1,720,968 research outputs found
Teaching training in art and craft: Drawing as a performative act.
No full textDrawing is the one of most usual art and craft activity in Norwegian kindergartens. But is drawing as a dynamic, creative process understood and valued by early childhood educators? I use performative drawing to present children’s drawing as a creative process to teachers-in-training under the new National Curriculum of Kindergarten Teacher Education. Using videos of student participants and their written feedback, I empirically engage these university students’ personal experience of performative drawing. The results show how students both expanded their understanding of what a drawings session can be and gained in aesthetic understanding, laying the groundwork for new creative praxis in their kindergartens
Exploring Art and Craft in Teacher Education Whilst Going Toward a Performative Approach: Some Reflections on Re-turning and Engaging Diffractively with Felting Wool
Full text linkSince 1997, I have returned to and revisited textile materials through different types of approaches. As an artist, I have been working with soft sculptures and immersive installations. As an artist-teacher, I sought to (re-)introduced wool felting tradition to teacher students in Norway. As a researcher, I re-turn (Barad, 2014) my approach to wool felting and engage diffractively (ibid.) within teacher education.
I am now still exploiting a performative approach to the subject of arts and craft within teacher education. This approach is conjointly inspired by contemporary visual art form of expressions and by Barad’s performative ontology.
In this text I attempt to convey my working processes as I relate how I started to engage with a performative approach to drawing in the field of arts and craft in teacher education, and how I now aim to enact further a performative approach to wool felting. This approach is inspired by post-humanism perspectives. Consequently, traditional binaries or dichotomies one can find in assumptions related to the humanities, as subject-object and theory-practice (van der Tuin and Dolphijn, 2010), are here deterritorialized to be simultaneously and differently reterriorialized (Deleuze and Guattari,1980). My approach goes thus beyond the theory-practice division to hold an intra-active pedagogy (Lenz Taguchi, 2010) and an ethico-onto-epistemological framework (Barad, 2007). This implies a set of mind considering an intimated relationship between making, being and knowing: all those aspects are present under a creative process, not isolated and nor independent of the process. Adopting a performative approach with my students, I do not necessarily privilege a linear approach and I do not necessarily privilege human agency above non-human entities. Following an ethico-onto-epistemological framework means here to merge the phenomenon of felting (beings) and its written study and analysis (ways of knowing)
Made by entangled words and wool: Rhizomatic relations in writing and making with(in) the phenomenon of wool felting
Full text linkIn this essay, I highlight a performative and rhizomatic approach to my art-based research using the phenomenon of wool felting to address entangling words and wool fibres as a material-discourse. I address drifting movements from the notion of a/r/tography as I perceive it, through echo, resonance and re-emergence in my art-based research design. This is done by querying, and caring for, the idea of identity, as I carry many of them, of various nature and various intensities. Furthermore, I decentralise the human in the art-based research methodology that I have been using in recent years in artistic, scholarly and pedagogical contexts. This text dialogues with the recent work of Stephanie Springgay (2020 and 2022), especially her work related to the concept of feltness, and more broadly research-creation (Manning, 2016).
Photo: Samira Jamouch
Living in and learning within urban space. Inviting teacher students to exchange their city life experiences with words and drawing
No full textCities open themselves up to different ways of being explored, experienced, and expressed by the inhabitants. Newcomers and natives each bring unique perspectives on the cities they inhabit. This paper describes an arts-based research design I call “visual dialogue,” in which I ask persons to express, through drawings and words, their subjective urban experiences. The ongoing drawing process itself, rather than any finished product, is the heart of this practice. In this paper, I give one examples of a Visual Dialogues and I present some philosophical perspectives that can motivate art and crafts teachers to engage with more fluid and explorative teaching practice in the subject of art and craft, connected to urban experience. Especially in international classes with university students as a means of fostering communication across cultural and individual differences
Visual dialogue: A drawn conversation about the city of Fez
Full text linkThe visual essay with moving images, see the link below to the video “Visual Dialogue Fez”, is an invitation to the viewer to approach the urban experience given by the female participant of this project. She narrates and at the same time draw the city of Fez, which she moved to, from Norway, some years ago. This video exposes and con- nects multiple strata of meaning, emerging from the intra-action between different actors: as between the participant and her imagined city of Fez, the participant and her drawing act, and he participant and me as researcher.
This written essay relates the background and the context of the project, grounded on my interest in urban experience articulated by persons with more than one urban reference. This written essay is also a short reflection on research design involving arts- based research and how the data/material collected and produced affect me, and in return how this affect has in impact (effect) on the video produced during this project.publishedVersio
Diversity and inclusion.Visual arts in teacher education in a Norwegian context, focusing on performative approaches to art teaching practices.
No full textAll man share a sensory experience when intra-actin with the world. My hypothesis isthat persons with and without special needs can benefit of a performative approachto visual arts.With this text I am exploring and reflecting on a performative approach to visual artsand children with special needs. I deem performance art as a valuable path leadingto other forms of teaching and learning from which children, and especially childrenwith special needs, can benefit. In my role as artist-teacher and researcher in thefield of visual arts, I take in account malleable material (like wool for example) ashaving the ability to create a rich context for discovering, exploring and learning.Inspired by the theoretical philosophy of new materialism, especially the work ofKaren Barad (2007), I use her concepts of intra-action and agency. From thatperspective I examine how performance art, using children’s senses, space, materialand relational aesthetic, can offer a rich context for children with special needs toevolve in school and kindergarten. The overall question guiding me through this workis: How can children with specials needs meet, be involved, express themselvesand/or interact during a performative act?The venue of the conference ‘Aesthetics and Children with Special Needs – anInterdisciplinary Approach’ in Oslo in 2015 was a fruitful moment to develop furthermy artistic and theoretical research on performance art as a way to meet childrenwith special needs in other ways. I had the performance “REbelreBEL” with twoteachers, during the opening of the conference. We used sounds and clay withtextiles, aiming to create an encounter with children with special needs throughauditory, tactile and visual elements. In my work, I do not necessarily focus on achild’s weakness or medical diagnosis, but look rather at the actual encounter a childwith special needs might have with an aesthetic experience
Visual dialogue: A drawn conversation about the city of Fez
Full text linkThe visual essay with moving images, see the link below to the video “Visual Dialogue Fez”, is an invitation to the viewer to approach the urban experience given by the female participant of this project. She narrates and at the same time draw the city of Fez, which she moved to, from Norway, some years ago. This video exposes and con- nects multiple strata of meaning, emerging from the intra-action between different actors: as between the participant and her imagined city of Fez, the participant and her drawing act, and he participant and me as researcher.
This written essay relates the background and the context of the project, grounded on my interest in urban experience articulated by persons with more than one urban reference. This written essay is also a short reflection on research design involving arts- based research and how the data/material collected and produced affect me, and in return how this affect has in impact (effect) on the video produced during this project
Living in and learning within urban space. Inviting teacher students to exchange their city life experiences with words and drawing
No full textCities open themselves up to different ways of being explored, experienced, and expressed by the inhabitants. Newcomers and natives each bring unique perspectives on the cities they inhabit. This paper describes an arts-based research design I call “visual dialogue,” in which I ask persons to express, through drawings and words, their subjective urban experiences. The ongoing drawing process itself, rather than any finished product, is the heart of this practice. In this paper, I give one examples of a Visual Dialogues and I present some philosophical perspectives that can motivate art and crafts teachers to engage with more fluid and explorative teaching practice in the subject of art and craft, connected to urban experience. Especially in international classes with university students as a means of fostering communication across cultural and individual differences.publishedVersio
Shibori her og nå: Et kunstprosjekt med naturmaterialer i skolen
No full textIn this text, I take as a starting point a school project with the ancient Japanese dyeing technique shibori. The question being discussed is to what extent such an artistic project with natural materials can contribute to increased awareness of man-made environmental problems. I do not contemplate the world from the outside or as something in stagnation, I rather consider the world as in motion and its creation to be our responsibility. Natural materials are not only considered as resources subordinate to human needs, but as being and playing an inherent role in a vulnerable interaction between those who inhabit the world. We humans have responsibility for how the world develops, and such an awareness can be established in future generations.I denne teksten tar jeg utgangspunkt i et skoleprosjekt med den eldgamle japansk innfargingsteknikken shibori. Prosjektet er motivert av en kritikk av den antropocen perioden vi lever i. Spørsmålet som drøftes er i hvilken grad et slikt kunstprosjekt med naturmaterialer kan bidra til økt bevissthet om menneskeskapte miljøproblemer. Jeg betrakter ikke verden utenfra eller som noe i stagnasjon, men snarere som en verden i bevegelse og anser dens tilblivelse som vårt ansvar. Naturmaterialer anses ikke bare som ressurser underordnet menneskes behov, men de inngår i et sårbart samspill mellom de som bebor verden. Vi mennesker har ansvar for hvordan verden utvikler seg, og en slik bevissthet kan etableres hos kommende generasjoner.
Teaching training in art and craft: Drawing as a performative act.
Full text linkDrawing is the one of most usual art and craft activity in Norwegian kindergartens. But is drawing as a dynamic, creative process understood and valued by early childhood educators? I use performative drawing to present children’s drawing as a creative process to teachers-in-training under the new National Curriculum of Kindergarten Teacher Education. Using videos of student participants and their written feedback, I empirically engage these university students’ personal experience of performative drawing. The results show how students both expanded their understanding of what a drawings session can be and gained in aesthetic understanding, laying the groundwork for new creative praxis in their kindergartens.publishedVersio
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