Instruments in SPACE (Supporting Parents Alongside Children's Education)

'Instruments in SPACE: Exploring Tools and Artefacts in Te Marua/Mangaroa Playcentre's SPACE (Supporting Parents Alongside Children's Education) Programme' is a paper that was presented at the annual conference of the New Zealand Association for Research in Education, Christchurch, 5 December 2007. The paper was written by Val Podmore, Sarah Te One, Truus Dingemanse, and Jeanette Higham, with Kathy Matthews, Justine Jones, Leanne Dawson, and Sue Pattinson (the Victoria University of Wellington and Te Marua/Mangaroa Playcentre Centres of Innovation - COI - team).

Abstract
Te Marua/Mangaroa Playcentre, with its SPACE Programme, is a New Zealand early childhood COI that has this year completed a three-year action research project funded by the Ministry of Education.

The theoretical framework for the research drew on ecological theory and sociocultural theories. Sociocultural theoretical concepts relevant to this paper are tools and artefacts. Tools and artefacts are material objects (Engestrom, 1999). Tools can be categorised according to their function, as either material objects, or as psychological tools like language (Vygotsky, 1978). Artefacts are sometimes seen as a means of transmitting and storing cultural knowledge within and across generations (McDonald, Le, Higgins, & Podmore, 2005; Wartofsky, 1979).

The COI research team found that tools and artefacts in this study included, for example, equipment, facilitation strategies including icebreakers used to develop rapport in a group or SPACE session, and music. Trevarthen (2002, p. 21) provides insightful perspectives on infants' musical social awareness. Following Trevarthen's (2002) ideas (and drawing on McDonald et al's discussion on tools and artefacts), this paper discusses how music may be viewed, like language, as a "psychological tool" for communication between and among infants and adults. The specific instruments and devices used to create music may be appropriately termed either "material tools" or "cultural artefacts".

Acknowledgements
We warmly acknowledge the parents and infants who participated in the SPACE programme at Te Marua/Mangaroa Playcentre, and members of the project advisory committee for their insights and advice on the research. This project was funded on contract to the Ministry of Education, and we are grateful for the Ministry's support.

Introduction
The SPACE programme at Te Marua/Mangaroa Playcentre is an early childhood COI. The early childhood COI programme is part of the New Zealand Government's 10-year plan for ECE policy: Pathways to the Future/Ngā Huarahi Arataki (Ministry of Education, 2002). All COI are expected to carry out action research and disseminate their findings.

SPACE is an innovative new programme developed within the Hutt Playcentre Association, predominantly for first-time parents with newborn babies. The SPACE programme aims:

1) To support parents in their role, as the first and most important educators of their children, by:

• Providing them with support and encouragement from other participants in the group and from experienced facilitators, as they share the journey through their child's early months 
• Giving parents an opportunity to listen to, and develop links with, a range of community organisations and service providers.

2) To increase participation of children in ECE at an early age, provide a quality curriculum, and maximise children's learning from birth.

This COI team (Te Marua/Mangaroa Playcentre's SPACE programme) has completed a three-year action research project designed to show how the centre's innovative practices influence learning and teaching.

The theoretical underpinnings of the research include sociocultural and ecological perspectives. Tools and artefacts are the sociocultural theoretical constructs relevant to the present paper. Tools and artefacts include material objects (Engestrom, 1999), for example, the items of equipment used in early childhood centres. Tools can be categorised further, according to their function, as either material objects, or alternatively as psychological tools like language (Vygotsky, 1978). Artefacts are sometimes seen as a means of transmitting and storing cultural knowledge within and across generations (McDonald, Le, Higgins, & Podmore, 2005; Wartofsky, 1979). The COI research team anticipated that tools and artefacts in this study might include, for example, equipment, facilitation strategies including icebreakers used to develop rapport in a group or SPACE session, and music. Colwyn Trevarthen (2002, p. 21), who provides insightful perspectives on infants' musical-social awareness, asserts that music is an "outward sign of human communication", like language "music is learned", and that musical social awareness is evident quite early in infancy. Following Trevarthen's (2002) ideas (and drawing on McDonald et al's discussion on tools and artefacts) music may be viewed, like language, as a "psychological tool" for communication between and among infants and adults. The specific instruments and devices used to create music may be appropriately termed either "material tools" or "cultural artefacts".

Research questions and methods
At Te Marua/Mangaroa Playcentre, two cycles of action research were completed between 2005 and 2007. The cycles of participatory action research implemented were similar to the approaches of Kemmis and McTaggart, (1988, 2005), and the cyclic model used by Cardno (2003). During all phases of the project - planning the research, data generation, analysis of key themes, writing, and dissemination - the process involved centre researchers working alongside, or in consultation with, research associates.

Action research tools included observations, parent interviews, facilitator reflections, and cross-sectoral consultations (interviews and a focus group). The research addressed two major research questions; the first was:

How does the SPACE programme, implemented at Te Marua/Mangaroa Playcentre for new parents and infants, support and foster their learning?

This paper presents key findings about the role of tools and artefacts in fostering learning, with a particular focus on music. Music was one focus of the observations that took place during the second action research cycle.

Tools, artefacts, and music
The research findings showed how a range of tools and artefacts supported participants' learning during the SPACE sessions at Te Marua/Mangaroa Playcentre. These included music, storybooks, the SPACE facilitation strategies and course content, and numerous types of play materials and equipment, both indoors and outdoors.

Analyses and syntheses of several data sources, including observations, facilitators' reflections, and parent interviews, showed that music served as a tool for relaxing SPACE session participants, for interaction, and for initiating responses and enjoyment over time. It was also apparent, drawing on the same data sources, that specific material tools were introduced effectively to support the music (examples included rakau sticks and various instruments).

Relaxing with music over time
There was evidence in the analysed data that music tended to relax the infants. This occurred across both the first and second action research cycles. As one observer recorded during the first action research cycle:

They start with "Old MacDonald had a Farm" with drums, bells and triangles. Mothers are playing the instruments. One infant cuddles closer to his mum, and other than that the babies appear to be very relaxed and enjoying the music. The group moves on to the song "Paki paki" (an action song involving clapping) at which point one infant laughs.

The music coming through first seemed to relax everyone. They tended to come out of themselves a little more and they really joined in. There was a lot of laughing as well (Observer's records, Week 3 Action Research Cycle 1).

Music as a tool for interaction
The SPACE session facilitators also used music to encourage interactions between mothers and their infants, and among the participants in general. In the early stages of the SPACE sessions (week three) one of the facilitators recorded:

Although the group seems to handle singing together, there is still that process that needs to happen where they begin to use it as a tool for interaction with their babies. For example, ...[one mother] was singing today which was awesome, but ... [her infant] had his back to her for a while whilst sitting on her knee. ... In comparison, [another mother] had [her infant] facing her on her knee and they were having fun and affirming one another. [This infant] could see mum's face, they had eye contact, laughing and smiling. [The mother] had control of [her infant] so she could move, rock and sway, but also be supported. (Facilitator's reflections, Week 3, Term 1, Action Research Cycle 2).

The observations showed that there were variations among mother-infant pairs, but also that the levels of interaction increased over time:

Several of the parents do the actions to the songs with their babies. Chris is still lying on the floor and Donna pulls him up to her, but still leaves him on the floor. Danielle tries to "Zoom" James [her infant] "to the moon" but he objects, crying. Jane does the actions in front of Bryce and he watches mum, but also Nancy who is looking in his direction as she reads from a sheet of paper. She notices him watching her and half sings to him and half to Leah [her own infant] who is feeding. Isla is smiling and obviously enjoying the actions mum does with her. Donna picks Chris up and puts him in his car seat and rocks him (to the song "Is she getting ready to go?") and sings to him in the car seat. (Observer's records, Unit 1 Week 8, Action Research Cycle 2)

Music first, "E toru ngā mea" I think the mums' participation is better this week - gentle, thoughtful singing. Next, "Willoby Walloby Woo" - all enthusiastic and did well. Katherine engages lots of eye contact with each baby when it's their turn to be sung to. The mums sing this song strongly. "Cuddly koala": Nancy didn't follow the actions but did her own - walking her fingers up Leah's [her infant's] tummy and touching Leah's nose. Rowing song: parents rock their babies while they sing and Tara lets Amy watch the other babies around her, particularly Isla who is nearby, instead of getting her to participate in the rocking movements. (Observer's records, Unit 2, Week 2, Action Research Cycle 2).

Responding to and enjoying the music
Infants started responding to the music very soon after the commencement of the SPACE programme sessions. They responded and expressed enjoyment by quietening, smiling and laughing, and moving physically to the rhythm of the singing and the recorded music. During the first action research cycle, a facilitator's reflections documented these trends and responses.

Sally played the guitar and sang with us this week. Kathy and I planned the songs and we'd just started singing, beginning with 'Galoop'. The babies immediately just quietened down. Ivy was smiling and laughing, kicking and responding to the music. Troy kept smiling and responding to the music and also the singing (Facilitator's reflections, Week 2, Action Research Cycle 1).

Other examples were apparent in the observational records made by both observers in the second action research cycle:

• Peter Rabbit song: Tina and Nancy both hold their babies' hands to show them the actions. Both babies are smiling and relaxed, allowing their arms to be moved with the rhythm and actions. (Observer's records, Week 19, Term 4 2006, Action Research Cycle 2).

During the second action research cycle observers focusing on infants' vocalisations and interactions also consistently noted that the infants responded to music. Across most SPACE sessions there were quite extensive observations of infants responding; the excerpts below are examples extracted from a larger data set of coded observations demonstrating this trend.

• Today the waiata is on a CD. Emma sits and rocks to it and so does Isla. Joseph also noticeably responds to the music by waving his arms and legs with the beat (Observer's records, Week 9, Term 4 2006, Action Research Cycle 2).
• Music: a tape of waiata accompanies music today....Krystal is on the floor on her back, facing her mum Bridget - she anticipates mum clapping and her eyes blink on the impact of the clap. (Observer's records, Week 15, Term 4 2006, Action Research Cycle 2).
• Lisa (who arrives after the session has started) is still by the door and rocks to the music as the group sing their waiata. She claps as the song finishes. The group sing the "Hullo" song and I video Lisa's response as she jigs to the music, then crawls to the circle. She does not stop but carries on to the family corner where Isla, Amy, and Emma are exploring. They look at their parents singing (Observer's records, Week 2, Term 1 2007, Action Research Cycle 2).
• The group sings the "hello" song...The facilitator (Justine) suggests that as the parents are sitting in a circle they use the order they are sitting in to sing the babies' names. They do very well at matching the correct parent and baby as they go round the circle. I notice that many of the babies stop their play to listen to the singing and that several respond to their names being sung by smiling, turning, or even just pausing. (Observer's records, Week 1 Term 1 2007, Action Research Cycle 2).
• Song time: "Aroha is love" is being sung. Kristen shows enjoyment of this, she's sitting facing the group and is looking at Justine. She giggles and vocalises at the end of the song, looking around at the group. Ruth (her mother) turns Kristen to face her when they sing "E tu". Kristen watches her mum demonstrate the actions. (Observer's records, Week 3 Term 1, 27 February 2007, Action Research Cycle 2).

In addition to the observations showing infants' responsiveness to music, parents also commented that their infants responded differently to different songs:

• When Leanne (facilitator) invited people to bring songs from home, Sonia told the group that "...Happy and You Know It" was Isla's favourite song, so the group sang it together. Isla was responding animatedly to this - laughing and moving her limbs. (Observer's records Unit 1 Week 1, Action Research Cycle 2).

The observers and COI team members reflected on meanings and implications as they generated and analysed the data. In the words of one observer, who reflected on data showing infants' responsiveness and apparent enjoyment of the music:

• How do we know the babies are really enjoying the singing? - "There's no crying, they're gazing with unblinking eyes at the facilitators". (Observer's records, Week 3, Unit 1, 15 August 2006 Action Research Cycle 2).

This observation and reflection is consistent with comments that parents made during their exit interviews. Many parents mentioned that the music experienced in the SPACE Programme was enjoyable, and for a few parents, music was the highlight of SPACE. In regard to the music, Ida described her experiences, and those of her infant, in this way:

• Oh, I loved it. That was the best part (both laugh). I'm always singing to Sally and until now I remember some of the songs. And she loves a couple of them, every night as part of her night routine, we would do these two songs. Yeah that was the best part for me. (Parent exit interview, Research Cycle 2).

Donna was similarly enthusiastic about the music, and she also appreciated the shared group experience of creating music and some of the material tools introduced as part of the music:

• The music was great. I loved the music. There're just some things that are harder to do at home, like the lycra and the parachute and all those shared type things. I really enjoyed doing those. And Chris (her infant) loved it too. I don't know if you saw... the photos, but there's a few of them in there with him with the lycra and the parachute and he's loving it. He really enjoyed the music. (Parent exit interview, Research Cycle 1).

Introducing other material tools as part of the music
As part of the music programme, the SPACE facilitators introduced a variety of material tools. These included, for example, rakau sticks, different instruments, cloth stones, and a magnetic board. The observations below show how these material tools served to mediate the interactions between adults and infants, and between the infants.

• Georgia (an infant, aged 7 months) is holding the end of the rakau stick with Mary (her mother) holding the other end. Mary is jiggling the stick in time to the music. Georgia is laughing and chuckling. Mum is laughing and smiling back at her. (Observer's records, 21/11/2006, Action Research Cycle 2)
• "Listen to the music 123": Selina has a green maraca (a percussion instrument, traditionally made from a gourd filled with dried seeds). She is shaking it rhythmically. Timothy (infant, aged 6 months) watches this intently. (The observer queries whether he is registering the connection between the sound and the shake). Timothy is on the rug, holding a bell rattle, mouthing and fingering it...He is on his back, bringing his feet up and his toes to his mouth. He`s also holding the bell rattle. (Observer's records, Week 13, Action Research Cycle 2).

For variety, the facilitators also used stones, newspapers, and ribbons:

• I wanted to try and introduce a variety to music. We had songs without accompanying music, songs with tape/CD, used, rolled up newspapers to tap the rhythm, and stones to make different sounds. The rainbow ribbons were a hit. Unfortunately I did not have enough to go around, but those parents who had one would tickle the babies nearest them. Wonderful interactions were happening between parents and babies. The babies spent some time exploring the props, and mouthing the river stones and the newspaper rolls. Very interactive session, with lots of variety, hand movements, and it was such fun, with plenty of laughter when we sang "Johnny taps with one hammer". Finding out the butterfly (hand movement) for "Peter Rabbit" was hysterical, with everyone trying to work it out. It is really good to use the CDs and the props (tools) to take the emphasis off the singing. Parents are still singing quietly but are far more interactive with their babies. (Facilitator's reflections, Week 7, Action Research Cycle 2).

Related observations showed how the stones and ribbons were used:

• Next they use stones, tapping them together to the music. Ida leans over Krystal and talks to her. Bridget (Krystal's mother) chuckles at this, then leans back over her baby, smiling and tapping the stones close to Krystal's chest. (Observer's records, Unit 2, Week 8, Action Research Cycle 2).
• Ribbons are introduced and the mums are waving the ribbons during the rainbow song. Sally and Ida are fully involved in the music during the ribbons. Sally reaches up and takes the ribbons as Isla waves them in front of her face (Observer's records, Unit 2, Week 8, Action Research Cycle 2).

The magnet board was a further tool prepared by one of the facilitators in action research cycle 2. The facilitators' intention was that the board could be used during the singing that was an integral part of the SPACE sessions.

In the following observations, there are accounts of how the magnetic board was used with the singing:

• Justine had made magnetic storyboard resources and the babies were really into it. At least four of them crawled over to take them (the magnets) off the board, which made the song obsolete, but it was wonderful to see them so intrigued, taking them on and off, on and off.
• ... The parents did not seem to move, just watching their babies with the magnetic board. Justine got the [figures for] Old Mac [Donald], which she placed on the notice board (babies took the magnets off). The babies really enjoyed the song "Old MacDonald" accompanied by the magnets (all the animals). We just went with it and enjoyed the moment with the babies (Facilitator's reflections, Week 4, Action Research Cycle 2).
• Leanne (one facilitator) picks up the magnetic board and Justine (the other facilitator) returns with the pieces for "Old MacDonald". Everyone joins in. The babies take the pieces off as fast as the facilitators can put them on (Observer's records, Week 4, Action Research Cycle 2).
• The magnetic board is still a big attraction. Kristen (infant aged 8 months) is playing with it now. She puts the pieces on it again and again. They are all upside down so they don't cling. She manages all this on her tummy with her legs lifted up. She crashes the pieces together like cymbals and Ruth (her mother) sits down next to her, bringing some real cymbals for Kristen. Kristen takes them and crashes them together. (Observer's records, Week 4, Term 1 2007, Action Research Cycle 2).

Discussion and implications
As Trevarthen (2002) noted, research across several cultures has demonstrated that young infants are capable of responding to music, and infants' development of musical discrimination is a forerunner of their language learning. Data generated in both action research cycles in this study showed infants (often aged around 6 months) responding actively to music during the course of the SPACE sessions. There were also consistent observational excerpts, together with supporting facilitator reflections and parent interview data, showing that music worked as a tool to foster parent-infant verbal and physical interactions.

The research suggests then, that the use of material tools influenced learning. This is consistent with McDonald et al's (2005, p. 123) studies of material tools and artefacts in classrooms, where the authors note that "Wartofsky's (1979) concept of three linked levels of artefacts was useful in providing a broad framework for the exploration of the use and understanding of both material and psychological tools". Wartofsky's (1979) levels of artefacts included: firstly, primary artefacts, such as objects and the specific skills associated with their use; secondly, secondary artefacts which are mainly representations like maps, diagrams, and symbolic records of information; and thirdly, imaginative and theoretical concepts encompassing play and also scientific theories.

In this study, the introduction and mediation of specific material tools (or primary artefacts), as part of the music, became associated with infants' increasing responsiveness to music. These material objects (primary artefacts) also became instrumental in supporting parent-infant interactions. In addition, symbolic records (or secondary artefacts); for example photographs and video footage, affirmed for parents that their infants were enjoying and responding to aspects of the programme, including the music.

Finally, the sociocultural theoretical concepts shared by the facilitators with the parents, and by the research associates with the COI researchers, provide a collaborative, participatory example of Wartofsky's (1979) third level of artefacts. During the process of the research, team members developed relevant theoretical maps and diagrams as further tools for theoretical analyses

© Crown copyright. This research was funded by the New Zealand Ministry of Education. The views expressed in this paper do not represent the views of the Crown.

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