REGION: Sjælland
DAILY OFFER: Børnehuset VillaKulla

Snow story: Børnehuset VillaKulla (2022)

How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educators and children and possibly researcher?

Our children have been safe. Great joy among the children.

We would like to bring the art of play into the joint event in the merry-go-round on Friday. We have become better at collaborating across the rooms.

An attempt to unite VillaKullas and Legekunst.

B: We've gone back a little bit and taken some of the old and combined it with some of the new.

Keep an eye on what's being played into the common.

T: in bra, we had entered a structure where the rooms have closed in on themselves a bit.

How have children's perspectives been expressed/included?

Examples: It happens all the time. The adults ask: Where are we going? Who are you?

The Ukranian new kids: also a good way to invite them into the community. M. was initially unsure, but is now on board.

K. can catch some of the other children and e.g. lead a game about electronics. Distributes the roles and keeps the other children in the game.

It works really well when children are given fairly fixed roles. It makes it easier for them to keep playing.

One wonder: whether the boys were goofing off too much. They have started playing together more and goofing off less. Doing more things.

The boys in the other room: they have become better at playing together.

We shouldn't give long explanations because we'll lose them. We need to get started quickly.

It's important that the setting is clear, for example, that the costumes are ready. We can try to omit the costumes.

The one who wears the hat has the attention: peel it down to one thing to relate to.

The costumes help children find their way into their imagination.

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

Yesterday: O took the hanger and started a game where T grabbed it and it ended up with more children joining in and a community and fantasy play was created.

It was fun to see how O. managed it and also got someone who had not actually been involved in PlayArt. They followed along.

B: We have two children who are good at playing the games on the playground. They catch some of the other children, even some who are not involved in PlayArt.

Fencing: A scene from the play that we took out and played on. There were a handful of girls who don't normally play sword games with each other.

They invite each other more into the games. Now everyone has a cape. "If I get my cape, can I join in?" More people can join in/get a role.

T and X: started playing together more across genders.

Si: in the game there are also groups that choose the same thing, e.g. princesses, insects ...

How do pedagogical staff act differently than they did before PlayArt?

Sparked us to reflect on our everyday lives. Do we have too many balls in the air? We shouldn't forget the other things, but sometimes we need to take something out to focus.

B: We tend to be most successful by sharing the children, but we have found that it is also fun to have them together and then as adults to take different roles: the one who controls and the one who does something else. We are reflecting on how to improve our collaboration.

A: It's also great for the big and small to learn from each other.

T: use PlayArt to form relationships between the children who are going to school together. We can see that corona has meant that the children do not know each other.

B: Yes, and we can expand to include Villa K. 1 as well.

For example, many people don't want to go pee. Try to bring play into the peeing situation. For example, we are dogs.

What has it been like to work with action learning?

B: absolutely fantastic.

T: In our staff meetings, we should introduce reflection.

T: it doesn't work well in large staff meetings. T: it works well in staff meetings. Better than evaluating.

Being in it, what has it done: You think the community is more involved, even when management is involved.

S: nice to talk about how we try out different frameworks, test it and talk about it again.

T: You get a different responsibility when you say it out loud.

A: We put the responsibility on ourselves and not on the fact that it's a difficult group of children. It provides opportunities for action.

X: it feels easier to play outside than inside.

T: I find it really hard to dress up and be part of the story.

To the artist/cultural educator/cultural school teacher, if present: What have you gained from participating in LegeKunst?

A: Very exciting with two different living rooms. Also in the reflection that it is reflected more broadly. If I have a method, how does it work in different forums?

Sometimes it has been problematic and therefore exciting. Being inspired by seeing what employees do. To be able to follow you. Very inspiring. Great kids AND adults.

Different roles and participation while being structured and playful. Order and chaos. The framework that makes us feel safe is important. It has worked really well.

To create focus. You're good at that. You can tell that the kids think it's fun because the adults do too.

What are educators still/now curious about?

How the structures do/don't contribute to play.

How do we create the best framework.

It shouldn't be top-down, but through LegeKunst we've thrown out different options.

For example, O grabbing the hanger, where I entered the game like a child.

X: I think we can see that the games have changed.

We need to be careful not to talk too much. Not talk to death. More action.

S: curious about how we can use LegeKunst across the board, so that the large group this year will work better.

Singing is community: we can grasp it too.

How will you use art, culture and aesthetic processes in the future?

On Friday: cape and hat show in the merry-go-round. Bring in a Christmas theme. Maybe we'll do something for some older people.

T: Reading games: I tend to be a bit Serine-ish. Maybe we can bring in theater as well.