Hearing babies’ voices through participatory arts

This study explored how participatory arts can support babies’ right to be heard. Researchers observed seven arts sessions (interactive music, movement and sensory-based creative sessions) with babies from birth to three years, their caregivers and artists in Scotland. They found that flexible, welcoming spaces allowed babies to express preferences through movement, sound and interaction. Babies shaped how sessions unfolded. The study highlights the importance of adults listening carefully, slowing down and responding to babies’ non‑verbal communication.

Why is this important?

• Babies have the same participation rights as older children, including the right to be heard under the United Nations Convention on the Rights of the Child, but they are often overlooked because they do not communicate using spoken language.
• Most research on children’s participation focuses on older children and formal early childhood education settings, leaving a gap in understanding how babies’ voices can be recognised in other everyday and cultural contexts, such as the arts.

What did they do?

• The researchers reported on results of the Voice of the Baby project. This studied how babies’ (aged from birth to three years) participatory rights could be realised through arts programs – such as interactive music, movement and sensory‑based creative sessions led by artists – in different parts of Scotland.
• They observed seven arts sessions involving babies, caregivers and artists and took part in activities while recording detailed field notes.
• The observations were analysed to identify patterns in how babies expressed themselves and how adults responded to and supported their participation.
• The findings were used to develop a reflective guide for artists and practitioners working with babies.

What did they find?

• Participatory arts created welcoming, flexible spaces where babies could express their preferences through movement, sound, facial expression and interaction with materials.
• Babies’ voices were supported through sensitive relationships between artists, babies and caregivers, built over time and grounded in trust and familiarity.
• Artists recognised and responded to babies’ complex communication, including emotional, physical and sensory cues, rather than relying on spoken language.
• Unhurried time was essential, allowing babies to engage, withdraw, explore and shape activities at their own pace.
• Babies actively influenced how sessions unfolded, including what they engaged with, how long they participated and when they were ready to stop.

What does this mean for practice?

• Practitioners working with very young children should recognise babies as active participants whose views can be expressed in many non‑verbal ways.
• Participatory arts offer a valuable setting for supporting babies’ rights by creating respectful, relational and flexible environments.
• Adults play a crucial role in listening to babies by tuning into their communication, slowing down and responding thoughtfully, rather than directing activity.
• Models of participation designed for older children need adaptation to reflect babies’ different relational, sensory and developmental ways of being heard.