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What is the problem of inequality, and can we solve it? Participatory theatre and SDG10
Get PDFThe purpose of this essay is to consider how, if at all, participatory theatre serves the Sustainable Development Goal number 10: Reducing Inequality (SDG10). The paper draws on policy analysis methodology What’s the Problem Represented to be? (Bacchi 2009) to critically consider how inequity as a solvable social and/or economic problem is represented by SDG10. I then draw on two previous research projects, one conducted by myself and colleagues (2018) and one conducted by Masso-Guijarro and colleagues (2021) that explicitly explore how scholarship in participatory theatre orient to social change agenda to understand how participatory theatre represents the problem of inequality and how, if at all, this relates to SDG10. Finally, I recruit key participatory theatre projects from Denmark, Canada, Chile and New Zealand to consider practical ways of understanding how participatory theatre may contribute to combating inequality through its attention to the lived experiences of inequality, the potential for making changes to individual lives, and its orientation to hope. In doing this, I hope to contribute new perspectives on drama and equity that present a nuanced and critical consideration the relationship between public discourses, policy and practice
Reducing inequalities among species through an arts-based inquiry in early childhood teacher education
Get PDFThis article is based on a study in outdoor arts-based education with Norwegian early childhood teacher students. Their teachers of drama and art & crafts (also the researchers and authors of this article) facilitated the specific arts-based learning environments and posed the following question: Which qualities of arts-based learning environments can challenge students to seek toward reduction of inequalities between themselves and more-than-human others?
Four narratives were constructed from four of the students’ visual, verbal and audio presentations of their experiences from the outdoor places they engaged with. The students described their processes of connecting to the more-than-human inhabitants of those places, and more-less explicitly expressed changes in their attitudes toward the inhabitants and materials encountered at the places. The narratives, and their analysis, make visible how the students’ arts-based engagements challenged their anthropocentric values and could potentially lead to reduction of inequalities between themselves and the more-than-humans they met at the places. The discussions at the end of the article focus on the first part of the research question and sum up four qualities of the arts-based environments that were present in the four narratives. These qualities are imagination, self-initiated actions, emphatic connections, and time for aesthetic engagement.
Cover photo: "Student D" (anonymous"
Uformell tegning og formell tegneundervisning sett i lys av teori om lek : Om professor Liv Merete Nielsens bidrag for å fremme visuell kompetanse
Get PDFThe article aims to shed light on children\u27s drawing processes from a sociocultural perspective through Margareta Öhman\u27s play-theoretical contributions. Öhman has the sociocultural theorist Lev Vygotsky\u27s theory as perspective in her understanding of the importance of play in children\u27s lives. Play can give children a wide range of experiences. Öhman describes the characteristics of play based on the following criteria: The strain of play is spontaneous and voluntary, fun, requires active engagement, does not have clear goals, is guided by motivation and provides a sense of control. Several of these characteristics can be recognized on the arena of informal drawing processes among kindergarten children and schoolchildren. Self-initiated and self-directed playful drawing processes with tools such as pencils, markers, brushes and paints are the analytical research units. The research question is therefore: How can informal drawing processes be understood as play and how can this understanding help support children and students in visually controlled drawing processes in formal drawing lessons? The case study is used as a methodological approach to explore two cases of informal drawing processes, one from kindergarten and one from school. In informal drawing, mastering the same visual expressions is often part of the playful universe. Mastering a universe when playing together and mastering the same visual expressions by modelling is part of the discovery. Modelling and mimesis (Nielsen 2019), becomes a possible entrance to link features of informal drawing processes, what Öhman calls inspiration for imitation, to the formal drawing pedagogy in schools and kindergartens. This may be a possible motivation for learning to draw, thus promoting what professor Liv Merete Nielsen defines as visual literacy, that is, visual competence to create and understand images and drawings.Artikkelen har som mål å belyse tilnærminger til tegning som synliggjør professor Liv Merete Nielsens bidrag til visuell kompetanse i opplæringen ved å belyse barns tegneprosesser ut ifra et sosiokulturelt perspektiv. Margareta Öhman sosiokulturelle lek-teoretiske bidrag beskriver lekens kjennetegn ut ifra følgende kriterier: Stammen av leken er spontan og frivillig, morsom, krever aktivt engasjement, har ikke tydelige mål, styres av indre motivasjon og gir en følelse av kontroll. Flere av disse karakteristikkene kan kjennes igjen i barnehagebarns og skolebarns uformelle, det vil si selvinitierte og selvstyrte, tegneprosesser i lek med verktøy som blyanter, tusjer, pensler og maling. Problemstillingen er derfor: Hvordan kan uformell tegning forstås som lek og hvordan kan denne forståelsen være med på å støtte barn og elever i visuelt kontrollerte tegneprosesser i formell tegneundervisning? Kasusstudie benyttes som metodologisk tilnærming for å utforske to kasus av uformelle tegneprosesser, en fra barnehage og en fra skole. I uformell tegning er det å mestre de samme visuelle uttrykkene ofte en del av leken. Å sammen beherske et univers i leken og å mestre de samme visuelle formuttrykkene ved modellering er en del av funnet. Modellering og mimesis blir en inngang til å kunne knytte trekk ved uformelle tegneprosesser, det Öhman kaller inspirasjon til imitasjon, til den formelle tegneundervisningsarenaen i skole og barnehage. Dette kan være en mulig motivasjon for å lære å tegne, og dermed fremme det professor Liv Nielsen kaller visual literacy, det vil si visuell kompetanse til å skape og forstå bilder og tegninger
Nettbrett i kunst og håndverk : – et didaktisk utforskende prosjekt i en førsteklasse, inspirert og utfordret av digital samtidskunst
Get PDFIn the article, I explore how contemporary artists Petra Cortright and Cory Arcangel use digital media in their artistic practices, and how this practice can inspire and challenge arts and crafts teaching with tablets in a first grade classroom. The project is part of my doctoral thesis and revolves around four workshops on exploratory and creative ways of using the tablet, in the spring of 2021. Didactically, the project draws on sensory didactic design. Sensory didactic design challenges the idea that knowledge is something that already exists and can be acquired by the student if the teacher is good at conveying it. Instead, knowledge and learning are seen as something that is constantly created between human and non-human actors. Methodologically, the article draws on a/r/tography, where the researcher does not observe from the outside, but helps to drive the research forward through an alternation between practicing, researching and teaching/learning. In the article\u27s analysis, I show how encounters with the tablet, based on contemporary art, can be bodily, creative and relational.I artikkelen undersøker jeg hvordan samtidskunstnerne Petra Cortright og Cory Arcangel bruker digitale medier i sine kunstneriske praksiser, og hvordan denne praksisen kan inspirere og utfordre kunst- og håndverksundervisning med nettbrett i en førsteklasse. Prosjektet er en del av min doktorgradsavhandling og dreier seg om fire workshoper rundt utforskende og skapende måter å bruke nettbrettet på som ble prøvd ut våren 2021. Didaktisk knytter prosjektet seg til et sanselig didaktisk design. I sanselig didaktisk design utfordres tanken om at kunnskap er noe som allerede eksisterer og som elevene kan tilegne seg hvis læreren er god til å formidle. Istedenfor sees kunnskap og læring som noe som konstant skapes mellom menneskelige og ikke-menneskelige aktører. Artikkelens metodologiske forankring hentes fra a/r/tografi, hvor forskeren ikke observerer utenfra, men er med på å drive forskningen videre gjennom en veksling mellom å utøve, forske og undervise/lære. I artikkelens analyse viser jeg hvordan møter med nettbrettet, med bakgrunn i samtidskunsten, kan være kroppslige, skapende og relasjonelle
Greetings to Liv Merete Nielsen
Get PDFLiv Merete Nielsen has meant a lot to me in my development as a researcher and person. She has shown how she can be a personal and friendly person just being herself, while at the same time entering large international research arenas with the greatest naturalness. She has shown in an exemplary way how to build a new research field within the design profession in Norway where you combine professional expertise at an international level with interpersonal relationships. She has impressed me in taking an appropriate number of initiatives, but not too many, which she has then followed up with systematic, gentle and friendly, iron will. There has never been an unkind word, but through pleasant and enthusiastic appeals, everlasting, she has engaged, gathered, and uplifted an entire professional environment. This has happened across institutions, across departments and across national borders.Liv Merete Nielsen has meant a lot to me in my development as a researcher and person. She has shown how she can be a personal and friendly person just being herself, while at the same time entering large international research arenas with the greatest naturalness. She has shown in an exemplary way how to build a new research field within the design profession in Norway where you combine professional expertise at an international level with interpersonal relationships. She has impressed me in taking an appropriate number of initiatives, but not too many, which she has then followed up with systematic, gentle and friendly, iron will. There has never been an unkind word, but through pleasant and enthusiastic appeals, everlasting, she has engaged, gathered, and uplifted an entire professional environment. This has happened across institutions, across departments and across national borders
Hilsen til Liv Merete Nielsen fra Notoddenmiljøet
Get PDFLiv Merete Nielsen har hatt en nøkkelfunksjon innenfor utviklingen av forskning på områdene forming, formgiving, design, kunst og håndverk i Norge. Arbeidet ved hennes faste institusjon, OsloMet, er velkjent. Men hennes arbeid ved Universitetet i Sørøst-Norge (USN), tidligere Høgskolen i Telemark (HiT), er kanskje mindre kjent
As the yellow rattle ripens’: Gardening craft as socio-ecological place-making
Get PDFThis paper focuses on the doing of gardens and explores how amateur gardeners relate to gardening craft in their everyday garden practices. Based on qualitative empirical work, this paper discusses how different craft methods and caring practices are employed as memory work and as a means to connect to, and create, the garden as a socio-ecological place. Based on the gardeners’ narratives, the garden is discussed as a web of self and a place where the meeting between the gardener and the more-than-human are central incentives to gardening. Gardening is an active place-making that goes beyond modifying the materiality of place. Rather, garden craft is narrated as reflecting the gardeners’ underlying relationship to and understanding of plants, soil and animals. It is the means through which gardeners connect in an embodied way to ‘the nature’ of the garden. Garden craft is proposed as an art that is passed on between generations. Gardening craft can be improved by an increased understanding of the temporality of the garden and by developing a sensitivity towards the complex socio-ecological relationships that shape a place. It is concluded that garden craft is understood as central not only to how the garden is constructed as a place but also to how the gardener relates to the garden as affecting, and being affected by, the current environmental crisis
Reconstructing the use of plumb level from a 19th century clinker boat tradition
Get PDFTraditionally, vernacular Nordic clinker boats are built without plans or templates. The local boat traditions all have a system of design that was handed over from master to apprentice. In some local traditions, a simple plumb level was used to guide the boatbuilder. The plumb level was placed on the planks of the hull during the build to give them the right angles of inclination in certain parts of the hull. Knowledge of how to use this plumb level is still considered part of living, unbroken traditions in some areas. In some local traditions, however, there are no longer any living tradition bearers that have the knowledge of how this tool was used in the local context. In this contribution, I will discuss how this lost knowledge can be reconstructed using old artefacts as a source material. I am investigating the tradition of building vernacular, clinker-built boats called ‘öka’ for sailing and rowing. This specific boat building tradition was located in the 19th century Stockholm archipelago. The artefacts in this case are preserved boats built in the old tradition and preserved plumb levels from closely related traditions. A central question in this context is to locate the exact positions in the boat that were measured by the plumb level. Working with reverse engineering, the measuring can be performed on preserved boats, but the right places for measuring still must be located to reconstruct the knowledge of how and where to use the tool. Some preserved plumb levels have markings that can be used in this investigation to match the locations and angles in the preserved boats. In this contribution, I will also discuss the possibility of applying the traditional measuring methods used by the old boatbuilders in today´s surveys and reconstructions, not translating the craft object into a digital 3D model or a lines plan
Plant Pillars: How to Document the Aesthetic Expressions of Plants?
No full textABSTRACT
To sustain the idea of the design of a garden it is essential to look at the plant materials that they are constructed with. We as gardeners, do not use solid materials as our building blocks, we rely on malleable plant materials to build our design. The materials vary over the season, which makes them complex to define.
The impressions of a garden is experienced through the expressions of its aesthetics, and without solid documentation of the form, structure, colour schemes and more, it is difficult to form an understanding of the garden as a whole.
The essence of a design lies in the plant materials that the gardener crafts and arranges in a specific way to create an aesthetic expression. In my work I have developed a method for the craftsman (or –woman) where the intangible plant materials and the subtle/distinct effects of colour and form and their aesthetic values can be measured utilising the system of a plant catalogue.
How will we understand what makes a good and sustainable design if we don’t find methods to document and assess the aesthetics and the craftsmanship behind it
Hartland Hanga: Capturing creative communication of tacit knowledge in printmaking
Get PDFFrom October 2021 to July 2022 the author, Wuon-Gean Ho, was invited to work with a printmaking collective called Pine Feroda. Based in the UK, Pine Feroda create impressive large-scale woodblock prints of nature. Using a practice-led approach, the author developed an entirely novel printmaking technique which she named Hartland Hanga. Making audio-visual recordings of the artists working together captured the transmission of tacit knowledge as it emerged in real time. Using elements of conversation analysis from ethnography revealed how this group spoke to each other. The artists used creative strategies such as new phrases, verbal metaphors and gestural analogies to communicate elements of tacit knowledge. It is postulated that humour and creative communication might help the transmission and embedding of tacit knowledge between artists