The importance of ‘being in the moment’

What became clear in the interview and subsequent training sessions was that much of the role would be defined by what I brought to it. Yes, there were clear expectations and aims for the project as a whole but the emphasis was on responding to children’s needs and experience. During my previous roles as a teacher and school leader, I had always advocated for child-led learning but I didn’t understand the concept as I do know – it really is magical to improvise music with a young child with little language and see the joy in their faces as you play together, simply enjoying the process. For me, it turned out that being able to ‘stay in the moment’ was the defining feature of the project.

Initial Training Sessions

Training sessions and support were excellent; we were a diverse group of music makers with a wide range of experience paired with similarly different education professionals but all with one thing in common – an open-minded, interested view of the possibilities inherent in making music with children. Spark associate artist David ‘Stickmand’ Higgins provided a positive and distinctive view of music making with young children which was further developed by first class, truly expert, support and mentorship from early years music specialist Nicola Burke. It was so useful having her expertise and generosity on hand to provide support during the programme. The Spark ethos really shone through, placing equal weight on our learning as much as the children’s experience.

Residency

I worked in a children’s centre once a week for 16 weeks as part of their drop-in sessions for parents with babies and toddlers. The group had been moved from their usual room into a large slightly echoey space that allowed for different areas to be set up, as well as for children to move around and explore. Numbers were relatively low, averaging a dozen children or less with their adults each week, but this suited the room and atmosphere. Having since worked with much larger groups, the lower numbers definitely promote better engagement, as well as allowing for the chance to build stronger relationships with regular attendees.

I tried using a pop-up tent as my base but it was too isolating so settled on rugs and cushions with a chair for me to use when my knees gave way! To begin with I took far too much with me; I realised quite soon that too much choice can certainly be a bad thing and that the quality and variety of instruments provided was what mattered most. I ended up with a selection as follows: three pieces of untuned percussion with beaters (not sticks!!); various shakers, African in origin; a couple of guiros and some tuned percussion – chime bars (with two taken out to make a pentatonic scale), a kalimba and a tongue drum. This fitted in one box and so, along with my guitar (and stand) it was an easy trip from car to the room.

The process

The process I developed was simple; following the 1st training session I wanted to focus on how to support children in making music rather than lead or instruct them. Whatever a child came and played I tried to mirror, sometimes extending but trying to avoid directing too much. I found that parents naturally wanted to do this, particularly around regulating the volume of children’s playing, but I tried to guide rather than ‘tell’. I would often play guitar with a child playing the chime bars, and maybe another playing percussion – I had realised that as long as I played in the right key that whatever they played would sound ‘right’! It was absolutely wonderful, experiencing music through the children’s joy in the sound they were making. It was a process of discovery, finding out what we all enjoyed and improvising, sometimes for minutes at a time – I observed some wonderful, sustained concentration that I really hadn’t expected. As well as working side by side, I sometimes made up rhymes and played along with what they were doing on the other side of the room or I would sit by myself playing simple, quiet chords helping create a calm atmosphere and, at the same time, modelling being a musician.

We would have a singing time at the end of the session, singing the usual ‘Wheels on the Bus’ and ‘Twinkle, Twinkle’ which were enjoyable and worked well but, for me, the magic happened more when I improvised songs, using the children’s names or commenting on what they were doing. While I understand that’s a particular skill, I would certainly advise any musician working with young children to stay as ‘present’ as humanly possible. It makes such a difference, opening up untold possibilities for having fun. Children’s natural state is one of play and exploration and the more we can let go and tap into that the better.

It was great to be part of the project. It’s changed me as a musician for the better – in my work with others and my own music making – how brilliant is that?!