Playworkers for Peace

Today, on the International Day of Play, we are reminded that play is not an optional extra but a fundamental right. Today is a global moment to insist that children everywhere should have safe, inclusive places to play. This year’s theme – Protect play, protect childhood – asks us to centre play as a public good and to use the language of safety and belonging when talking about the right to play.

However, on this, the third International Day of Play, it is impossible not to reflect on the many acts and circumstances around the world that undermine any sense of safety and belonging – not just for children, but entire communities or even countries. In pondering what I might write today, I found myself referring to an unexpected document.

The International Play Association’s Play in Crisis guidance was written for parents and carers in a pandemic, but reading it afresh today, I wonder if it might also guide playworkers too, in these turbulent times. The booklet states plainly that “Playing helps children stay physically and mental well. It is an everyday part of a healthy and happy childhood”. It also reminds us that “Playing is one way children deal with stress and cope with the situation they’re in” – the professional reasons we protect play when the world around us feels fractured.

The IPA document asks adults to give children space and time, to observe before intervening, to accept difficult themes in play, and to use play as a way of making sense of frightening events. In our practice, we’re reminded to: protect uninterrupted playtime; offer materials that invite all types of symbolic and messy play; listen and reflect before intervening if necessary; and hold children’s enactments or expressions of fear, loss or anger as meaningful work rather than behaviour to be suppressed or corrected.

We know that when children stage battles, build barricades, or create worlds divided into “us” and “them”, they are not being deliberately provocative, necessarily. They may be trying to understand what they cannot yet name. The IPA guidance normalises this: it tells us that acting out themes of loss, illness, loneliness or conflict is part of how children process upheaval. In practice, our response must be to hold that play with curiosity and steadiness – to protect the conditions in which it can be explored safely, and to use it as a bridge to reassurance and repair.

This year, the play we see in our settings will carry the marks of local and global pressures: the violence in Belfast; the tensions stirred by the ‘Raise the Flags’ movement; the war in Gaza; a rise in antisemitism; the far-right mobilisation following the tragic death of Henry Nowak; and the increase in anti-LGBTQ+ hostility during Pride Month. These are all different in scale and history, but they share an effect: they make children feel less secure in their communities and more anxious about their future and where they belong.

10/06/26: PlayBoard Northern Ireland post to Facebook

Playworkers are not outside this. We are part of the same communities; we carry the same histories and the same wounds. The IPA booklet’s honesty about adults – that our feelings influence how we respond to children’s play – is a timely reminder of the Playwork Principles:

7.  Playworkers recognise their own impact on the play space and also the impact of children and young people’s play on the playworker.

We must acknowledge our own fatigue, fear and anger, because only by recognising them can we prevent those feelings from adulterating children’s play or from colouring our interventions in ways that curtail the therapeutic nature of play.

I’m sure many of you, like me, feel quite helpless in knowing what “to do”. I have heard wonderful accounts of playwork colleagues right on the frontline, helping families in crisis in real practical ways. But that is not always possible. So, what can we do today just through our practice?

If we take the IPA toolkit as our frame, the work of playworkers becomes a set of everyday acts of peace. These acts are practical and small, but they are cumulative and powerful. They include keeping routines where possible; protecting time and space for play; offering materials that invite repair and transformation; listening to children’s stories and questions; modelling inclusive language and behaviour; and intervening to stop harassment or exclusion when it appears.

There is a line painted on a shipping container at Glamis Adventure Playground that reads, “These are our Rules. There is no war here. We are all different, and that is fantastic”. We create micro-worlds where difference is welcomed and where children can practise being together without the hierarchies and hostilities they may see elsewhere. That is peace-building in the most literal sense.

International Day of Play gives us a public opportunity to amplify these practices. Use today to share simple, rights-based messages with families: explain why play matters in crisis, offer a few practical tips from the IPA toolkit about observing before intervening, and signpost resources for families who need extra support. Share images and short reflections that show play as a place of belonging rather than a place of division.

To pick my Top 3 messages for today: play is a right; play helps children make sense of fear; playwork is a practice of inclusion.

Penny Wilson’s original call for Playworkers for Peace asked for a banner under which playworkers could gather – not to solve geopolitics, but to declare a shared commitment. Today, on International Day of Play, that call feels urgent again. We cannot resolve every conflict, nor should we pretend that play alone will heal structural injustice. But we can do what we do best: create spaces where children can be children, where difference is treated as a resource, and where safety and dignity are non-negotiable.

Let us protect play, protect childhood, and in doing so practise peace in the places where it matters most.

Playworkers for Peace. Anyone in?

Join the Play 31 Challenge

On 11 June 2026, schools across our islands are being invited to do something beautifully simple and profoundly important: give children 31 more minutes of play.

This call to action has been launched by the UK Children’s Play Policy Forum, working in collaboration with IPA Cymru Wales, IPA England, IPA Ireland | Éire, IPA Northern Ireland, and IPA Scotland. It marks the third annual United Nations International Day of Play which aims to elevate the importance of play in children’s lives and to protect the conditions that make play possible.

This year’s theme – Protect play, protect childhood – speaks to the heart of what playworkers, researchers, advocates, and communities have been saying for decades: play is not an optional extra in childhood; it is a right, a need, and a foundation for wellbeing.

Why 31 Minutes?

The Play 31 Challenge is inspired by Article 31 of the UN Convention on the Rights of the Child (UNCRC), which enshrines every child’s right to play, rest, leisure, and participation in cultural life.

1. States Parties recognize the right of the child to rest and leisure, to engage in play and recreational activities appropriate to the age of the child and to participate freely in cultural life and the arts.

2. States Parties shall respect and promote the right of the child to participate fully in cultural and artistic life and shall encourage the provision of appropriate and equal opportunities for cultural, artistic, recreational and leisure activity.

    The ask is purposefully simple:

    • 31 minutes
    • No cost
    • No equipment required
    • No special programme needed

    Just time, space and permission.

    Not sure how to ask? In 2024, Adele (@adeleplayworker), posted the above template letter to headteachers for parents / carers to use. At the time of the post, she said “I volunteer in [a] school so it hadn’t occurred to me that parents wouldn’t know how to approach their headteacher, or even feel confident doing so” – and sometimes that can be the hardest part: knowing where to start.

    So, inspired by Adele’s original letter, The Playwork Foundation has drafted an updated version that parents, carers, and community members can use to contact their Headteacher / Principal or Board of Governors / Board of Management.

    We encourage anyone who wants to support the Play 31 Challenge to use the letter, share it, or adapt it for their own school community. Small acts – a conversation, a request, a letter handed in at the office – can be just the little ripple that starts a wave of cultural change towards more play-friendly schools.

    Let us know how you get on!

    Questions to a playworker…

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    Adele Cleaver trained as a playworker in Birmingham back in 2010. She calls herself “a nomadic Brummie” who after dabbling in playful adventures and community work in Leeds, London and Birmingham and Ghana, Portugal, Brazil, Uganda and Kenya now resides in Bournemouth on the south coast of England with her 4-year-old daughter and husband. 

    In November 2019 she started writing her first book which she describes as a part-memoir, part-manifesto on living a life full of play.  She writes “accidentally stumbling into playwork was going to be the best voyage I was ever going to embark on”.  We asked her a few questions about her playwork journey.

    How did you become a playworker?

    I think I was born a playworker. It just took me a long time to realise my way of being could also be a profession. My home was like a free play environment; a laidback pair of almost hippies for parents with 4 children, over 12-year age gap each with their respective friends over to play, and a multicultural backdrop beyond our doorstep. My mom was a teacher though openly criticised “the system” and longed for the 6 weeks holidays and my dad worked in Social Inclusion for the NHS so I was brought up to live inclusively, be weary of hierarchy and play freely. I went to the University of Leeds to study International Development because when I was 18 I naively thought I could save the world. I moved back to Birmingham and worked at a local youth project as a Youth Worker where I bumped into Laura Watts one of the radical women who founded Dens of Equality. She worked in the building next door,  and took me under her wing because the youth project just wasn’t rebellious enough for me. After a few months of bid-writing and setting up family-led play projects around Birmingham, Laura sent me off to play with Ali Wood and Sue Smith and they turned me into a proper playworker with a capital P and a certificate to prove it.

    Are you working on a play project in Bournemouth?

    Yes, currently myself; I am my own play priority! The first few years of motherhood and juggling the chaos that a tiny new life brings reminded me that I needed to play more. Playful parents breed playful children so I’ve been prioritising us at home.

    But even before motherhood, I took a rest from play when we moved out of London in 2014; not intentionally but because playworker jobs didn’t seem to exist down here. I needed work, couldn’t afford to be fussy so without giving it much thought ditched the play.  I was an Autism Support Worker for a few years before I had my daughter and always tried to work more playfully, but there was no real understanding of play in the organisations I worked for. I felt I had become very institutionalised so I contacted The Prince’s Trust and set up a greetings card business with their support to learn new skills and feed my own creativity.

    When I was pregnant we very almost moved to Bristol because I knew we could live more playfully there as a new family but I had fallen in love swimming in sea at the end of our road. So we stayed put and have started rooting here. I often described Dorset as a “play desert”. Apart from Fernheath Play as the little oasis, there isn’t much opportunity for playwork here. After I had my daughter I did Admin at a creative youth project locally in Bournemouth. I could see the glaringly obvious gap in the service provision; these young people weren’t accessing community play as children so they were being referred to us through CAMHS because there are no early intervention projects. I couldn’t handle office work so I left and decided to focus on building up Play here.

    So now I am setting up, very slowly, a Community Interest Company called Real Playful. I am running a series of Family Nature Play sessions in collaboration with a local community garden this winter. I am super excited that so many families local to Boscombe are interested; all the workshops were fully booked within days.  Then my next big job is to source playful people and train them up as playworkers so I am currently completing a very tedious application for employability funding. I’m really just relying on my book to become an international bestseller (any agents reading, please call me!!), I’ll be made a millionaire overnight and voila! I can fund all sorts of magical community play projects here, there and everywhere.

    Where is your favourite place to play?

    Hmmm, it varies. This year I have really genuinely loved being at home, playing in my PJs, all day with my daughter. Lockdown was good for us in that sense because I am a sociable being, and I like to be out and about, but the unstructured, timeless play got priority over my need to be with people. I thoroughly enjoyed being locked away in our own little adventure playground; it was necessary escapism! But if you’d asked me last year I would have said outdoors in the community. Big outdoor community play, mixed ages, multigenerational, loads of loose parts, street closures of festivals of play, neighbours laughing together,  cups of tea being brought out onto the doorstep.  I love the big colourful pop up play sessions I used to create with Parks 4 Play in Birmingham. It was physically demanding work, lugging tonnes of resources around Kings Heath park but it was so magical. That’s the sort of play I want to bring to Boscombe.

    Where do you play outdoors?

    Well we don’t have much of a garden except a little front hedge area which is big enough for a mud kitchen and my bicycle.  I am not complaining, we live opposite a small charismatic Victorian park and 800m from the beach! 9 miles of glorious sand and a view over to the Purbeck Hills. I’ve always lived in cities and this is the closest I have ever lived to nature; life is good here even though I can only experience vibrant community play in my imagination…. I must remind myself that good things come to those who experience vibrant community play in their imagination!

    I still really love going back to Brum and playing in my parent’s overgrown garden when I played as a child. I’m a proper city kid through and through, in terms of my exposure to diversity, multiculturalism and the arts, but I played and played and played in that garden and have a lot of happy memories. For as long as I remember my parents have fixed everything, and kept things ‘just in case they will be useful to fix other things….’ so their garden has always been full of loose parts. It is great, but also kind of a strange time-warp-come-parallel-universe to see my daughter explore freely with all the random stuff I did thirty years earlier.

    If you could live in any era, when would you choose?

    When people could play and cycle out on the roads without it being dangerous. I joined the Playing Out Activator group at the start of the year, just before lockdown and was so excited to hear of all these communities regularly playing out. And then through lockdown I was campaigning for “Quiet Streets” to be our “legacy of lockdown” in Bournemouth, Christchurch and Poole (BCP Council) but Highways wouldn’t give us permission. It is so frustrating; without much publicity over 30 residents had expressed an interest, around 10 streets had self-organised stewards, signs and safety kits, but the powers-at-be just wouldn’t give the green light. It is so obvious to me that community playfulness is good for everyone; my council don’t use the same glasses  I do.

    What is your favourite word?

    I am a linguist so I have 3! In English “Chaos”. Quelquefois (French for “sometimes”) and Bochechas (“cheeks” in Portuguese).

    What did you want to be when you were growing up?

    Ohhh good question! An author, an artist and an architect. I think I’m almost there. I have just finished my first book, just need to get it published to make me a “real author”. Everyone is an artist, and those with confidence capitalise the A to make them official Artists and I build splendid dens so I guess that makes me an Architect. If I could go back to university I would definitely study urban design, architecture or planning; something to build more community play spaces in cities. Maybe I will go back to university…. Who knows?!

    Finally, tell us a little bit about your book.

    It is a part-memoir, part-manifesto about prioritising playtime for new parents and gifting our children unstructured family time.  I write from my heart about inclusion, playful encounters in playwork settings, my own childhood play, playful parenting in Cuba and Montreal, miscarriage and multiculturalism.


    Connect with Adele

    therealplayfulmama@gmail.com

    Facebook – Real Playful – Pop Up Community Play

    Instagram the_real_playful_mama

    Twitter @Adeleplayworker

    And if you have any connections to the literary world please help her to circulate her proposal!