PLAY, EDUCATION, CULTURE, AESTHETIC PROCESSES, MUSIC, CO-CREATION, MOVEMENT, COMMUNITY
REGION: Faroe Islands
MUNICIPALITY: Thorshavn
PROCEDURE: 2023
DAILY OFFER: Birkilund daycare center
Snippet story: Birkilund Daycare Center (2023)
Our wondering: Why don't adults/staff play more? What is the role of adults/staff in children's play? How can adults/staff participate in play and help play become more imaginative and constructed? What does it take for adults/staff to become more active and participatory in children's play?
- How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educators and children and possibly researcher?
It has been very inspiring and safe to work with our artist. He has set a framework that has created a sense of security for both children and staff.
The staff have created a practical framework that has given the artist freedom in his framing.
It's been exciting in a good way, with both parties growing towards each other and supporting each other.
- How have children's perspectives been expressed/included?
In the beginning, it was very much controlled by the artist. The artist had set a clear framework and "was on, so much so that he felt he was in an entertainment position where the focus was on entertaining the children. During that period, the children were only partially involved.
It was also a bit difficult for the artist to let go of control, as the staff had to take over the 75% and the artist the 25%. However, they were good at taking the "discussion" and have had a good development.
It is clear that the children's perspective was more involved when staff had the 75% share. Staff have been good at including each other's and the children's initiatives and stories in the activities.
Staff expressed that it was easier and more fun when play/singing and movements came spontaneously and from the "heart".
- Do children play different games and with different people than usual?
They have their doubts, but children who have not been so visible in the room have become more visible with the LegeKunstens framework and have a clearer voice in the group of children.
Children's groups have become calmer.
We also talked about how the staff have become calmer and perhaps have a different focus, so that what used to be noise is no longer noise for the staff.
The artist's knowledge and insight has opened up and given the staff a different insight into the possibilities of the instruments, for example.
- How do pedagogical staff act differently than they did before PlayArt?
They have become more aware of their role.
Since it is "anxiety" provoking to try something new, they had decided that everyone in the staff group should be responsible for a PlayArt activity. It was a good decision.
They have discovered a different way of working. You've spotted a work structure (the action learning model).
They have begun to wonder and question their "old" everyday structure.
It has become even more apparent that fixed routines create security and that predictability creates security and that security allows for development.
The staff have become more confident. Before, they were afraid to try something new because they thought it would cause chaos.
They want to work more with children's communities.
They want to get more involved with each other and the children's perspective.
- What has it been like to work with action learning?
It's been really good and educational.
Statements from staff:
- "The "project" has given me ideas and made me realize that there are several "little things" in everyday life that can be made more fun by using imagination and rhythm".
- "now I dare to be playful and spontaneous"
-"I've gotten more ideas for being more playful in meeting the children's play and the necessary everyday routines."
Especially the reflection part. It has been great to hear other people's thoughts about the children and the activities that have taken place.
The whole framework of daily life has become so clear.
Activities are much better because everyone is prepared and knows what to do.
- To the artist/cultural mediator/cultural school teacher, if present: What have you gained from participating in PlayArt?
The artist is happy to hear that staff have benefited from his way of working.
It has been inspiring and fun for the artist to play games that he hasn't played since he was a child.
He has gained insight into the importance of practical measures in the everyday life of a daycare center.
He has discovered several elements in the PlayArt program that he will incorporate into his teaching at the music school.
He has also had to admit that you don't necessarily have to go to music school to gain musical insight.
He's got the courage to play more.
- What are the pedagogical staff still/now curious about?
- To investigate and test "why they do what they do" in daily routines.
- How both staff and children can have more fun together.
- Whether they can incorporate more rhythm and singing into their everyday life.
- How will you use art, culture and aesthetic processes in the further process?
We will stick to the action learning model and continue to work with music and rhythms on a daily basis.
- What points for attention should we take forward?
Music and education. We experience ourselves and others differently through music and rhythm.
