DAILY OFFER: Hundborg Børnehus

Snow story: Hundborg Børnehus (2020)

Research questions

How can theater be used as a method to develop children's play skills and thereby support inclusion?

Short Snip story written by the pedagogical manager:

In Hundborg Børnehus we currently have 23 children in 3 groups and 8 employees.

In our institution, we work a lot with language and our activities are built around themes, typically lasting around 3-4 weeks. There is always a link to the theme. We are good at telling and reading stories to our children, but we need to get the children more involved. This has left us wondering, how do we get the children's perspective (their stories) and their physical participation more involved in these stories? Can we use it inclusively?

Based on this, we have decided that our project with LegeKunst will be about stage and narrative art.

NOTE: Due to Corona, the course was divided by a longer break. This may have caused the focus to change from the first round to the second round. The project was allowed to take up a lot of time and the children changed their play patterns. Therefore, there is only a partial correlation between wondering questions and SNIP.

The nursery did not participate in the second round.

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

Artists, educators and children have been equal in their imagination. There has been no focus on a specific product, except that co-creation has been the goal.

One of the things that has been unfamiliar to the adults is that there was no fixed plan. This means that there is room for the children's contributions and thus it has happened very unexpectedly. It has been a process for the staff.

Educator: "It has been great to challenge yourself, be open and get the children more involved in everyday life. This must be maintained after the course."

The project has to a large extent been around all the themes in LegeKunst and there has been a big change from the starting point.

Both educators and artists have benefited from the project - and have broadened their understanding of their own profession.

How have children's perspectives been expressed/included?

The starting point was how the staff could make all the children participate in the activity and that there was room for everyone. It had to be stories where the children got something out of it. It had to be useful in everyday life between the courses.

The educators have been good at engaging in a dialog with the children about what the stories should be about. This means, for example, that the story took a turn from Africa to earthworms in Denmark.

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

Adults are better at bringing their imagination to work.

What are educators still/now curious about?

One of the things the educators would like to get better at is grasping what you can see in the room. For example, when the children "slip off the hook" and distinguish between when the children should be allowed to take small breaks.

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

After the course, the institution will continue to work with the principles of PlayArt once a week. This will continue to be scheduled in the same way as in the course with the artist.

It will initially be based on what children and adults know and then the educators will develop it further from there.

Due to another Corona lockdown, an OUT story was not written after this process.