MUSIC, SINGING, DANCING, MOVEMENT
REGION: Central Jutland
MUNICIPALITY: Viborg
PROCEDURE: 2022
DAILY OFFER: Lyngens Børnehus
Short story: Lyngens Børnehus (2022)
Based on our SMTTE model, where we had wanted the whole house to be involved in "That the children experience the joy of singing and moving to music", the project turned into "only" 2 groups in the kindergarten, Mælkebøtter and Poppies, were to be included in the project, where the artist Anders Bo Pedersen was to be associated with us for 12 weeks.
Goals:
1. that children experience the joy of singing and moving to music.
We had decided from the start, together with the artist, that the whole group should participate at once.
Many of the children really want to join in.
Mælkebøtterne: The children have found comfort in being involved and they were very engaged.
The poppies: one child was very withdrawn at first, sitting outside the circle, but now he has figured out what it's all about. In the gaps, he finds instruments and plays them.
Another child also has to be involved many times before he understands what it's all about.
Perhaps it would have been beneficial to split the group of children into two groups, because there are a few children who don't want to join in, and other children are easily disturbed by them.
Anders Bo: Think that the children who don't seem to want to be involved, want to be involved, but find it difficult to be involved. Tried to experiment a bit with getting them involved.
2. For children to learn new songs/song games.
The Dandelions: We have learned a lot of new things.
We use the rattle song a lot.
The children often hum the rattle song.
The poppies: adults need to learn to let go more, but they try.
Anders: make sure you align roles, one takes care of the activity and one takes care of the kids.
There are a lot of kids who don't want to join in and it's contagious.
Splitting up the group because children are quickly disrupted if someone drops out.
Fifteen minutes is a long time to keep children engaged in the activity - experiment with 2×20 min.
The children have learned waga waga, too.
Tried waga waga with Sikira, it caught the kids.
How have you experienced the co-creation between artist/cultural educator/cultural school teacher, educators and children and possibly researcher?
Anders Bo: We got off to a rocky start because we didn't have a kick-off meeting - it was a cold start. However, it has developed okay.
Educator: We had an expectation that Anders Bo was on 50% of the time in the four sessions in the middle of the 12, because we had gotten off to a bit of a rocky start.
There, the agreements were not aligned, but this was rectified after the educators made a plan for their activities.
The poppies: Had a plan for what to sing, asked Anders for advice on e.g. drums. Also had an expectation that Anders would participate 50%, but they figured it out anyway.
Tried drumming inside, but it didn't go so well. But they have figured out what works outside and what works inside.
Anders: if you do the fixed things, you can try playing with your hands, sticks or something else on the playground.
Evan: I have found that Anders Bo is great at inspiring and motivating both children and adults. Anders Bo has helped us put strings on the guitar etc. after we got to know each other and we got the instruments going again.
So after a false start, it has turned out to be a great and inspiring process.
Anders: Evan, you have some great educators who need to create their own style.
How have children's perspectives been expressed/included?
The children have been involved through the music and lyrics that Anders Bo has tried out, and then the children have been able to suggest the songs and choice of instruments. But the goal of the project has always been to introduce the children to new songs, music and rhythmic initiatives.
When we say we're going to make music, the kids cheer "we're going to have music! music!"
We've had to take three children out of the activities - one was screaming the whole time, but the rest of the group really wanted to join in.
A child who may have a diagnosis is interested in what's happening, he doesn't have a verbal language, but he has rhythm, he gets caught up in the music, and is otherwise not part of the community.
There are signs that children are motivated by singing and music/instruments.
There are children who otherwise can't be held in an activity for more than a few seconds, who in music activities can be held for 20-30 minutes.
Instruments motivate all children.
Do the children play different games and with different people than they usually do?
The children play other games with each other that now include musical initiatives, drumming on outdoor toys, singing songs together without an adult present and they experience a joy when adults sing spontaneously.
Children can suggest the rattle song or jumping dance for the gathering.
One of the groups did some singing and music with letters. Most of the children found it exciting.
The children (together with an adult) use some of the familiar rhymes with letters and add rhythm and song.
In the gaps in between, we have created singing games that incorporate the children's ideas.
How do pedagogical staff act differently than they did before PlayArt?
We've reinvented the joy of music, and once again we've seen that music can create community, especially with movement songs.
We've found that children who otherwise roam around a lot can stay longer in the activities.
Alternating between songs and singing games with instruments can keep children engaged and motivated for longer.
At Mælkebøtterne we want to create a weekly day with music to implement it in the children's group.
The adults also like to do music activities.
Something new for us is the use of spontaneous singing: Setting songs for e.g. setting the table, washing hands or in transitions - disturbs/motivates the children (see e.g. washing hands song in Garbage Jam) but it works well after the children have "gotten used" to the adults' initiative.
What has it been like to work with action learning?
Has been a part of our everyday life.
What are educators still/now curious about?
In the future, the educators will focus more on drawing up a "roadmap" for which activities to do from time to time, a system that ensures that the activity is not person-dependent.
It's been difficult to find the time to prepare, but we managed it last time and it will be scheduled going forward.
Staff have found that it greatly qualifies the activities.
One of the groups has made a plan for the songs to be used next semester.
How will you use art, culture and aesthetic processes in the future?
We will run the same program we learned from Anders Bo and add a few new things as we go.
We will spend a maximum of 3 quarters of an hour with the little ones, the project has shown that they can't be held longer.
One of the groups will figure out how to divide the groups.
We have learned to follow the children more through the musical initiatives, which gave more flow in the children's group.
Day and time are customized to fit in with the rest of the house.
The Dandelions and Poppies pass on their ideas for songs and music activities to the next (younger) group of children, so that the ideas and experiences with songs and music are spread throughout the house and will inspire them again and again.
We have purchased Andres Bo's "Skraldejam" which provides excellent inspiration and suggestions for activities.
Page 116 in Skralde jam - there is inspiration for using Halfdan Rasmussen's rhymes.
Barske Bente and other nursery rhymes.
Film our activities and analyze them - this will provide insight into both the individual child's learning and development, but also insight into how the group functions as a whole.
Sing familiar songs as nonsense songs so that all children, even those with language challenges, can follow along.
The process has been a very positive experience and inspiration for us, and Anders Bo in particular has been a great driving force and inspiration.
What points of attention do we need to take forward?
Group the children/ Smaller groups.
Film our activities and analyze them - this will provide insight into both the individual child's learning and development, but also insight into how the group functions as a whole.
Sing familiar songs, like nonsense songs, so that all children, even those with language challenges, can follow along.
It's clear that the more confident the adults are in the "exercise", the more energy the staff will have to follow the children's lead.
We should try to focus more on following the children's tracks, observing the children and trying to catch some of the whims the children come up with.
Set aside time (prioritize) to ensure everyone has a great experience.
Good preparation creates better flow for children and adults.
We can reach some children with singing and music that we can't reach with the usual educational tools.
Music can build community, especially with movement songs.
It's "easier" to get children's attention when singing spontaneously: Setting songs, setting the table, washing hands, getting dressed in the cloakroom, etc.
