Captain Cook chased a chook: children's folklore in Australia: its origins, development, characteristics and functions within a changing historical and cultural context

Deposited with permission of the author. © 1989 Dr. June FactorThis study describes and analyses that component of children’s subcultures in Australian which is largely adapted, created and transmitted by children for their own interest and amusement. It explores the historical and cultural nature of such ‘pastimes’ of childhood as games, rhymes, riddles and jokes, and considers their particular significance for our understanding of aspects of Australian cultural formation and of children’s development. Within the Australian context, the lack of interest in the study of children’s folklore by academics and educators has been part of a wider neglect of those (sometimes large) groups within the community that are without much status and authority. This neglect – ameliorated in recent years by the work of a number of innovative social historians – has been reinforced by the tendency for sophisticated industrial societies to regard as insignificant facets of child life which do not lead directly to what are regarded by adults as useful attributes and achievements. Yet the careful observation and analysis of the folkloric play subculture of Australian children reveals much of value and significance for our understanding of human development and social formation. Whilst certain underlying patterns emerge as common to children everywhere, there is evidence of considerable influence of the adult culture on the folkloric traditions of childhood. Children’s folklore does not exist in a vacuum, and the values, prejudices and expectations of the adult world are reflected, and distorted, in children’s lore. Children are both conservors and innovators in their play. Centuries-old practices exist side by side with jokes and rhymes about current events. No subject is safe from children’s scrutiny, no taboo without its playful parody. The traditions of play provide a secure arena for diverse and versatile linguistic, cognitive, kinetic and social improvisation and experiment. Much is possible in play, and children’s folklore allows the relatively dependent and powerless ‘middle childhood’ young a freedom not otherwise generally available. Despite constantly recurring claims to the contrary, these folkloric play traditions have not disappeared in our highly organised and mechanised world. Children continue to clap, skip, hop, rhyme, chant, tongue-twist and all the rest. It seems that childhood and children’s folklore are inseparable