<p>My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power.</p><p>Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.</p>

My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power. Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.

Syftet med detta arbete är att försöka få en bild av vad det var som gjorde att kursen Estetisk verksamhet ansågs viktig nog att bli ett kärnämne 1994, och varför den inte längre ansågs viktig och togs bort 2011. Med hjälp av kritisk diskursanalys undersöks argument för och emot kursen som de förs fram i texter från regering, riksdag och media vid dessa tidpunkter, med betoning på vad dessa säger om kursens status och position i gymnasiet och i den skolpolitiska debatten.  Studien visar att när Estetisk verksamhet infördes 1994 var det för att låta eleverna uppleva och själva skapa, baserat i en humanistisk diskurs. När kursen togs bort 2011 var det för att andra ämnen ansågs behöva mer utrymme för att ge eleverna en tydligare yrkes- eller högskoleförberedande utbildning, baserat i en marknadsekonomisk diskurs. Fokus för vad som var viktigt i gymnasieskolan skiftade under de sjutton år som gått däremellan, och i den nya läroplanens inriktning på nyttobaserad utbildning fick inte Estetisk verksamhet plats. Den skolpolistiska synen på kunskap förändrades från en demokratisk tanke om att ge alla samma möjligheter, till ett differentierat ideal där individens kunskap ska vara mätbar och samhällsnyttig. / The purpose of this study is to gain insight into how come the course Artistic Activites was considered important enough to be introduced as a core subject in the Swedish upper secondary school in 1994, and how come it was no longer considered important and thus removed in 2011. Through critical discourse analysis the study investigates arguments for and against the course as presented in texts from government, parliament and media sources at these points in time, with emphasis on the status of the course in the Swedish upper secondary school, as well as in the political debate on education. The study shows that when Artistic Activities was introduced in 1994 the purpose was to allow students to experience and create art, based in a humanist discourse. When the course was dropped in 2011 it was to give room for other subjects considered more essential in preparing the students for university studies or their chosen profession, based in a free market economy discourse. The focus on what was considered important in the upper secondary school shifted during the intervening seventeen years, and the new curriculum’s orientation towards utilitarian education allowed no space for Artistic Activities. The political approach to knowledge changed from a democratic idea where everyone was to be given the same opportunities, to a differentiated ideal where individual knowledge must be measurable and useful to society.

Scenografija mokykloje, ugdo mokinių kūrybiškumą ir praktišką mąstyseną, norą būti bendruomeniškais ir siekti, kad darbas bei užduotys būtų atlikti iki rezultato. Be to, teatras ir scenografija mokykloje įgauna papildomą kultūrinę vertę – skatina vaikų domėjimąsi teatru bei menu. Todėl ši tema, nors ir mažai ištirta, aktuali šiuolaikinėje mokykloje. Kita vertus, literatūroje pateikiama naujų idėjų, netikėtų sprendimų scenografijos kūrimui, aprašomi žymių režisierių sukurti spektakliai, tačiau labai trūksta literatūros apie mokyklinį teatrą ir scenografijos kūrimo įtaką mokinių meninei veiklai, mokykloje atliktų tyrimų bei parengtų straipsnių. Todėl šio darbo tikslas – ištirti scenografijos raiškos ypatumus ir įtaką mokinių meninei veiklai. Uždaviniai: 1) Atskleisti scenografijos ypatybes. 2) Išanalizuoti scenografijos reikšmę mokinių estetiniam bei meniniam lavinimui. 3) Ištirti scenografijos įtaką mokinių kūrybinei raiškai. 4) Nustatyti integruotų vizualinės raiškos pamokų perspektyvas šiuolaikinėje mokykloje. Tyrimo objektas – scenografijos kūrimas kaip mokinių meninę veiklą skatinanti priemonė. Hipotezė – mokinių dalyvavimas mokyklos teatro scenografijos kūrime bei integruotos vizualinės raiškos pamokos plečia mokinių raiškos galimybes, skatina mokinių kūrybiškumą bei lavina meninį bei estetinį skonį. Tyrimo imtis apima mokinius, besimokančius pagal pagrindinio bei vidurinio ugdymo programas, o taip pat jų mokytojus. Anketinėje apklausoje iš viso dalyvavo 137 mokiniai... [toliau žr. visą tekstą] / Scenography at school, develops students‘ creativity and logical thinking, a need to be a part of the community, and an aim for the work and the exercises to be completed in full. As well as, theatre and scenography at school are establishing another cultural value – encouraging children’s interest in theatre and art. That is why this subject, even though very little studied, is very important in modern education. In literature it is often possible to find new ideas, new possibilities for scenography development, describing famous producers‘ plays, yet lacking literature on educational-school theatre and scenography‘s creative influence to the students‘ artistic activities, also lacking real life tests at school and a show of actual influence towards the students‘ creative activities. Mission: 1) To explain scenography; 2) To analyze scenography‘s meaning to the students‘ aesthetic and artistic education; 3) To study scenography‘s influence toward the students‘ creative expression; 4) To establish the visual expression lessons‘ perspective in modern school. Research subject: Scenography establishment as a tool to ecourage students‘ artistic activity. Hypothesis: Students‘ participation in school‘s theatre scenography creation and integrated visual expression lessons, widening students‘ expression possibilities, encouraging students‘ creativity and developing artistic and aesthetic taste. In the research study there will be the students studying in primary and secondary... [to full text]

Made available in DSpace on 2016-04-29T14:16:34Z (GMT). No. of bitstreams: 1 Aurea Satomi Fuziwara.pdf: 6574597 bytes, checksum: 847665593fb3c6615bb0c4adad483817 (MD5) Previous issue date: 2014-09-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The artistic expressions with content and shape similar to the revolutionaries and/or resistance processes can be expressions that indicate the need for democratization in Brazil, which is the 7th world economy, but the 3rd with the highest level of inequality. With this concern, this study coined the thesis that there is a contemporary sociability of resistance, which challenges the current form of democracy in Brazil, opposite the violation (lack or insufficiency) of fundamental rights. This sociability is not a parallel world, but a counter-hegemonic, everyday experience of collective subjects who struggle for the overcoming of the capitalist system that is destroying humanity itself. Based on Marxist productions, we present our thesis starting from the theoretical categories: work (foundational category of social being), artistic activity and democracy. Articulating these categories we analyzed the contradictory development of Brazil, the democratic process in this country and debate aspects of democratization. The analysis of the Creative Economy Report (PNUD and UNCTAD) and positions the movement of cultural and art in defense of a policy for culture indicated the elements subjected to the interests of capital. Reflecting on the violation of rights, we discuss the gentrification, which implies real estate speculation and commercialization of fundamental rights, including the use of art and culture as mechanisms of people domination and appeasement. With this in mind, we conducted an exploratory study which was based on literature and document analysis and field research in the Sacolão das Artes (through group and individual interviews and observation during meetings of the Managing Collective), producing a reinterpretation of the Focus Group (which we understand to be a part of the contribution of this process of scientific investigation). We did not try to theorize about Aesthetics; instead, we discussed the artistic activity as fundamental to the development of social being and praxis which enables us to a particular form of knowledge. Guided by an ontological perspective of social being, we understand that this contemporary sociability of resistance provides relevant elements on the confronting capitalist ethos and barbarism present in society. As a result of this thesis we present some clues we hope will contribute to the construction of the possible and necessary mediations in building a stronger sociability whose horizon is the emancipatory project of society / As manifestações artísticas com conteúdo e forma similares aos dos processos revolucionários e/ou de resistência podem ser expressões que indicam a necessidade de democratização no Brasil, que é a 7ª economia mundial e o 3º com maior nível de desigualdade. Com esta inquietação, cunhamos neste estudo a tese de que existe uma sociabilidade de resistência contemporânea que questiona a atual forma da democracia no Brasil, frente à violação (por ausência ou precariedade) dos direitos fundamentais. Essa sociabilidade não é um mundo paralelo, mas a vivência contra-hegemônica, cotidiana, de sujeitos coletivos que lutam pela superação desse sistema que está destruindo a própria humanidade. Com fundamento nas produções marxistas, realizamos a exposição da tese partindo das categorias teóricas trabalho (categoria fundante do ser social), atividade artística e democracia. Articulando essas categorias, analisamos aspectos contraditórios do desenvolvimento do Brasil, do processo da democracia neste país e o debate da democratização. A análise do Relatório de Economia Criativa (PNUD e UNCTAD) e das posições do movimento da cultura e da arte na defesa de uma política para a cultura indicou elementos sobre a sujeição desta aos interesses do capital. Refletindo sobre a violação de direitos, discutimos a gentrificação, que inclui a especulação imobiliária e a mercantilização dos direitos fundamentais, inclusive utilizando-se da arte e da cultura como mecanismos de dominação e apassivamento da população. Nesta direção, realizamos um estudo exploratório que se fundamentou em análise bibliográfica e documental, e pesquisa de campo junto ao Sacolão das Artes (por meio de entrevistas grupais, individuais e observação durante as reuniões do Coletivo Gestor) onde produzimos uma releitura do Grupo Focal (que entendemos ser uma parte da contribuição deste processo de investigação científica). Não realizamos uma teorização sobre a estética, mas discutimos a atividade artística como práxis fundamental para o desenvolvimento do ser social e que nos possibilita uma forma particular de conhecimento. Guiada pela perspectiva ontológica do ser social, entendemos que esta sociabilidade de resistência contemporânea nos fornece elementos relevantes sobre o enfrentamento ao ethos capitalista e à barbárie posta na sociedade. Como fruto desta tese, apresentamos algumas pistas visando contribuir para a construção das mediações possíveis e necessárias ao fortalecimento de uma sociabilidade que tem como horizonte o projeto societário emancipatório

No description available.

Sammanfattning Den här studien är en litteraturöversikt som analyserar forskningsbaserade texter och lyfter fram syften med drama/teater i gymnasieskolan, utifrån den analyserade litteraturen. Studien redogör både för syften med drama/teater som enskilt ämne och integrerat med andra ämnen. Studien visar att drama/teater är användbart både som ett medel där målet är att lära sig andra ämnen, och där målet är kunskaper i drama/teater. Den ger exempel på att eleverna, med hjälp av drama/teater, kan få stöd i att uppnå flera av målen i gymnasieskolans senaste läroplan från 2011. Exempel på hur drama/teater kan vara till nytta i andra ämnen är att det kan användas för att förbättra elevers läsning och textförståelse oavsett ämne. Drama/teater har också ett egenvärde som bland annat består i att eleverna lär sig att använda sina erfarenheter för att förstå omvärlden, att de lär sig att uttrycka sig på sitt individuella sätt och att de tränar på att våga ta ställning. Dessa kunskaper kan vara användbara både i ett yrkesliv inom teatern, men även inom andra yrken. Drama/teater är både bildande och utbildande, enligt den tolkning av litteraturen som gjorts i denna studie. Nyckelord:Drama, Teater, Gymnasieskolan, Ämnesintegrering, Utbildning, Bildning, Estetiska ämnen, Estetisk verksamhet, Estetiska läroprocesser. / Abstract This study is a literature review which analyzes different texts, linked to research, and explores the purpose of drama/theatre in upper secondary school, based on the analyzed literature. It incorporates drama/theatre as an individual subject as well as integrated with other subjects. The review in this study shows that drama and theatre can be used as means of learning other subjects. For example drama and theatre can help improve students' reading and reading comprehension no matter the subject. The subject drama/theatre is also shown to have a value in itself in that it taught the students in this study to use their experiences as means to understand the world surrounding them. Education in drama and theatre gives students the opportunity to express themselves in their own individual way and allows them to practice taking a stand. This knowledge can be useful both within the profession of the theatre as well as in other professions. The study also shows that students can be supported with the help of drama/theatre, which enable them to reach several goals of the Swedish curriculum from 2011. This study found that the subject drama/theatre not only helps to educate but cultivate students. Keywords: Subject integration, Drama, Theatre, Upper Secondary School, Education, Cultivation, Artistic subjects, Artistic activities, Aesthetic Learning Processes.