Region: North
Municipality: Hjørring
By: Hjørring
Year: 2021
Artist: Birgitte Nielsen
Bjergby Children's Home

How has it actually gone in relation to what is described in their SNIP narrative as the purpose of the PlayArt programme and their overall wonder?


When Bjergby Children's Home started up, it was with a SNIP change:


How do we (children and adults) experience dancing and moving to music?

Are there quiet children who, through music and rhythms, find the courage to show emotions they don't usually show?

Do children and adults see each other differently in their relationship formation?



Has the educational environment changed ?                 


The pedagogical environment is starting to change towards children coming to adults more and asking us to dance and play music instead of mostly singing and making gestures as they used to. The children want to hear a lot of the music from LegeKunst, currently it is the "bone song" and the "mirror dance", but of course also songs that they already know.


It is really positive that the children are curious to get to know each other better in a new context and we also find that they have become much more helpful to each other. When a child finds something difficult or almost impossible, someone takes the companion under their wing and helps and points them in the right direction - they show care for each other


Do the children play different games and with the others than they usually do?

We have not yet observed that they play different games than before, but mostly use the new things they have learned in LegeKunst, for example the mirror exercises and different songs.


On the other hand, the pedagogical staff find that the children more often seek out children from the other room, that they would like to have lunch with them or play games.


Do educational staff act differently than they did before?

Educational staff have become more aware of the importance of what music and movement songs do to children's perceptions of themselves and each other - the relationships between those they know well, but also those they don't know so well.


It also opens up new possibilities - partly to be inspired by the dance, rhythms and songs, and not least to observe how the children take on board the new things and use them in relationship building.



Pedagogical staff are more aware of their own participation in the activity and that the children mirror themselves in them.


Are art, culture and aesthetic processes used in different ways than in the past?

The pedagogical staff has gained a new awareness of the importance of supporting children's active participation in the processes, as well as daring to be an active participant in dance, in play and in the many facets of movement.

It can be, for example, both the energetic dance or the quiet, delicate movements in front of the mirror wall.



Does the pedagogical staff talk differently about play, education, art and culture?

Pedagogical discussions and reflections on culture, art, education, play, etc. are slowly emerging in daily life, and there is a community around a common third, LegeKunst.


What elements from the encounter with the artist are included in practice?

Children have become more active in demanding music.



How did you experience the co-creation with the artist?

The collaboration with the artist, Birgitte, who is a dancer with a special interest in Cuban rhythms, has been very positive, exciting and enriching throughout the process.

Both at the kick-off meeting, artistic workshop, mid-term evaluation and after all the PlayArt sessions, there was reflection on the process, what worked and how it interacted with the wonders and thoughts of the SNIP narrative.


It has been interesting to hear how Birgitte, who does not have a pedagogical background, experiences the whole process compared to the pedagogical staff's experiences, e.g. in relation to expectations and preconceptions.



How have children's perspectives been expressed/included?

The pedagogical staff involves the children's perspectives by talking to them about what they find fun, not so fun, what is difficult, and by the pedagogical staff observing the children and trying to adjust in relation to them continuously in the process.



What has it been like to work with action learning?

The pedagogical staff has been working with action learning for several years. It is particularly exciting in this project to work with an artist who does not have an educational background. It has helped the pedagogical staff to professionally articulate their own practice in terms of "translating" dance, rhythms, gestures and songs into pedagogical work, everyday routines, transitions and the formation of relationships between the children.



How will the pedagogical staff use the experience in their further work?

The pedagogical staff has realised that PlayArt can help to facilitate the different transitions in everyday life, among other things because of the new relationships that arise between the children with familiarity and friendship.


PlayArt becomes a star moment for the pedagogical staff, where they have the feeling of discovering the children anew.


The pedagogical staff sees the beginning of something that can develop in the direction of the children becoming better at acting in situations they previously found difficult. Some children are more overworked in the community than others - PlayArt helps to alleviate this.


Educational staff increasingly incorporate elements of PlayArt in speech and in practice, including the songs, the music, the exercises - including the fine fan pennants that the children practice using on each other when they "cool off" at the end of each session.


The reflections made in the context of PlayArt (what works well, what do we need to do more of? What captures the children or the opposite? Where do we need to adjust?), are also implemented in the discussion of the children's development, well-being and coping skills.


The children really discover themselves and others, and what their bodies can do in the calm or lively movement in front of the large mirror in the multi-room, and what it does for the community to do mirror exercises.


The pedagogical staff sees a development in the children's movements to the music, daring to unfold in the community, to feel it in the body and in the head and to give space both to quiet or energetic children.


One experience the pedagogical staff has made is that some of the children needed adult-initiated dances and games.


Some children who did not want to participate at all at the beginning have gradually joined in, although to varying degrees. Once again, the importance of repetition for the children was confirmed to the pedagogical staff.


What are educational staff still curious about?


How can the child discover himself in the community?


How the large mirror in the multi-purpose room can continue to be "fixed mirror practice" - both the delicate and the lively - children are culture bearers.


How can dance, music and movement continue outside the multi-room, and how are the rest of the children's group and the pedagogical staff presented with the good story - both in words and in practice.


Make video viewing sessions, move to Birgitte's playlist/video, be impulsive.


How we can continue to present the different genres of music to the children and educational staff.