STORYTELLING, PLAY, EDUCATION, AESTHETIC PROCESSES
REGION: North
MUNICIPALITY: Mariagerfjord
PROCEDURE: 2022
DAILY OFFER: Børnehuset Rolighed
Snow story: Børnehuset Rolighed (2022)
SNUDE narrative
(PlayArtFertilizer)
Model: 5
Institution: Børnehuset Rolighed
Art form: Music and drama
Artist: Line Rasmussen
Pedagogical leader: Birthe Gade
PlayArt supervisor: Heidi Fly
Participants: 5-6 educators and 36 children
Survey questions: There is a desire to find new ways to support children's play through PlayArtFertilizer.
How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educator and children and possibly researcher?
The PlayArtFertilizer process has been really good, but there have been some practical things that have been a bit tricky.
Among other things, the artist experienced that it was a bit of a hectic start every time because she came directly from another institution.
One educator articulates that it seems to be good for the children that there is a framework and within that framework the children can act. It is also good to switch between low and high arousal.
Educator; "It was at a level everyone could participate in. It has been good and the adults who participated were very engaged."
Educator; "It has been amazing to experience how little it takes to move the children".
Already the second time, there was a change in the behavior of a child. Just the fact that the child was given a different role and was thrown into it a little bit had an impact. "It's a bit about what others expect of you."
It created a dialog about what expectations we have for different children and what impact this can have.
The artist saw a development in the children - they became more courageous as time went on, and so did the adults.
The artist has been pleasantly surprised by how quickly she found herself connecting with the group of children. They were very trusting and easy to relate to. The adults have been very welcoming. This meant that the artist could focus her energy on what it was all about.
Artist; "... it's been great, thank you for welcoming me - and you've also been honest."
How have children's perspectives been expressed/included?
The children have been very interested in what happened along the way.
There are several examples of children who have taken more space (positively) in the community. The children have noticed each other in new ways.
Example: There was a child who initially stayed very close to the adult. In a game, the child was asked to show something to the others, which they then had to repeat. The child did so and afterwards the child was not afraid to stand up in front of the others. Educator: "Now we can hear him when he plays." :0)
The games were made so that the children could put their own stamp on them, giving them a say.
In the fairy tales, too, the children were allowed to make their own mark on the story. And they even improvised new ones.
Do the children play different games and with different people than they usually do?
The educators experience that the children continue playing after an activity.
The educators do not feel that the project has created new child communities. The children still find it difficult to find each other. When the adults do activities across the groups, the children can play together, but afterwards they do not seek each other out.
How do pedagogical staff act differently than they did before PlayArt?
Educators have been inspired to seize the moments that arise. There is a new experience that you don't always have to prepare a lot, but can also capture a situation and make something out of it. It has been an eye-opener.
Educator: "I love reading stories, but now I've started telling more stories and involving the children's imagination."
The educators were keen to learn that you can get something out of everything. That you can just make a story, grab it from anywhere. It draws a lot of attention from the children and everyone can have a role in it. You don't have to limit it to one princess and one prince - there can be 30 princesses.
To the artist/cultural educator/cultural school teacher, if present: What have you gained from participating in LegeKunst?
Artist; "I've learned a lot from it. My own boundaries have been blown up. I am someone who prepares a lot and likes to come with more than I need. It's ok that the courses didn't go as planned. I forgot both time and place several times."
Things took more time than she had anticipated, but it was good because it meant the children had more space to immerse themselves.
What are educators still/now curious about?
Staff consider how they can give play more freedom. The children know where all the things (toys) are and want to collect them and play with them in new ways. But there, the staff is more bound by the fact that it's a big house. It takes a long time to sort and clean up.
Educator; "It's a balancing act. You don't want to limit their play but..."
The adults themselves will join in the play and find ways to clean up the play again.
How will you use art, culture and aesthetic processes in the future?
Afterwards, the educators will stick to the singing games. They often forget about it in everyday life, but it's easy to do and everyone can join in.
Educator; "Now that I've been there and seen how easy it can be, I might use it more."
Pedagogical leader: "Yes, and it doesn't always have to be in the hall, it can also be done elsewhere."
The artist suggests that educators can use drama as a way to work with conflicts among children. It is good to externalize the conflicts and see them from the outside.
The LegeKunstGødnings process in Børnehuset Rolighed was completed in mid-January 2023 - therefore no "OUT" interview has been conducted. The institution is still working on their own part of the project.
