The aim of this study is to see how preschool – teacher´s work with pedagogical documentation and aesthetic learning processes and how they would want to change in their working environments. I interviewed preschool – teachers that worked in Reggio Emilia – inspired preschools. The results show that they worked with a process – diary with the purpose to see the learning processes together with the children. They have time to discuss and reflect about activities with co-workers but also with the children. They worked with aesthetic but thought it was hard to discuss and reflect about it hence they thought it was because of the lack of inspiration and interests. / Syftet med denna studie är att synliggöra arbetet med pedagogisk dokumentation i förskolan i anslutning till estetiska lärprocesser. Jag har intervjuat fem förskollärare från tre förskolor i en kommun i Sverige som alla arbetade på ett Reggio Emilia – inspirerat sätt. Pedagogerna arbetade med pedagogisk dokumentation på liknande sätt då de använde sig av processdagbok och hade reflektionstid, dokumentationsvägg och Instagram – konto. Det som fyra av fem pedagoger tyckte var svårt med det estetiska arbetet var avsaknaden av inspiration och kunskap. De hade inga pedagoger som brann för ämnena vilket de trodde kunde få som följd att estetiken hamnade på sidan av.

Syftet med studien är att undersöka några förskollärares inställningar till barns bildaktiviteter och konstmöten i förskolan,och söka samband till hur ämnet enligt dem tar plats i verksamheten.Genom studien söks också inblick i deras egen syn på vald roll när bildaktiviteter utförs och konstmöten skapas i den pedagogiska verksamheten.Metoden för studien är kvalitativ och fem intervjuer har utförts.Resultatet visar att samtliga intervjuade förskollärare ser bildskapande och konstmöten som betydelsefullt och viktigt för barns utveckling.Resultatet visade att ämnet ofta fungerar som estetisk lärprocess för matematik,musik och biologi.Rollerna som förskollärarna väljer i samband med ämnet är varierande och en osäkerhet verkar finnas om vad som är pedagogiskt.Under studiens gång framkommer att konstmöten är svårare att berätta om och relatera till.Konstmöten utanför verksamheten uteblir även på fyra av de fem förskolorna. / <p><strong>Fastställt via akademichefsbeslut HIG-STYR 2019/7 den 2019-01-07</strong></p><p><strong> </strong>Daniel Petterson, fil dr, univ. lekt Pedagogik och Erika Björklund, fil dr, univ. lekt Pedagogik går in som examinatorer på PEG700 under veckorna 1 till och med 3, 2019 då Peter Gill, prof. Pedagogik, gått i pension från och med 2019-01-01.</p>

The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects. The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis. The thesis aims to answer the following questions: • What is required in order for theatre to create meaning and knowledge in practice within a school’s framework? • How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation? The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors. The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential. In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed. / <p>Licentiatavhandling i litteraturvetenskap: alternativet Svenska med didaktisk inriktning.</p>

Subject integration between art and the school's other subjects is something that is often highlighted as positive. But Lindström (2012) emphasizes that there is a problem with talking unspecified about aesthetics in school and can lead to a neglect of the qualifications needed to integrate art, crafts and design with the school's "academic subjects". Our aim is to create knowledge about how aesthetic learning processes are made visible and expressed in a cross-disciplinary work between religion and art in a high school class. The empirical material has been collected through qualitative observations and consists of data collected over three days and consists of eight hours extended on six lessons in art and religion. The field for the study is two classrooms in the school which the students attend. The results are analyzed based on a thematic analysis developed by Braun and Clarke (2006) and the themes are based on Lindström's (2012) definition and model of aesthetic learning processes, and what form of subject-integrated teaching prevails parallel integration, theme weeks or co-education. The results show that we can see that aesthetic learning processes become visible and that the students moved between all four categories in Lindström's model in the interdisciplinary work. We saw that the students worked THROUGH aesthetic learning processes when the students reflected on their creation. We saw that the students worked in aesthetic learning processes when they drew their Buddhas in dry pastel and tried different techniques and materials. We saw that the students worked WITH aesthetic learning processes, among other things when the students referred to their Buddhas in dry pastel. We saw that the students worked on aesthetic learning processes, for example when the students worked with and talked about the concept of layout.

“The beautiful, as a complement to the true” A study of the student's learning, participation and development - through dance, rhythmic and music as aesthetic learning processes at the after-school center. The purpose of the study was to investigate how the teachers in after-school centers work with students' learning, development and participation through aesthetic learning processes, and also to investigate how the work looks from a gender equality perspective. My research questions were: How do teachers work with students' learning and participation through aesthetic learning processes such as dance, rhythmic and music in the after-school center? Also: Does it look different when it comes to boys and girls participation in aesthetic learning processes? How and why in such a case? The method I used in my study was a qualitative research study with semi-structured interviews with two teachers in after-school centers and with a dance teacher and a rhythmic and music teacher. In the analysis of my material and as a theoretical perspective, I have used the knowledge forms episteme, techne and fronesis, as well as from a gender equality perspective.The results of the study show that the aesthetically trained teachers had a lot of experience and many thoughts about how to work with learning around aesthetic learning processes and from a subject-integrated way, including through language and mathematics. Unlike afterschool teachers who partly felt that there was a certain resistance or difficulty in working with dance, music and rhythmic as aesthetic learning processes at the after-school center, when the feeling of not feeling comfortable or not having the right knowledge existed. However, the teachers could see great joy and learning in the students in working with the aesthetic forms. Here, the most common aesthetic subject was arts and craft, which they started from at the after-school center. There were also many thoughts and ideas on how the work with dance, rhythmic and music could be developed more at the leisure center. When it comes to looking at it from a gender equality perspective, the answer was largely that the majority of girls choose the activity, but that the desire to work more with a broader gender equality perspective was present in everyone.

Syftet med vår undersökning är att ta reda på hur pedagogerna arbetar med dans som uttrycksform och estetisk lärprocess och vilka utmaningar detta kan medföra. Denna undersökning har utgått ifrån ett fenomenologiskt perspek-tiv för att ta reda på pedagogernas erfarenheter och upplevelser idag. Under-sökningen har genomförts genom kvalitativa intervjuer med fem verksamma pedagoger som sedan transkriberats och analyserats för att hitta centrala be-grepp. Resultatet visar på omfattande möjligheter som dans kan ha i förskolans verksamhet och vilka områden som kan utvecklas. Det är viktigt att pedagoger integrerar hela läroplanen (Skolverket, 2018) i förskolan och tar vara på alla möjligheter till lärande. Därför behöver pedagoger få tillgång till grundläg-gande kunskap om dans och andra uttrycksformer för att kunna utmana barnen i deras lärande. / The purpose of this study is to find out how educators in preschool use dance as a form of expression and as an aesthetic learning process and what chal-lenges this may result in. The study is based upon a phenomenological per-spective to find out the educators personal and professional experiences today. Through qualitative interviews with five active educators which have been transcribed and analysed we found some key concepts to our study. The results show extensive opportunities that dance can have in the preschool's activities and which areas can be developed. It is important that educators integrate the entire curriculum (Skolverket, 2018) in preschool and take advantage of all opportunities for learning. Therefore, educators need to have access to basic knowledge about dance and other forms of expression in order to challenge children in their learning.

The aim of this study is to investigate how aesthetic learning processes in relation to language development are interpreted and used by three upper secondary teachers within the subject of Swedish as a second language. To do this, the study analyzes interviews with three teachers and their classroom teaching designs. The results show that all three teachers emphasize that aesthetic learning processes can function as means of language development - as long as you have a clearly defined learning object and cognitive resistance in the tasks. It also shows that aesthetic learning processes can be particularly relevant for students whose thoughts are ahead of their second language learning skills. Additionally, the teachers believe that students access to other linguistic resources as well as to previous experiences and interests are important. In summary, two of the three teachers show a wide variety of the aesthetic learning processes such as theatre, pictures, music, painting and small group discussions. The third teacher expresses a desire to include them more, but points out the lack of organizational support.

Syftet med studien har varit att bidra till en ökad medvetenhet kring vad som påverkar personal i förskolan i urvalet av musikaliska texter för verksamheten. Detta dels genom att lyfta hur förskollärare väljer sånger, visor, låtar och ramsor, samt vad de vill förmedla till barngruppen genom dessa. Dels genom att synliggöra förskollärarnas föreställningar kring vad som är lämpliga musikaliska texter att använda sig av i arbetet med barn. Metoden som använts för datainsamling är mailintervjuer. En kommun med tio förskolor deltog i undersökningen genom att en förskollärare per verksamhet mottog och besvarade såväl grundfrågor som följdfrågor via mail. Studiens resultat visar hur förskollärarna använder sig av musikaliska texter de har med sig från sin egen barndom och tidigare erfarenheter. Många av de sånger som används mest finns också med i den sångkanon som länge varit representativ i förskolan. Hur musiken används som metod för annat ämneslärande kopplat till arbetet med Lpfö-98 synliggörs också genom förskollärarnas beskrivningar, samt hur många av dem skriver nya texter till välkända melodier. Syftet med omskrivningarna varierar, men en slutsats blir ändå att det finns en gemensam upplevelse av att det saknas texter som är anpassade till dagens kunskapande förskoleverksamhet. / The purpose of this essay has been to contribute to an increast awareness about what affects preschool staff in their choice of musical lyrics for preschool. This partly by elevating how they select songs, ballads and tracks, and what they wishes to mediate to the children by theese. Partly by revealing the preschool-teachers believes about what’s suitable musical lyrics to use in working with children. The method that’s been used for datacollecting is email interviews. One municipality with ten preschools participated in the study by how one preschool-teacher per preschool received and responded to interview questions as well as follow up questions via email. The studys result shows how the preschool-teachers uses musical lyrics they know from their own childhood and previous experiences. A lot of the songs that’s used the most are also a part of the song cannon wich for a long time has been representative for preschool. How music is used as a method for learning other subjects in connection with Lpfö-98 is also made visible by the preschool-teachers descriptions, and how many of them writes own lyrics to wellknown tunes. The purpose of the paraphrases varies but one conclusion yet is how there’s a common experience of a lack of lyrics that are customized to the knowledge spirited preschool of today

Studien handlar om estetiska lärprocesser i ämnet engelska. Syftet med studien är att bidra till en ökad förståelse för hur pedagoger i årskurs 1 - 3 arbetar med estetiska uttrycksformer i engelskundervisning och hur de kombinerar det med icke-estetiskt lärande. Frågeställningarna undersöks mot bakgrund av tidigare forskning samt vad pedagoger på fältet har för åsikter, uppfattningar och erfarenheter om estetiska uttrycksformer och läromedel som kombination i engelskundervisningen på lågstadiet. Studien är baserad på två forskningsfrågor som undersöks och blir besvarade: Hur kombinerar pedagoger estetiska uttrycksformer och icke-estetiskt lärande i engelskundervisningen i årskurs 1 - 3? Hur ser pedagoger på relationen mellan estetiskt lärande och icke-estetiskt lärande i engelskundervisning i årskurs 1 - 3? Studien består av en teoretisk och en empirisk del där fokus ligger på estetiska lärprocesser med ingång i uttrycksformerna musik och drama samt ett icke-estetiskt lärande som lutar mot läromedel i engelskundervisning. Den teoretiska delen utgår från det sociokulturella perspektivet med Vygotskijs syn på estetiskt lärande där han vill ha in det estetiska perspektivet i skolans undervisning. I denna studien har det framkommit att med hjälp av estetiska lärprocesser som hjälpmedel förstärks elevernas möjligheter att nå kunskaper i engelska språket. Kroppsspråket och sinnena är också en viktig del som hjälper eleverna att på ett enklare sätt befästa engelskkunskaper. Kombineras det estetiska och icke-estetiska lärandet med varandra så blir det en relation mellan lärandeformerna som leder till ett varierat lärande i engelskundervisningen i grundskolan. / This study is about aesthetic learning processes in the English subject. The purpose of the study is to contribute with an increased comprehension of how teachers in grade 1 - 3 work with aesthetic learning processes and how they combine aesthetic learning with non-aesthetic learning in the English subject. The study draws on previous research as well as working teachers’ opinions, perception and experience of working with the combination of the aesthetic form of expression and the teaching media in the English subject in primary school. The foundation of the study lies on two questions which were examined and answered during the course of the study. The questions are as follows: How does the teachers combine aesthetic learning with non-aesthetic learning in the English subject in grade 1 - 3? What do teachers think about the relations between aesthetic learning and non-aesthetic learning in the English subject in grade 1 - 3? The study consists of a theoretical and an empirical section where the main focus lies on aesthetic learning processes drawing on music and drama, on the one hand, and non-aesthetic learning based on teaching media, on the other, in the English classroom. The theoretical framework of the study has its roots in the sociocultural perspective with Vygotsky’s view on aesthetic learning in education. It emerged in the study that with the aid of aesthetic learning processes the pupil’s knowledge of the English language has increased. The body language and senses have an important function in helping the pupil’s to acquire the English language in an easier way. If aesthetic learning is combined with non-aesthetic learning it creates a relation between the two learning processes which leads to a varied learning in the English subject in primary school.

The purpose of this study is to contribute with knowledge of preschool teachers’ perceptions of music and aesthetic learning processes in relation to the Swedish National Agency for Education’s reformulation of the preschool curriculum 2018. By using a phenomenographic methodology and qualitative interviews, the study has been conducted with six preschool teachers from different preschools in one municipality where the ambition has been to get a variety of different perceptions. The result of the study shows that the preschool teachers’ perceptions of giving the children the conditions in music that are given in the curriculum, vary widely. A preschool teacher describes how the music gets an embodied or emotionally intrinsic value. In the case of aesthetic learning processes in teaching, preschool teachers proved to have good perception of what aesthetic is, the perception of learning process was however varied. The preschool teachers considered in general that they lacked materiel to deepen the music education, some also considered that they needed additional knowledge in music and aesthetic learning processes. The reformulation of the aesthetic objective in Lpfö 18 showed that half of the preschool teachers considered it clearer and that it is placing a higher demand on them, while the others experienced the rewording as less demanding. The result of the study shows that the Swedish National Agency for Education’s formulation can be interpreted in different ways. One conclusion from the study is that the Nation Agency for Education has not been sufficiently clear about the reformulation of music and learning processes in Lpfö 18. Another conclusion is that the preschool teachers who have some form of musical education have a greater understanding and awareness of what the music does with the child. Also, how preschool teachers can teach by using different didactical forms of music for learning and how children can experience the music’s own magic world. / Syftet med studien är att bidra med kunskap om förskollärares uppfattningar av musik och estetiska lärprocesser i förhållande till Skolverkets omformulering av förskolans läroplan 2018. Genom att använda en fenomenografisk metodansats och kvalitativa intervjuer har studien genomförts med ett urval av sex förskollärare från olika förskolor i en kommun, där strävan har varit att få en variation av olika uppfattningar. Resultatet av undersökningen visar att förskollärarnas uppfattningar av att ge barnen de förutsättningar i musik som läroplanen lyfter, varierar mycket. En förskollärare beskriver hur musiken får ett förkroppsligat eller känslomässigt intrinsikalt värde. I fråga om estetiska lärprocesser i undervisningen visade sig förskollärarna ha goda uppfattningar om vad estetik är, uppfattningen av lärprocess var dock splittrad. Förskollärarna ansåg överlag att de saknade materiel för att fördjupa musikundervisningen, några ansåg även att de var i behov av kunskapsutveckling inom musik och estetiska lärprocesser. Omformuleringen gällande det estetiska målet i Lpfö 18 visade att hälften av förskollärarna ansåg att det blev tydligare och ställer ett högre krav på dem, medan de andra upplevde omformuleringen som mindre kravfull. Resultatet visar därmed att Skolverkets formulering kan tolkas på olika sätt. En slutsats från studien är att Skolverket inte varit tillräckligt tydliga med omformuleringen av musik och estetiska lärprocesser i Lpfö 18. En annan slutsats är att de förskollärare som har någon form av musikalisk utbildning har en större förståelse och medvetenhet av vad musiken gör med barnet. Även hur förskollärare kan undervisa didaktiskt i musikens olika lärandeformer och hur barnen kan få uppleva musikens egna magiska värld.