REGION: Middle
DAILY OFFER: Lark's Nest

Snood Storytelling: The Lark's Nest (2022)

We will be curious about how we can use a drama program to create a learning environment that can support children's engagement by, for example, promoting the intensity of the way children participate in interactions and activities. Especially with an eye for the individual actions and their ability to support this development in the individual child.

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

The co-creation has been fantastic from day 1, our artist from Limfjordsteateret Charlotte Olling Rebsdorf has a really good empathetic and nurturing approach to the children as well as the approach to co-creation with the staff.

There is ample opportunity for both the children's ideas/inventions for the actions to come into play, as well as the staff - it's great that there is no precise agenda, but that the framework is set and we fill it together

The fact that there was room for co-creation in the actions also allowed us to gain knowledge about how we could promote the intensity of how the children were given the opportunity to participate based on the individual child's versatile personality.

How have children's perspectives been expressed/included?

Since we work with shadow theater and based on the fairy tale Thumbelina, the children were given the opportunity to express themselves by playing the injured swallow, playing how the mole wanted Thumbelina to help in the house.

The children were quickly drawn to the story, the fact that the animals that Thumbelina met were such a big part of the adventure made the children more curious and they tried to express themselves like them.

In the actions, we found that the children's perspectives were given a lot of space and there was room for them to express themselves, which was pretty cool!

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

After the actions, we saw that the children continued playing in the fairy tale, some were Thumbelina and there could be several at once. Others were oldenborre - it was quite fun to play naughty.

We also saw that the children became more aware of their own shadow.

We experienced that our curiosity/ wondering how we could use drama to create a learning environment that supports the children's engagement is obvious, we experienced that it is the concrete visuals, the fact that the children experience the props and installations that Charlotte brought, that helped to promote the children's intensity in their games afterwards.

Some of the children who can be reserved and shy forgot to be shy and spontaneously joined in with what we were doing, it was so good to experience!

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

We get more and more brave with every Play Art program we've been lucky enough to participate in.

We have become more aware of the joy of storytelling and not always reading from a book

Using the stories as a starting point is fine, but daring to step outside the box and create narrative drama is something we've become much better at.

It was completely new for us with shadow theater, we definitely want to play with it a lot more.

What has it been like to work with action learning?

The fact that the framework is set is fine, but the fact that the action learning model allows us to freely fill in the framework.

The fact that co-creation and play are the primary cornerstones of the project just means that the pedagogical practice will be filled with moments that sing and the senses are fed with the best!

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

What are educators still/now curious about?

I've covered this in more than one question!

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

We can't help ourselves!!!!!!!!!!!!!!!!!

We'll get lost in aesthetic processes and use much of what we've learned from working with artists

The best thing about model 5 is that the adult learning processes have been together with the children and the artist.

This is the place! A project like LEGEKUNST makes so much sense, because this is where we see things happen in practice

The fact that we adults haven't just been away on a course and then come home again.

We feel that the fact that it's all happening - or it must be the co-creation happening in our environment - is very important for us to continue to use these aesthetic processes that we have participated in and create new ones.