This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

Vi behöver öppna våra ögon innan vi kan ta konst till våra hjärtan och vi behöver öppna våra hjärtan innan vi kan betrakta konst. Det handlar om att se. Och att vara en medskapare. / We need to open our eyes before we can take art to our hearts and we need to open our hearts before we can observe art. It’s about seeing. And being a co-creator.

Syftet med studien var att undersöka hur elever upplever berättelser, samt hur berättelser påverkar deras bildarbeten i bildundervisningen.  Deltagarna i studien var fyra andraårs gymnasieelever som hade kursen Bild och form 1b. Det empiriska materialet insamlades genom deltagande observationer och intervjuer, vilket sedan analyserades ur ett fenomenologiskt perspektiv. Elevernas berättelser presenterades även i form av elevarbeten på Konstfacks vårutställning 2023, där gestaltningen syftar till att visuellt presentera deltagarnas upplevelser och fantasier om berättelser. I resultatet framkom det att deltagarna i studien upplevde inspirationskällor som värdefulla inför bildarbeten, då detta väckte fantasin och underlättade vid beslutsfattningar i hur de ville forma sina arbeten. Detta visade att det kan vara lärorikt att utgå ifrån teman som berättelser, då det ger fler ingångar till elevernas olika visuella kulturer.

The research examines pedagogical approaches to work on interpreting expressions in a developed educational organisation. The essay contains two analyses: A re-analysis of a previous study (study 1) where two art educators in a museum art program were interviewed and a new empirical study with two art educators from Levande Verkstad (study 2). In study 1 it became apparent that conversations about images are not an isolated activity that take place at a specific instance in the art-process. Five different teaching moments for interpreting expressions were identified. These teaching moments, together with the didactic basic questions of why and how, created the analys-model used in the study. Previous studies shows a gap in knowledge on aesthetic learning processes when it comes to interpreting expression. Research shows that both teachers and students find activities of interpreting expression difficult. The theory section shows links between experience, reflection and learning by linking theories from Dewey and Dreyfus and Dreyfus. Theories concerning multiliteracy, text interpretation and literacy learning are tested against the activity interpreting expression in order to clarify the research question. The interviews show that the educators have well-thought-out and locally known methods and a local meta-language for teaching the ability to interpret expression.  The educators use expression as a didactic tool by among other things treat artifacts as narrative and by avoiding describing artifacts in the terms "fine" or "ugly". For the educators in the study, the expression also becomes a didactic goal since the purpose of the teaching design is to find a personal expression of ones own / Studien undersöker pedagogers förhållningssätt kring arbete med att tolka uttryck i en kvalificerad pedagogisk verksamhet. Uppsatsen innehåller två analyser: En re-analys av en tidigare opublicerad studie (studie 1) där två konstpedagoger i en bildpedagogisk museiverksamhet intervjuades samt en ny empirisk undersökning där två bildpedagoger från Levande Verkstad intervjuades (studie 2). I studie 1 framkom att samtal om bilder inte är en isolerad aktivitet som sker vid ett avgränsat tillfälle i skaparprocessen. Fem olika undervisningsmoment för att tolka uttryck kunde identifieras. Dessa undervisningsmoment, tillsammans med de didaktiska grundfrågorna varför och hur, skapade den analysmodell som används i studien. Tidigare forskning visar på ett glapp i forskning kring estetiska lärprocesser när det gäller tolka uttryck. Den forskning som finns visar att både lärare och elever tycker att tolka uttryck är svårt. Teoriavsnittet visar på samband mellan erfarenhet, reflektion och lärande genom att knyta samman teorier från Dewey samt Dreyfus och Dreyfus. Teorier kring multiliteracy, texttolkning och läsinlärning provas mot aktiviteten ”tolka uttryck” i syfte att klargöra forskningsfrågan. Intervjuerna i empirin visar att pedagogerna har genomtänkta och lokalt kända metoder och ett lokalt metaspråk för att arbeta med att utveckla förmågan att tolka uttryck. Pedagogerna använder uttrycket som didaktiskt verktyg bland annat genom att se artefakter som berättande och genom att undvika att beskriva artefakter i termerna ”fint” eller ”fult”. För pedagogerna i studien blir uttrycket också ett didaktiskt mål då syftet med undervisningsdesignen är att hitta ett eget personligt uttryck.

This diploma thesis seeks above all to introduce the German concept of artistic education into the context of the Czech art education and to compare it with some of the didactical tendencies within this field. Based on the analysis of German and English publications, firstly the pivotal theoretical influences of the concept are introduced, and then its specifics, educational methods and goals are described. The theoretical section is concluded by examples of practical approaches using the described concept in the field of German school praxis. The empirical-practical section, that is based on the author's personal experiences gained during Erasmus studies in Germany (Karlsruhe, University of Education, Institute of Art), introduces how the concept is being applied during the training of university students, in particular on the level of the artistic and pedagogical praxis. This section also contains a reflection of the concept of artistic education's influence on the author's own artistic work. The second section concludes by analysing two student projects in a German school, applying the methods of artistic education, and outlines how these projects could be improved. At the end of the thesis the results of the theoretical, empirical and practical sections are summarized and evaluated. Questions...

Det här examensarbetet tar avstamp i metaforen ”att komma ut ur garderoben” och som blivande lärare intresserar jag mig för hur verksamma lärare som inte är heterosexuella väljer att agera i frågan om öppenhet. Syftet är att synliggöra ickeheterosexuella lärare genom att analysera och tolka tre lärares berättelser om sin yrkesvardag samt att diskutera resultatet ur ett didaktiskt perspektiv. Min empiri bestod av cirka 7 timmar videodokumenterade intervjuer med tre lärare från grundskola, gymnasium och vuxenutbildning. Som en del av intervjun tittade vi på min film, Garderoben, där jag undersökt garderobsmetaforen med min kropp. Filmen är även en del i min konstnärliga gestaltning. I uppsatsen finns också bilder från när jag använder min konstnärliga undersökningsmetod i ett klassrum med en garderob. Det här examensarbetet befinner sig i fältet för livsberättelseforskning och har en socialkonstruktionistisk ansats, samtidigt som jag menar att språket inte kan skiljas från det materiella, det kroppsliga. Min metod har varit temabaserade intervjuer. I uppsatsen presenteras delar av intervjuerna som poetiska narrativ, dels som en kollektiv biografi och dels som korta enskilda berättelser. Jag analyserar dessa med hjälp av queerteori och sexual difference-teori. Studiens resultat går i stort i linje med tidigare svensk forskning inom området, det vill säga att det inte är lätt att vara öppen med en ickenormativ sexualitet i svensk skola. Men min studie fördjupar och breddar fältet. Jag diskuterar även didaktiska konsekvenser. Avslutningsvis diskuterar jag vad som bör göras och sammanfattningsvis föreslår jag att detta är ett område som bör utforskas mer. Diskussionen om skolans normering genom läraren bör väcka större pedagogiskt intresse. / This thesis begins with the metaphor "to come out of the closet". As a future teacher I am interested in how practicing teachers who are not heterosexual choose to act on the issue of openness. The purpose is to highlight non-heterosexual teachers by analyzing and interpreting three teachers' stories about their everyday professional life and discuss the results from a didactic perspective. My empirical data consisted of about seven hours of video documented interviews with three teachers from primary, secondary and adult education. As part of the interview we looked at my movie Garderoben (The Closet), where I examined the ”coming out of the closet”-metaphor bodily. The film is part of my artistic figuration. The thesis includes pictures which show how I test my artistic method of examination in a classroom with a wardrobe. This thesis belongs to the field of life story research and has a social constructionist approach, but I mean that language cannot be separated from the material. My method has been theme-based interviews and I presented parts of the interviews in form of poetic narratives – one collective biography and six individual short stories – which I analyzed using queer theory and sexual difference theory. My overall result is in line with previous Swedish research, namely that it is not easy to be open with a norm breaking sexuality in a school in Sweden. But my study deepens and stretches the field. I also discuss didactic consequences. In the final discussion, I discuss what should be done and come to the conclusion that this is an area that should be more explored. The discussion of the school's norms through the teacher should bring greater educational interest.

I denna studie undersöks hur narrativ och äventyr kan användas som en konstpedagogisk metod. Syftet med ett studien är att hitta metoder för att tillgängliggöra, engagera och skapa intresse för konstupplevelser till barnfamiljer. I barnkonventionen, som blev lag år 2020, står det att alla barn skall ha rätt till att ”till fullo delta i det kulturella och konstnärliga livet”. Därför är det viktigt att utveckla metoder som syftar till att nå målgruppen genom engagemang och intresse. På historiska museer används ofta äventyr och narrativ som ett pedagogiskt grepp, vilket har visat sig blivit populärt för målgruppen. Men skulle detta arbetssätt kunna användas i konstsammanhang också? Undersökningen genomförs genom semistrukturerade intervjuer av konstpedagoger och museipedagoger, samt genom utvecklandet av ett konstpedagogiskt material utformat som ett narrativ. Materialet prövas tillsammans med en barnfamilj som efteråt uttryckt hur deras upplevelse varit. Resultatet visar på att narrativet kan skapa engagemang och lust för att lära samt att det kan öppna upp för barns fortsatta fantasiskapande.

This thesis is aimed at Václav Vokolek's life, particularly from the artistic and professional sides. Václav Vokolek belongs to a significant cultural family, which is also reflected throughout his whole life, not only in his work and priorities but also in the circle of his close friends. From the theoretical point of view, the diploma thesis is based primarily on a method of oral history because there were some summarising pieces of work about the Vokolka family created, however it concerned the older family members, not Václav Vokolka himself.