<p>I detta arbete är syftet att ta reda på hur arbete med lappteknik i grundskolan kan genomföras. Textillärare har tillfrågats om hur de arbetar med lappteknik ute i grundskolan och varför de gör på det sättet. Sedan har undersökts vad det finns för positiva och negativa yttringar med att arbeta med lappteknik och om lärarna arbetar med en progression i lappteknik och hur den ser ut i sådana fall. Arbetet syftar även till att ta reda på om eleverna behöver några förkunskaper och vilka i sådana fall. I uppsatsen bearbetas också inlärning och instruktioner i skolan och med anledning av detta har lärare tillfrågats om vad de anser är väsentligt när ett självstudiematerial i lappteknik ska tillverkas samt om det finns bra instruktionsmaterial att tillgå i lappteknik. Till uppsatsen har litteraturstudie valts för att ta reda på fakta om lappteknik och inlärning. </p><p>En kvalitativ intervju har valts för att undersöka hur man som lärare kan lägga upp arbetet med lappteknik i grundskolan. Textilslöjdslärare som arbetar i grundskolan har intervjuats. Resultatet visar att det finns flera sätt att arbeta på med lappteknik i skolan. Varje lärare bestämmer hur mycket de vill ha med av en teknik och därför är det personliga intresset en avgörande faktor. När det gäller instruktioner verkar de flesta av lärarna vara överens om att de ska innehålla både text och bild samt att texten ska vara lättläst.</p>

I detta arbete är syftet att ta reda på hur arbete med lappteknik i grundskolan kan genomföras. Textillärare har tillfrågats om hur de arbetar med lappteknik ute i grundskolan och varför de gör på det sättet. Sedan har undersökts vad det finns för positiva och negativa yttringar med att arbeta med lappteknik och om lärarna arbetar med en progression i lappteknik och hur den ser ut i sådana fall. Arbetet syftar även till att ta reda på om eleverna behöver några förkunskaper och vilka i sådana fall. I uppsatsen bearbetas också inlärning och instruktioner i skolan och med anledning av detta har lärare tillfrågats om vad de anser är väsentligt när ett självstudiematerial i lappteknik ska tillverkas samt om det finns bra instruktionsmaterial att tillgå i lappteknik. Till uppsatsen har litteraturstudie valts för att ta reda på fakta om lappteknik och inlärning. En kvalitativ intervju har valts för att undersöka hur man som lärare kan lägga upp arbetet med lappteknik i grundskolan. Textilslöjdslärare som arbetar i grundskolan har intervjuats. Resultatet visar att det finns flera sätt att arbeta på med lappteknik i skolan. Varje lärare bestämmer hur mycket de vill ha med av en teknik och därför är det personliga intresset en avgörande faktor. När det gäller instruktioner verkar de flesta av lärarna vara överens om att de ska innehålla både text och bild samt att texten ska vara lättläst.

This project combines industrial tuft with handmade embroidery in order to explore various combinations of textured surfaces, materials and colors. The purpose is to investigate a meeting between craft and design by focusing on the encounter between the compact and the loose, the assembly of materials, as well as variations in levels and heights. The works are mainly based on recycled materials. Three textiles pieces were designed: a First Piece focuses on the meeting between craft and design; the Second Piece relates to different textures and the Third Piece addresses growth. The combination of hand embroidery and tufting create diversity and nuances in expressions, forms and textures. The small-scale of hand-embroidery permits the use of materials difficult or impossible to handle in machines and thus break the monotony of tuft. Through the tufting technique, larger compact pieces are produced that have depth and are sound-absorbent. This project aims to create a bridge between craft and design in the field of textile design.

In this project I explore the consequences of inventing traditions and the empowering effects of textile making. By looking at Swedish textile history, Finnish coffee packages, a 91 year old woman and a 31 year old aspiring textile artist I come to the conclusion that trying to control history trough traditions can have dire consequences and I am left wanting a more inclusive approach.

In this paper I investigate the emotional benefits of textile crafts in general and embroidery in particular. How can embroidery be used to express love and care for others? Can embroidery be used as a therapeutic tool? Using my own embroidery project Flower heart as a starting point, my research goes into craft as a manifestation of love, from handmade gifts in the 18th century to contemporary art, and crafting as a therapeutic medium, from rehabilitation of soldiers after WW1, to a recent study on 92 Finnish craft makers. My material is based on research on (textile) craft, research on occupational therapy, interviews with contemporary embroidery artists Michelle Kingdom, Alexandra Drenth and Willemien de Villiers, as well as my own experiences with the project Flower heart. My conclusions are that there are many emotional benefits to textile crafts. Our crafts can comfort us from sorrow, help us deal with pain, both physical and mental, make us connect to one another, provide meaning to our lives, anchor us in the present and live on long after we are gone as a manifestation of our lives and our love.

The aim in this study is to investigate how the textile subjects in the education of teachers in textiles in Uppsala changed during the period 1955-2001. What has the introduction into the academic, scientific tradition meant for the textile education? The aim is to describe what developments occurred as a result of this influence on the subject area, by analyzing the causes and factors inherent in this process. The period under consideration has been divided into four parts: 1955–1961, 1961–1977, 1977–1988 and 1988–2001. The research uses three different sources: documents, interviews and artefacts. The documents include both national and local aspects. To increase the understanding of the work and education 9 interviews have been made with current teacher educators. The artefacts show the transformation of the educators’ intentions and aims, which are expressed in the documents examined, into a physical entity by the students. In the investigation of what changes the concept of practical knowledge will be used. Practical knowledge is considered to form the core of textile education. Practical knowledge is assumed to consist of action, professional knowledge and reflection. Government directives have influenced textile education. Economical and structural assumptions have shaped how the courses have been run and what elements have been included in these. In the change that gradually occurred during the investigated time, the inherent pride in the subject area and the traditions linked to the courses seems to have slowly diminished. The redefinition of textile education as part of the university minimized the value of the education’s core based in action and domestic history. The continued production of artefacts within the course, suggests that despite the use of scientific and research terminology, the manual skills and action were seen as an essential part of the education.

Craft education has been regarded as an important instrument in the efforts to achieve equality which, ever since the end of World War II, have permeated the reforms of Swedish education. In spite of all efforts to the contrary, class- and sex-typed educational programmes are still reconstructed within the reformed education. This study examines the role of craft teacher training in the social and cultural reproduction. Socialization into a profession is a continuous process throughout a person's life. The time spent in craft teacher training is regarded as a meeting between future craft teachers in the light of their life stories and the school subject craft as it is transmitted by teacher trainers. Thus, the data collection includes information on both the future teachers and on the school subject craft. Two groups, one of females and one of males (including one woman), were followed through their teacher training with the help of questionnaires, essays and evaluation documents written by the future teachers. The school subject craft was studied through classroom observations and through taped interviews with teacher trainers. Although these trainee teachers, as fully qualified craft teachers, will have to co­operate within the same subject, and although they will have the same qualifications and equal pay, these educations have different admission rules. Textile craft teachers also have a longer education than wood&amp;metalwork teachers. Besides belonging to different sexes, these two groups turned out to be very different in other respects as well. The future female craft teachers in this study have a middle-class background with well- educated mothers and they also have positive experiences of school. In their future occupation they wish to develop the art of textile craft. The future male craft teachers in this study have a working-class background where studies were something out of the ordinary and they also have negative experiences of school. In their future occupation they want to work together with children within a practical subject. The gender and class patterns developed during the trainee teachers' childhood and adolescence are reinforced by these teacher trainings. Moreover, the trainee teachers seem to reconstruct these patterns in their teaching styles in their future occupations. Both groups want to transmit "preparedness for everyday life" and "creative ability" to the pupils. However, deeper analyses reveal that this agreement is only illusory. The females expect the pupils to be moulded into docile, economical and quality-conscious persons. The males expect the pupils to be moulded into active, ingenious and dexterous persons. Both groups agree that it is easier for girls to become docile, careful and aware of the teacher's demands and that it is easier for boys to become active and ingenious in compulsory school. The gender symbolism -the passive woman and the active man - is reconstructed. Besides uncovering the complex reconstruction of the gender system at the sym­bolic, structural and individual level, this study also illuminates the reconstruction of the asymmetric relations between theoretical and practical activities within craft teacher training. The study ends with a discussion of how teacher training can contribute to the work for equality by educating the trainee teachers to act as spearheads for an equal society. / digitalisering@umu

I ett projekt under våren 2020 utformades en metod för att skapa klädesplagg, och en jacka producerades. Jacka - Juni - 2020 ställer sig frågande till modernitetens värderande och standardiserande efter siffror. Jackan konstrueras med den äldre måttenheten aln som baseras på den individuella kroppen istället för massproduktionens generella mått. Den blickar tillbaka på en dåtid från sin samtid utan att utesluta sin samhörighet med någon utav dem. Jacka - Juni - 2020 är en första standardmodell producerad för hand, för att med enkelhet kunna reproduceras efter andra alnar.

<p>Portfoliometodik är idag ett känt begrepp, likaså digital elevportfolio. Båda dessa begrepp, och en av de programvaror som främst är utvecklade för att vara en aktiv digital elevportfolio, har en central roll i den här studien. Portfolio Manager 2, som programmet i fråga heter, är utvecklat i Sverige av svenska pedagoger.</p><p>Studien har en kvantitativ ansats med enkäter som redskap. En köns- och specialpedagogisk betraktelsegrund fanns i studien, vilket också resulterade i nya pedagogiska rön.</p><p>Studien är utförd i 5 klasser på 2 olika svenska skolor i slöjd, där samtliga elever gick i åk 5.</p><p>Lärarenkäten var utformad så att den skulle kunna ge en bedömning av ”fenomenet” PM2 som helhet, då PM2 även innehåller verktyg av det mer administrativa slaget.</p><p>Studiens resultat bekräftar tidigare studier, dvs. att elevportfolio bidrar positivt till att stärka den pedagogiska lärandeprocessen. Ett nytt rön som framträder i studien, är att flickor i högre grad än pojkar i åk 5, inser portfoliometodikens betydelse för lärandeprocessen. Resultatet visar även att programvaran Portfolio Manager 2 är väl användaranpassat, både som redskap för digital elevportfolio och som ett läraradministrativt redskap.</p><p>Ämnet slöjd är inte ett primärt studieobjekt, men omskrivs kort i studien utifrån den ”överskottsinformation” enkäterna gav. Resultatet för slöjdämnet var positivt.</p><p>Titel: Portfolio som arbetsredskap i skolan - En studie kring portfolio och dataprogrammet Portfolio Manager 2.</p><p>Nivå: C uppsats</p><p>Författare: Lärare i Specialpedagogik, Mats Agnarson - Karlstad.</p><p>Handledare: Hugo Wikström, Karin Bengtsson – Karlstads Universitet.</p><p>Examinator: Anders Arnqvist – Karlstads Universitet</p> / <p>Portfolio methodology and digital portfolio for pupils are nowadays well known conceptions. These two things, just as one of the computer programmes developed in purpose to be an active digital portfolio for pupils, have an essential part of this study. Portfolio Manager 2, which is the name of the programme, is developed in Sweden, by Swedish pedagogues.</p><p>The study has a quantitative disposition, with questionnaires as instrument. A gender and special needs approach was part of the study, which resulted in new pedagogical experiences. The study was made at 2 different Swedish schools, in 5 classes in form 5. The subject was woodworks and textile craft. The teacher questionnaire was shaped in such a manner that it could provide a judgement of the “phenomena” PM2 as a unit, since PM2 also consists from tools of the more administrative kind.</p><p>The result of the study corroborates earlier studies, which was that the use of portfolio helps pupils in their learning process. The study also shows that girls in form 5, more than boys in the same age group, understand the connection between learning and portfolio methodology. Further more this examination points out that the software Portfolio Manager 2 is very user-friendly, both for pupils using digital portfolio as well as for teachers as an administrative tool.</p><p>The school subject woodworks and textile craft is not the primary object of the study, but is discussed in the text through the “excess information” from the questionnaires. The result regarding the school subject woodworks and textile craft was positive.</p><p>Title: Portfolio as a working tool in school – A study concerning portfolio and the computer programme Portfolio Manager 2</p><p>Level: C</p><p>Writer: Pedagogue Mats Agnarson – Karlstad</p><p>Supervisor: Hugo Wikström, Karin Bengtsson – Karlstads Universitet</p><p>Examinator: Anders Arnqvist – Karlstads Universitet</p>

Portfoliometodik är idag ett känt begrepp, likaså digital elevportfolio. Båda dessa begrepp, och en av de programvaror som främst är utvecklade för att vara en aktiv digital elevportfolio, har en central roll i den här studien. Portfolio Manager 2, som programmet i fråga heter, är utvecklat i Sverige av svenska pedagoger. Studien har en kvantitativ ansats med enkäter som redskap. En köns- och specialpedagogisk betraktelsegrund fanns i studien, vilket också resulterade i nya pedagogiska rön. Studien är utförd i 5 klasser på 2 olika svenska skolor i slöjd, där samtliga elever gick i åk 5. Lärarenkäten var utformad så att den skulle kunna ge en bedömning av ”fenomenet” PM2 som helhet, då PM2 även innehåller verktyg av det mer administrativa slaget. Studiens resultat bekräftar tidigare studier, dvs. att elevportfolio bidrar positivt till att stärka den pedagogiska lärandeprocessen. Ett nytt rön som framträder i studien, är att flickor i högre grad än pojkar i åk 5, inser portfoliometodikens betydelse för lärandeprocessen. Resultatet visar även att programvaran Portfolio Manager 2 är väl användaranpassat, både som redskap för digital elevportfolio och som ett läraradministrativt redskap. Ämnet slöjd är inte ett primärt studieobjekt, men omskrivs kort i studien utifrån den ”överskottsinformation” enkäterna gav. Resultatet för slöjdämnet var positivt. Titel: Portfolio som arbetsredskap i skolan - En studie kring portfolio och dataprogrammet Portfolio Manager 2. Nivå: C uppsats Författare: Lärare i Specialpedagogik, Mats Agnarson - Karlstad. Handledare: Hugo Wikström, Karin Bengtsson – Karlstads Universitet. Examinator: Anders Arnqvist – Karlstads Universitet / Portfolio methodology and digital portfolio for pupils are nowadays well known conceptions. These two things, just as one of the computer programmes developed in purpose to be an active digital portfolio for pupils, have an essential part of this study. Portfolio Manager 2, which is the name of the programme, is developed in Sweden, by Swedish pedagogues. The study has a quantitative disposition, with questionnaires as instrument. A gender and special needs approach was part of the study, which resulted in new pedagogical experiences. The study was made at 2 different Swedish schools, in 5 classes in form 5. The subject was woodworks and textile craft. The teacher questionnaire was shaped in such a manner that it could provide a judgement of the “phenomena” PM2 as a unit, since PM2 also consists from tools of the more administrative kind. The result of the study corroborates earlier studies, which was that the use of portfolio helps pupils in their learning process. The study also shows that girls in form 5, more than boys in the same age group, understand the connection between learning and portfolio methodology. Further more this examination points out that the software Portfolio Manager 2 is very user-friendly, both for pupils using digital portfolio as well as for teachers as an administrative tool. The school subject woodworks and textile craft is not the primary object of the study, but is discussed in the text through the “excess information” from the questionnaires. The result regarding the school subject woodworks and textile craft was positive. Title: Portfolio as a working tool in school – A study concerning portfolio and the computer programme Portfolio Manager 2 Level: C Writer: Pedagogue Mats Agnarson – Karlstad Supervisor: Hugo Wikström, Karin Bengtsson – Karlstads Universitet Examinator: Anders Arnqvist – Karlstads Universitet