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The Psychosocial in Norwegian Teacher Education in Light of Epistemic Objects and Therapeutic Culture
Get PDFIn this article we examine how therapeutic culture disseminates into and affects teacher education in Norway. This is done through a close examination of knowledge practices revolving around the term psychosocial. Based on fieldwork data and drawing on Karin Knorr Cetina’s concept of epistemic objects, we analyse how the psychosocial is practised, taught, and interpreted in a Norwegian primary and secondary teacher education institution. We identify three key epistemic characteristics of the psychosocial: ubiquity, emotional orientation, and self-centeredness. Due to its oscillation between compatibility and friction, the psychosocial is both nurturing and disruptive, intuitive, and demanding, meaningful and alienating. More broadly, the application of the psychosocial in teacher education can be understood in light of the interplay between intellectualisation and emotionalisation processes in modern societies. By providing insight into a previously unexplored area, the article contributes to new understandings of the changing cultural conditions of the teaching profession
Evidence-Based Practice and Power Struggles Over Pedagogic Practices in “High-” and “Low-Stakes Accountability” Contexts
Get PDFThe Norwegian Knowledge Promotion Reform has followed international trends by combining centralised control over results with increasing autonomy in the curriculum and choice of methods. Local and professional autonomy is challenged through the combination of result-based and evidence-based accountability. However, whether the stakes related to results are “high” or “low” could impact the role of “evidence-based practices” in schools. This paper investigates how evidence-based practices have formed part of the power struggles in the forming of pedagogic practice in a high- versus low-stakes accountability context in Norway. In the two municipalities, evidence-based practices have been used to legitimise and exercise authority, increase external control and create hierarchies between different stakeholders. The influence of teachers and parents has been limited, as has been the possibility to adapt the teaching to students’ diverse needs. However, local gatekeepers have been important for relieving external pressure, and for ensuring local and professional autonomy
“Trembling Moments”: To develop methods for co-creating data with pupils in the kulturskole
Get PDFIn this article, the authors investigate making data with pupils in the kulturskole through the exploration of a performative paradigm. There seems to be a lack of knowledge concerning how the pupils see their place in and engagement with the kulturskole. When we started working with the pupils, a request emerged to not only observe and interview them, but also to hear their stories and understandings of being with the kulturskole. These processes are, throughout the article, described and understood as methodologically developmental when working with pupils. We attempt to bridge a qualitative approach into a post-qualitative performative thinking about making data. The article contributes explorations into what data can be and how to make data with pupils
"There’s No Place like Campus": Students’ Need for Social Connectedness in a Post-Pandemic Learning Environment
Get PDFThis study investigates the relationships between students’ psychosocial needs and their preferences for online vs. offline learning in a post-pandemic environment. A mixed-methods study was conducted at a higher education institution in Norway with 240 Bachelor students. Students in a post-covid learning environment value pedagogical forms of student-centered learning, through exploration and group reflection work. Second, students report a preference for limited amounts of online learning. Third, students express a significant need for social support, in the form of non-digital interaction with peers and teachers, and campus-based activities. Finally, while students prefer receiving feedback from peers in physical form, they are also positive toward receiving feedback in a digital form.
These findings indicate that higher education institutions should carefully evaluate the amount of digital teaching offered to students, as such choices influence how and to what degree students are able to socially interact with peers and teachers, and their sense of belonging. More research is needed to understand the challenges associated with psychosocial health and well-being among students, and how this relates to online/offline forms of learning
Skape nye rom, ny tid og nye bevegelser: Tverrfaglig undervisning i kunstfag i barnehagelærerutdanningen
No full textThis article is linked to the UN sustainability goal 4, which deals with good education, and is aimed at early childhood teacher education in art subjects. We argue that good education in art can be developed by strengthening the aesthetic dimension. We therefore question how we, as art education teachers, can invite students to aesthetic experiences. By using aesthetic theory, we explain the aesthetic dimension as a form of sensory recognition that is acquired through breaking with the familiar and established forms. Aesthetics is linked to sensing physical surroundings, but also to how what we can sense comes into being in creative practice. The data material has been created together with a group of students who specialize in either drama, visual art, or music and attend the course Creativity and arts-based experimental development in kindergarten (KKK-200). Together with the students, we have explored movements with balls of textile yarn in outdoor and indoor spaces, and reflected over what the terms space, time, movement, and materials mean in art subjects. Our findings show that an exploratory approach to these concepts can provide a new understanding of how space and time are created in the educational situation. In this space-time creation, it is possible to disrupt habitual thinking and turn around habitual teaching methods, which can lead to perceiving the world in new ways. To break with the usual and keep the education open and unpredictable can be experienced as risky for both teachers and students. This risk provides the opportunity for students´ aesthetic experiences and can help them to understand the importance of the aesthetic dimension.Artikkelen knytter seg til FNs bærekraftsmål 4 som omhandler god utdanning, og retter seg mot utdanning av barnehagelærere innenfor kunstfagene forming og drama. I beskrivelse av estetiske læreprosesser knyttes gjerne estetikk til det å ta alle sansene i bruk i skapende arbeid. Estetikkbegrepet knyttes i denne artikkelen til sansing av rom, tid, materialer og bevegelse, men også til hvordan denne sansingen inngår i og fører til skapende praksis der vi berører og lar oss berøre. Vi undersøker hvordan god utdanning i kunstfag kan utvikles gjennom å åpne opp for den estetiske dimensjon for studenter i undervisningen. Bærekraftig utdanning i kunstfag handler om at studentene skal forstå den estetiske dimensjon som betydningsfull i egen profesjonsutøvelse, og se den didaktiske verdien av denne i møte med barn i barnehagen. Artikkelens materiale er skapt sammen med en gruppe studenter som spesialiserer seg i enten drama, forming, eller musikk og har fellesemnet Kunstfaglig utviklingsarbeid i barnehagen (KKK-200). Sammen med studentene har vi lekt og utforsket bevegelse med nøster i ute- og innerom, og assosiert over hva begrepene rom, tid, materialer og bevegelse betyr i deres respektive fag. Undersøkelsen viser at en integrert tverrfaglig tilnærming og en utforskende undervisningsform kan bidra til god utdanning i kunstfag fordi det åpner for studentenes sanseerfaringer og estetiske opplevelser gjennom å bryte med det vante og utsettes for risiko
Climate action and creative climate justice
Get PDFThe answer to SDG 13 Climate action in this special issue takes the form of a contribution that breaks with the academic genre and bypasses the established academic or artistic formats of the journal. Instead, this contribution opens the door to the climate activist movement, shining a light on the urgency of the hour and the issues that are paramount in the hearts of climate-engaged artists, educators and cultural workers. Klimakultur, a non-profit organization supporting and strengthening the climate and environmental ambitions of the arts and culture sector in Norway, has together with Rosendal Teater in Trondheim released what they call a Creative Climate Justice Guide. This publication serves as inspirational tool for climate action.
Cover image: Photo by Rosendal Teater and Klimakultur S
Living in the Landscape 2021 : Kunstbasert arktisk økokultur i et online samarbeidsprosjekt
Get PDFThe aim of the Arctic collaborative project \u27Living in the landscape\u27 (LiLa) is to bring together students and researchers from various disciplines to develop aesthetic learning processes through culture-sensitive and sustainable research on socio-cultural landscapes in the European-Arctic region. Covid 19 meant that the project, instead of a physical meeting in a shared landscape, was changed to an Online Spring School. Participants produced artistic expressions that were presented in an online exhibition, in addition to visual essays. Based on the authors\u27 five essays focusing on local traditions with wool, starch and down, we will show how a shared understanding of the landscape\u27s multifaceted meaning developed in an online community across disciplines and cultural differences. Our Norwegian contributions exemplify how it is possible to convey knowledge about traditions, culture and identity in a digital cultural community.Målet med det arktiske samarbeidsprosjektet ‘Living in the landscape’ (LiLa) er å samle studenter og forskere fra ulike fagområder for å utvikle estetiske læreprosesser gjennom kultur-sensitiv og bærekraftig forskning på sosiokulturelle landskap i den europeisk-arktiske regionen. Covid 19 medførte at prosjektet i stedet for et fysisk møte i et felles landskap ble endret til en Online Spring School. Deltakerne produserte kunstneriske uttrykk som ble presentert i en online utstilling, i tillegg til visuelle essay. Med utgangspunkt i forfatternes fem essay med fokus på lokale tradisjoner med ull, starr og dun vil vi vise hvordan en felles forståelse for landskapets mangefasetterte betydning kunne utvikle seg i et online fellesskap på tvers av fagområder og kulturelle forskjeller. Våre norske bidrag eksemplifiserer hvordan det er mulig å formidle kunnskap om tradisjoner, kultur og identitet i et digitalt kulturfellesskap
Pedagogisk slöjd i post-pandemitid: Från förändring och lärdomar till utveckling
No full textCrafts in basic education is characterized by students, teachers and craft materials in interaction. Learning takes place in appropriate, well-equipped learning environments with room for creativity and individual solutions. Due to the Covid-19 pandemic, teaching in Finland at times completely switched to various distance applications. The conditions for meaningful distance learning varied greatly. In a previous study, we delved into how teachers of crafts handled the distance periods (Porko-Hudd & Hartvik, 2021). In this article, we reanalyze the previous study\u27s results and adopt a forward-looking perspective. The analysis results in five complementary pairs with which we open up for a discussion about how the teaching and learning in crafts can be developed based on the time before and during the pandemic. Our contribution to the discussion is summarized with a developed model for the craft context and craft work.
Slöjd inom grundläggande utbildning kännetecknas av att elever, lärare och slöjdmaterial är i interaktion. Lärandet sker i ändamålsenliga, välutrustade lärmiljöer med utrymme för kreativitet och individuella lösningar. På grund av Covid-19 pandemin, kom undervisningen i Finland tidvis helt att övergå till olika distanstillämpningar. Förutsättningarna för meningsfull distansundervisning varierade starkt. I en tidigare studie fördjupade vi oss i hur lärare i slöjd hanterade distansperioderna (Porko-Hudd & Hartvik, 2021). I denna artikel gör vi en reanalys av den tidigare studiens resultat och antar ett framåtblickande perspektiv. Analysen resulterar i fem komplementpar med vars hjälp vi öppnar upp för en diskussion om hur undervisningen och lärandet i slöjdämnet kan utvecklas med grund i tiden före och under pandemin. Vårt bidrag till diskussionen sammanfattas med en utvecklad modell för slöjdkontexten och slöjdverksamheten
Dyktig nettverksbygger, motiverende veileder og klok aktivist
Get PDFFørste gang jeg hadde et faglig møte med Liv Merete Nilsen er så langt tilbake som i 1999 da jeg var med på å utvikle The Design of Everyday Life, et undervisningsopplegg på oppdrag for UNESCO i regi av Norsk Form. Det overordnede målet var å bevisstgjøre barn og ungdom om hvordan hverdagen designes for oss, slik at de erverver en kompetanse i å vurdere produktene de tilbys i markedet og omgir seg med. Liv Merete var da fagpolitisk aktiv i det som i dag er organisasjonen Kunst og design i skolen, hvor jeg etter hvert ble valgt inn i styret. Her har hun i mange år vært en viktig drivkraft både som styremedlem, styreleder, og i redaksjonen til tidsskriftet FORM. Etter å ha trukket seg ut av styret har hun videreføre det fagpolitiske arbeidet for organisasjonen − også gjennom den faste spalten LMN har ordet i FORM
The Digitalization of Studio Practices and Its Impact on the Development of Design Literacy of First-Year Architecture Students
Get PDFDigital skills are emphasized in the ongoing process of digital transformation in higher education. In this article, digital literacy is discussed within the broader perspective of design literacy and the acceleration of the digitalization process of first-year design education at the time of the outbreak of the COVID-19 pandemic in spring 2020 is highlighted. The article interrogates the role of digital skills in the development of design literacy of first-year architecture students through a multiple case analysis of ARCH 101 design studio practices executed in the Bachelor of Architecture programmes at the Özyeğin University, Department of Architecture and the Middle East Technical University, Department of Architecture. The digitalization processes of ARCH 101 studios increased rapidly when the COVID-19 pandemic started and resulted in the integration of digital tools into basic design education in ways that transformed (1) the communication modalities and the representation and research strategies used by students, and (2) the understanding and methodologies of the design process when used as generative design tools