Short story: Hundborg Børnehus (2021)
How can we keep children actively participating in an artistic process and how can we get better at making a good transition from one activity to another?
How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educators and children and possibly researcher?
It was a good process, the staff learned a lot from the musician and he learned something from them.
The musician's part was very much predetermined, but when it was the educators' turn, there was more room for co-creation with the artist and children.
Having to deliver 75 % in front of the artist has been rewarding, it wasn't that bad.
It has lifted all the educators a bit, but some were also previously very open to music and singing games.
How have children's perspectives been expressed/included?
When there were singing games, the children were allowed to express themselves as they wanted to.
Pedagogical leader: "Not everyone unfolds in the same way."
The children were encouraged to come up with examples of how animals could move, for example.
Do the children play different games and with different people than they usually do?
It seems like some of the children have noticed each other during the program and are playing together more.
There is also a child who was previously very shy who has become more visible.
Pedagogical leader: "Now that I think about it, the children have actually become better at playing together across gender and age. "
The play themes have not changed. They seem very influenced by iPad/YouTube. (Zombie games, Fortnite, Minecraft or Paw Patrol.)
How do pedagogical staff act differently than they did before PlayArt?
One of the employees in particular has become much better at putting herself into the games and is better at initiating singing games. She is less insecure and is not disturbed if other people (adults or children) enter the room.
The educators use song and music as a pedagogical tool to a greater extent than before. A lot of work is based on themes, and the teachers find songs and singing games that fit the theme.
For example, if the theme is insects, you sing about a vine snail, an earthworm and a woodchuck, among others.
Several instruments have been purchased and are used regularly.
The staff have gained more confidence in the fact that they don't have to know 100 % to get involved. The children want to follow the adults even if the adults don't have it all figured out.
What has it been like to work with action learning?
The staff do not experience that action learning is used in LegeKunst. It is at least a "diluted" form compared to the action learning practice used in all the municipality's daycare facilities.
But it has been great to work from this "light" version of action learning. It has been especially rewarding with the small reflections that there has been time for on an ongoing basis.
What are educators still/now curious about?
It wasn't something they were curious about at the time of this dialog, but they thought it would probably arise when they were about to complete the courses on their own.
The LegeKunst project was very much about supporting smooth transitions and alternating between high and low arousal. Staff continue to work on this in different ways. When planning activities, there are now tools and a template for how to approach the activities.
How will you use art, culture and aesthetic processes in the future?
Art and aesthetic processes do not take up more space in everyday pedagogy than before, except for singing more and different songs.
PlayArt For example, the cards have not yet been used. The pedagogical leader is not sure why.
However, there is more focus on what the children are oriented towards. The educators have created an idea bank for their themes and the children are more involved. The staff has also become better at improvising.