggle top of right thumb
“Good-bye, good-bye” nod thumbs toward each other
Two friends with fine feathers. move thumbs away and behind back
125

See the Little Butterfly (Marjorie Thatcher, submitted by Esther Chase) 27
See the little butterfly second and third finger of right hand
flickering
How it gaily flutters by flicker fingers in a lemniscate, at shoulder
level
Settles on a buttercup cup gesture with left hand, light flicker of
right two fingers on “rim of cup”
Then once more goes flying up move right hand as before, leave left cupped
Welcome little butterfly right fingers fluttering in large half circle
We will love you as you fly
On your journey safely come bring fluttering fingers back to the “cup”
With a message from the sun end with stillness
These Little Birds Are Very Sleepy (author unknown, submitted by Esther Chase) 28
This hand gesture game is intended to bring the children to stillness.
These little birds are very sleepy right hand waves spread fingers and then
folds over
These little birds are tired today left hand, same gesture as above
Tomorrow they will spread their wings spread all fingers wide and touch thumbs
And flutter right away. wave both hands and flutter them to lap
On a Hazel Branch I Spied (Christian Morgenstern, adapted by Laurie Clark) 29

On a hazel branch I spied make a “spyglass” with hands to look through
Three little chickadees side by side. hold up 3 fingers
On the left is Felix, on the right is Franz jump to the left then to the right
And smack in the middle is jump back to the middle
smarty-pants Hans.
Their sleepy eyes they tightly close, close eyes
While over their heads it snows and snows. open fingers, flutter like snowflakes downwards
So together they huddled, those three,
The warmest was Hans, none was
warmer than he.
Fly away Felix, fly away Franz, fly hands to left, to right, to middle.
fly away Hans.
Then all the little chickadees flew away
into the sky.
Let’s go find King Winter, we’ll find him
by and by.
126

Little Fish (Bernice Wells Carlson) 30
Little Fish goes out to play put one hand beside the other with
outstretched thumbs
He wiggles his fins wiggle thumbs
Then swims away swaying hands in unison
He swims and swims in the water bright
He opens his mouth and takes a bite. open fingertips and close again
Mmmmmmmmm! Tastes good! lick lips
Little Turtle (Bernice Wells Carlson) 31

There was a little turtle make small circle with thumb and index
finger
He lived in a box both hands make square box
He swam in the water swimming motion
He climbed on the rocks climbing motion with hands
He snapped at a mosquito snap with thumb and forefinger
He snapped at a flea (the older children are enthralled with the
sound)
He snapped at a minnow
And he snapped at me. turn fingers toward self and snap
He caught the mosquito catching motion with left hand
He caught the flea catching motion with right hand
He caught the minnow catching motion with left hand
But he didn’t catch me point to self and shake head, “No!”
Mousie Comes A-Creeping (author unknown)

Mousie comes a-creeping left hand cupped, right hand is little mouse
A-creeping, a-creeping creeps on body up to hair
Mousie comes a-peeping peeps out from behind strands of hair
A-peeping, a-peeping
Mousie wants to stay and play rests on shoulder
But he hasn’t time today descends to left cupped-hand
Mousie pops inside his hole left hand closes over ‘mousie’
Sleep, sleep dear mouse, ohhhhhh gently rock left and right hands like a cradle
127

A Little Green Frog Liked His Home in the Pool (Ruth Ker)
Feel free to create fun actions to go with the words.
A little green frog liked his home in the pool
The sun was so warm and the water so cool
He played in the pool the whole day long,
Singing his dear little froggy song
Croakery, croakery, croakery-dee
I am as happy, as happy can be.
Froggy Boddy (Nancy Blanning) 32

Froggy Boddy tried to jump jump in frog position to rhythm of line
On a stone and got a thump. hit floor with hands on “thump”
It made his eyes wink and frown still in frog position, wink one eye, then the
other Farmyard Song
And turned his head upside down. tip head down and look backward between legs
A Farmyard Song (traditional nursery rhyme, music by Elisabeth Lebret) 33

4
&4
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
1.I had a cat, and the cat pleased me. I fed my cat by
2.I had a hen, and the hen pleased me. I fed my hen by
& œ œ œ Œ ™™ œ œ œ œ œ ™™ œ œ œ œ œ ˙
yon - der tree. (First time no words here!) Cat goes fid-dle - e - fee!
yon - der tree. Hen goes chim - my chuck, cat goes fid -dle - e - fee!
Add new animals and sounds for each verse as desired, using the following as examples:
I had a duck… Duck goes quack-quack
I had a goose… Goose goes swishy-swashy
I had a sheep… Sheep goes baa-baa
I had a pig… Pig goes griffy-gruffy
I had a cow… Cow goes moo-moo
I had a horse… Horse goes neigh-neigh
I had a dog… Dog goes wow-wow
And end with a triumphant “Cat goes fiddle-e-fee!”
128

Other transition verses
Here Is the House with the Roof So Good (English traditional)
Here is the house with the roof so good hands make an inverted “v” above head
Here are the walls that are made of wood arms by side of body
This is the door that is shut up tight clap hands together in front of body
And here is the window to let in the light pull hands from center of face outwards
Here are the people that fill it with love gesture right hand around circle to children
And here are the angels that guard
from above. arms wide and elevated, open to above
Here is the chimney straight and tall right arm straight up
Oh! What a good house for one and all. right arm makes slow arc down to rest on lap
with left hand.
My Hands Say Thank You (author unknown)
My hands say thank you with a clap, clap, clap
My feet say thank you with a tap, tap, tap
Clap! Clap! Clap!
Tap! Tap! Tap!
Turn myself around and bow.
Thank you.
Rufty and Tufty (Isabell Hempseed) 34
Rufty and Tufty were two little elves hold up left and right pointer fingers
Who lived in a hollow oak tree. make a hollow with left arm
They did all the cooking and cleaning
themselves polishing gesture with hands
And often asked friends in to tea. picking up a cup of tea, pinky extended
Rufty wore blue, and Tufty wore red,
And each had a hat with a feather. gesture to show long feather in cap
Their best Sunday shoes they kept under
the bed placing a pair of shoes under bed
They were made of magic green leather. smooth tops of hands one to other
Rufty was clever and kept the accounts, writing on palms
But Tufty preferred to do cooking. stirring in pot gesture
He could make a fine cake move one palm up, one palm down
Without weighing amounts
And eat it when no one was looking! gesture of poking finger in batter and tasting
129

This Is the Fairies’ Wash Day35
This is the fairies’ wash day
With acorn cups for tubs, cup hands
And tiny leaves for wash boards show left palm
Each fairy rubs and rubs right fingers swipe down left hand
The fairy sheets so white and fine
Upon the grass are drying spreading motion
The spider spins a line for them, twirl index fingers
And now the clothes are drying
When I Was Walking Along One Day (author unknown)

When I was walking along one day walk 2 fingers in air or on floor
An apple seed was in my way bend and pick up seed
I picked it up and put it in the ground left hand “plants” in a “hole” made by right
hand
And in the spring a sprout I found left index finger pointing up through hole
It grew and grew and grew and grew left finger, hand, then arm comes out of hole
Until it became a tree spread fingers on left hand
And then I picked some apples right hand picks apples from left fingers
Some for you and you and you and you gesturing offering apples around circle
And this one here’s for me. point to self
This Is the Boat, the Golden Boat (traditional, adapted by Esther Chase)
This is the boat, the golden boat hold out hands, one palm inside other
That sails on the silvery sea sway hands from side to side
These are the oars of ivory white interlace fingers, palms up
That lift and dip, lift and dip raise interlaced fingers up and down
That move the boat, the golden boat return to first gesture
Over the silvery sea.
Here are the ten little merry men show outspread hands
Running along, running along wiggle fingers, palms down
To take the oars of ivory white slowly interlace fingers again, palms up
That lift and dip, lift and dip repeat “lift and dip” gesture above
That move the boat, the golden boat lay one palm inside another again
Over the silvery sea. repeat swaying movement.
130

Oh, I’m Rolling Like a Pumpkin (Ruth Ker )
This game is good for impulse control. As you recite the verse, rotate forearms and hands over
each other at different speeds, according to how fast or how slowly the song is sung. At the same
time, you can be bending lower going “down the hill” and then pretend to push the pumpkin
back up the hill again.
Oh, I’m rolling like a pumpkin down a hill

I’m rolling like a pumpkin down the hill
I’m rolling like a pumpkin
A roly, poly pumpkin
I’m rolling like a pumpkin down a hill
Notes
1 Nancy Foster, “This Is the Way We Break Our Bread,” Gateways Issue 52 (WECAN Spring/Summer
2007), 10.
2 Rudolf Steiner, The Christian Mystery (Lower Beechmont, Australia: Completion Press 2000), 212-213.
3 Jennifer Aulie and Margret Meyerkort, editors, Spindrift (Stourbridge, England: Wynstones Press 1978), 64.
4 © Rose Maynard, used with author’s permission.
5 Jennifer Aulie and Margret Meyerkort, editors, Gateways (Stourbridge, England: Wynstones Press 1983), 7.
6 © Nancy Foster, used with author’s permission.
7 © Barbara Klocek, used with author’s permission.
8 © Nancy Foster, used with author’s permission.
9 © Rose Maynard, used with author’s permission.
10 © Barbara Klocek, used with author’s permission.
11 Julium Knierim, Quintenlieder (Fair Oaks, California: Rudolf Steiner College Press 1994), 12.
12 Johanne Russ, Clump-a-dump & Snickle-snack: Pentatonic Children’s Songs (Spring Valley, NY: Mercury
Press 1977), 35.
13 Freya Jaffke, Working with Children (Edinburgh, UK: Floris Books 1996), 22.
14 © Wendalyn von Meyenfeldt, used with the author’s permission.
15 Blanning and Clark, Movement Journeys and Circle Adventures Volume 2 (2016), 153.
16 Joan Salter, The Incarnating Child (Gloucestershire, England: Hawthorn Press 2011), 154.
17 Ibid.
18 © Michael Winship. Used with the author’s permission.
19 Elizabeth Lebret, Pentatonic Songs, (Ontario, Canada: The Waldorf School Association of Ontario, 1985).
20 Jennifer Aulie and Margret Meyerkort, editors, Autumn (Stourbridge, England: Wynstones Press 1999),
43.
131

21 Susan Smith, Echoes of a Dream (Ontario, Canada: Waldorf School Assoc of London 1982), 27.
22 Jennifer Aulie and Margret Meyerkort, editors, Winter, (Stourbridge, England: Wynstones Press 1978), 43.
23 Lebret, Pentatonic Songs.
24 © Elizabeth Stubbs, used with the author’s permission.
25 For further reading on this transformation time for the older child, see You’re Not the Boss of Me:
Understanding the Six/Seven-Year-Old Transformation, edited by Ruth Ker (WECAN 2007).
26 Aulie and Meyercort, Spindrift, 89.
27 © Marjorie Thatcher, used with author’s permission.
28 Aulie, Spindrift at 71.
29 © Christian Morgenstern, from Blanning and Clark, Movement Journeys and Circle Adventures Volume 1,
56.
30 Ablington Press, Ring o’ Roses (Flint Public Library 1981), excerpted from Listen and Help Tell the Story
by Bernice Wells Carlson.
31 Ibid.
32 © Nancy Blanning, used with author’s permission.
33 Lebret, Pentatonic Songs, 15.
34 © Isabell Hempseed, used with author’s permission.
35 Ablington Press, Ring o’Roses.
132

Resources
Ablington Press, Ring a Ring o’ Roses. Flint, Michigan: Flint Public Library, 1971, 1975, 1977, 1981.
Aulie, Jennifer and Margret Meyerkort, editors
Autumn. Stourbridge, England: Wynstones Press, 1999.
Gateways. Stourbridge, England: Wynstones Press, 1983.
Spindrift. Stourbridge, England: Wynstones Press, last revision 1999.
Spring. Stourbridge, England: Wynstones Press, 1999.
Summer. Stourbridge, England: Wynstones Press, 1999.
Winter. Stourbridge, England: Wynstones Press, 1978.
Blanning, Nancy and Laurie Clark, Movement Journeys and Circle Adventures, Volume 1.
Published by the authors, 2006.
Blanning, Nancy and Laurie Clark, Movement Journeys and Circle Adventures, Volume 2.
Published by the authors, 2016.
Brooking-Payne, Kim, Games Children Play. Gloucestershire, United Kingdom: Hawthorn
Press, 1996.
Ellersiek, Wilma
Dancing Hand, Trotting Pony. WECAN, 2010.
Gesture Games for Autumn and Winter. WECAN, 2007.
Gesture Games for Spring and Summer. WECAN, 2005.
Giving Love, Bringing Joy. WECAN, 2002.
Foster, Nancy
Dancing as We Sing. PLACE: Acorn Hill, YEAR.
Let us Form a Ring. PLACE: Acorn Hill, YEAR.
Jaffke, Freya
Let’s Dance and Sing. Chestnut Ridge, NY: WECAN, 2016.
Play with Us. Chestnut Ridge, NY: WECAN, 2016.
Working with Children. Edinburgh, United Kingdom: Floris Books, 1996.
Kidson, Frank, editor, 100 Singing Games. Glasgow, Scotland: Bayley and Ferguson, 1916.
Lebret, Elisabeth, Pentatonic Songs. Ontario, Canada: The Waldorf School Association of
Ontario, 1985.
133

Matterson, Elizabeth, Games for the Very Young. New York: McGraw-Hill, 1971.
Milton Bradley Co.
A Book of Games for Little Children. Boston: Stanhope Press, 1915.
Rhythmic Action Plays and Dances. Boston: Stanhope Press, 1915.
Neufeld, Gordon, Hold On to Your Kids: Why Parents Need to Matter More Than Peers. New
York: Ballantine Books, 2006.
Opie, Iona and Peter, editors, The Oxford Nursery Rhyme Book. London: Oxford University
Press, 1955.
Opie, Iona and Peter, Children’s Games in Street and Playground. London: Oxford University
Press, 1969. Reprinted Edinburgh, United Kingdom: Floris Books, 2013.
Poulsson, Emilie, Fingerplays for Nursery and Kindergarten. PLACE: Dover Publications, 1971.
Rainville, Anna, Singing Games. Fair Oaks, California: Rudolf Steiner College Press, 2006.
Russ, Johanne, Clump-a-dump & Snickle-snack: Pentatonic Children’s Songs. Spring Valley,
New York: Mercury Press, 1977.
Salter, Joan, The Incarnating Child. Gloucestershire, United Kingdom: Hawthorne Press, 2011.
Scott, Anne, The Laughing Baby Book. Berkeley, California: Celestial Arts, 2000.
Shimer, Joan Carr and Valerie Baadh Garrett, Games Children Sing and Play. Stroud, United
Kingdom: Hawthorn Press, 2012.
Smith, Susan, Echoes of a Dream. Ontario, Canada: The Waldorf School Association of
Ontario, 1982.
Steiner, Rudolf
The Christian Mystery. Lower Beechmont, Australia: Completion Press, 2000.
Education as a Social Problem. New York: Anthroposophic Press, 1969.
The Education of the Child. Great Barrington, Massachusetts: Anthroposophic Press, 1996.
Transforming the Soul Volume 1 (originally Metamorphoses of the Soul Volume 1). Great
Barrington, Massachusetts: SteinerBooks, 2005.
Transforming the Soul Volume 2 (originally Metamorphoses of the Soul Volume 2). Great
Barrington, Massachusetts: SteinerBooks, 2006.
The Renewal of Education. Great Barrington, Massachusetts: SteinerBooks, 2002.
Udo de Haes, Daniel, The Creative Word. Chestnut Ridge, New York WECAN, YEAR.
Udo de Haes, Daniel, The Singing, Playing Kindergarten. Chestnut Ridge, NY: WECAN, 2015.
Van Haren, Wil and Rudolf Kischnick
Child’s Play 1 & 2. Gloucestershire, United Kingdom: Hawthorn Press, 1995.
Games for Life for Children. Gloucestershire, United Kingdom: Hawthorn Press, 1995.
Von Heider, Molly, Looking Forward. Stroud, UK: Hawthorn Press, 1995.
Wiseman, Herbert and Sydney Northcote, The Clarendon Book of Singing Games I and II.
London: Oxford University Press, 1957.
134

Acknowledgments
Thank you
to the following dear colleagues who have contributed treasures to this volume.

Nancy Blanning Robin Laskowski
Sarah Cabena Debbie Laurin
Esther Chase Rose Maynard
Begona Cid Kristin McBride
Laurie Clarke Robyn O’Brien
Adrienne Doucette Wendy Poole
Mima Djordjevic Celia Riahi
Nancy Foster Angela Sheppard
Susan Howard Cheechum Soby
Janet Kellman Marjorie Thatcher
Barbara Klocek Wendalyn von Meyenfeld
Astrid Lackner
S pecial thanks to Esther Chase for sharing many out-of-print resources for nursery rhymes
and traditional songs, to Marilyn Lange for her skill and patience in spending time with me to
set down and edit mood of the fifth adaptations for some of my original musical compositions,
and thank you—once again—to Nancy Foster for her wise words.
Many of the songs and verses in this book are passed from classroom to classroom among
Waldorf early childhood educators. They are not “traditional” in the usual sense of being
age-old rhymes and tunes, but rather they originated through the practices we teachers have
developed through the years. I have designated such work as “author unknown.”
Information which helps give proper credit to any recognized “author unknown” material
will be thankfully received. If you have special songs, games and verses that you feel are
serious omissions from this collection, please send them along to me at mrker@shaw.ca or
to WECAN Publications at publications@waldorfearlychildhood.org. The research will
continue…
135

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Can We Play Games?

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Author: Ruth Ker

We are especially grateful for material from the following publications,

Dancing as We Sing: Seasonal Circle Plays and Traditional Singing Games

Movement Journeys and Circle Adventures Volume 1,

Movement Journeys and Circle Adventures Volume 2,

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1. Social Games: Playing Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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The nature of the games

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Building relationships with children

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Choosing the right game at the right time

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Two Fine Gentlemen Meet on the Lane

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One Royal Penguin with Nothing Much to Do (author unknown)

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This Little Boy Is Ready for Bed (adapted by Mima Djordjevic)

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Little Treasure Goes Round and Round

Rock Oh Rock You Have to Wander (adapted by Mima Djordjevic)

Squirrel Is Hiding in the Tree (submitted by Celia Riahi)

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Shoemaker, Shoemaker Mend Me a Shoe (traditional)

Woodcutter, Woodcutter Saw the Wood (by Angela Light)

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Here comes a bluebird into my garden child weaving through arches

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See the Little Hare (German traditional, adapted by Jennifer Aulie) 1

Suggested directions for toddlers:

Five Little Speckled Frogs (author unknown, adapted by Sarah Cabena)

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I have some little ponies

The Nest Game (traditional, adapted by Ruth Ker)

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Round I: Children stand in a circle holding hands

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Round and Round the Ring We Go (Michael Winship)

2. Reach so high we touch the sky, dancing all together.

Punchinello (French traditional)

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Lubin Loo (traditional, adapted by Ruth Ker)

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