Snow story: Børnehuset Lupinmarken (2022)
How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educators and children and possibly researcher?
- The co-creation between artist and educ. has been appreciative - great respect and understanding of what both parties had to contribute to the process
- The co-creation between educ. and children has focused on equality, but has also been an exercise in letting go and letting the children take the lead
- The co-creation between artist and children has been very natural, and the children have been responsive to Marco's ideas from the start, and Marco has always focused on the children's energy and ideas being the guiding force
- Really good collaboration, where expectations were aligned beforehand and followed up on an ongoing basis. Marco has a good sense and understanding of our target group - the 2-year-olds, the children have shown joy in seeing Marco and have participated actively in the process
- The pedagogical staff has also participated enthusiastically, following Marco's instructions and being inspired.
- The entire staff group participated in the Artistic Workshop. It was a great way to share knowledge - in relation to what the LegeKunst project is about, but also concrete activities etc. for the benefit of all the children and adults in the house.
How have children's perspectives been expressed/included?
- The children's ideas in play have guided the direction of play
- We have followed the children's initiatives in play, e.g., drive to Africa, robots in Africa, dinosaur in Africa
- Pæd. have had a huge focus on being adaptable in the processes
- The need for repetition has been respected
- We have further developed the children's ideas together with the children
- After each visit, the children have told spontaneously or with verbal support about playing with Marco. They have shown physically with their bodies what they have done.
Do the children play different games and with different people than they usually do?
- The bridge game (making a bridge with your body and crawling under it) is still played a lot and often on their own initiative
- The children are inspired by the games we play at PlayArt - e.g. crocodiles, dinosaurs
- Children hold hands with each other and walk in a circle when singing - we didn't see this before PlayArt
How do pedagogical staff act differently than they did before PlayArt?
- We use several short dramatic stories to support children's understanding of different scenarios
- The small dramatic stories create a space where you can "play" what can be conflictual, where humor and silliness are in focus - the adults have, among other things, "dramatized" how a conflict has arisen and how it was resolved
- More spontaneity in the use of bodies in storytelling - and dialog in general
What has it been like to work with action learning?
- This is nothing new to us - and again, it makes so much sense. We have experienced the children going behind, next to and in front of the games and activities that have been initiated
- It has been challenging and time-consuming
- The co-creation between educators. in the project, but also in everyday life, has been strengthened and has become an integral part of our common practice
- Action learning has helped upskill our work
What are educators still/now curious about?
- How do we evolve without losing what has been good?
How will you use art, culture and aesthetic processes in the future?
- We continue the process and keep following the children's trail
- Frame the play - within the frame anything can happen
- Be in the moment, be empathetic and empathize with the children's conceptual world
- Drama as a way to use the body - the body can tell a story without words
What points of attention do we need to take forward?
We still need to practice following the children's initiatives and wait and see. We are still practicing unleashing our imagination when interacting with children.