Denne artikkelen utforsker et leseprosjekt som involverer en gruppe 4-5 år gamle barnehagebarn og den franske bildeboka Les deux vieux et l’arbre de vie [De to gamle og livets tre] av Patrick Fischmann, illustrert av Martine Bourre (2013). Prosjektet var et litterært formidlingsprosjekt, og en del av det kunstneriske forskningsprosjektet Lydhør i Kongsgården, med fokus på temaet frø. Artikkelen fordyper seg i hvordan barna uttrykker sine refleksjoner over forholdet mellom natur og mennesker innenfor konteksten av litterære samtaler med barna. Prosjektet har relevans for FNs bærekraftsmål nr. 15, "Livet på jorda", som legger spesiell vekt på bevaring og utvikling av skoger. Prosjektet var inspirert av en pedagogisk tilnærming til lesing for barn, med vekt på barnas autonomi og deres evne til å konstruere mening (Solstad, 2015). I tillegg bruker vi den økokritiske analysemodellen kjent som The Phyto Analyzes Map (Guanio-Uluru, 2021) for å kaste lys over det komplekse samspillet mellom trær og mennesker slik det er fremstilt i barnelitteraturen. Gjennom hele prosjektet viste barna lekne og tankevekkende refleksjoner, spesielt angående de biologiske og ernæringsmessige forholdene som kreves for frøspiring, som presentert i boken. Dessuten genererte de fantasifulle forslag til nye former for interaksjon mellom mennesker og trær, basert på en empatisk tilnærming som tar hensyn til behovene til både trær og mennesker.
本文探讨了一个阅读项目，该项目涉及一群 4-5 岁的幼儿园儿童和法国绘本《两个老人和生命之树》（Les deux vieux et l'arbre de vie），作者帕特里克-菲施曼（Patrick Fischmann），插图由玛蒂娜-布尔（Martine Bourre）绘制（2013 年）。该项目是一个文学传播项目，也是以种子为主题的艺术研究项目 Lydhør i Kongsgården 的一部分。文章通过与孩子们的文学对话，深入探讨了孩子们如何表达他们对自然与人类关系的思考。该项目与联合国可持续发展目标 15 "地球上的生命 "相关，该目标强调森林的保护和发展。该项目受到儿童阅读教学法的启发，强调儿童的自主性及其构建意义的能力（Solstad，2015 年）。此外，我们还利用生态批评分析模型 "植物分析图"（Guanio-Uluru，2021 年）来揭示儿童文学作品中描绘的树木与人类之间复杂的互动关系。在整个项目过程中，孩子们表现出了游戏性和发人深省的思考，特别是关于书中介绍的种子发芽所需的生物和营养条件。此外，他们还提出了富有想象力的建议，以一种考虑到树木和人类需求的移情方法为基础，探索人与树木之间互动的新形式。
{"title":"Barns refleksjoner om forholdet mellom natur og mennesker i litterære samtaler om bildeboka De to gamle og livets tre","authors":"Atle Krogstad, Lise Hovik","doi":"10.7577/ar.5242","DOIUrl":"https://doi.org/10.7577/ar.5242","url":null,"abstract":"Denne artikkelen utforsker et leseprosjekt som involverer en gruppe 4-5 år gamle barnehagebarn og den franske bildeboka Les deux vieux et l’arbre de vie [De to gamle og livets tre] av Patrick Fischmann, illustrert av Martine Bourre (2013). Prosjektet var et litterært formidlingsprosjekt, og en del av det kunstneriske forskningsprosjektet Lydhør i Kongsgården, med fokus på temaet frø. Artikkelen fordyper seg i hvordan barna uttrykker sine refleksjoner over forholdet mellom natur og mennesker innenfor konteksten av litterære samtaler med barna. Prosjektet har relevans for FNs bærekraftsmål nr. 15, \"Livet på jorda\", som legger spesiell vekt på bevaring og utvikling av skoger. Prosjektet var inspirert av en pedagogisk tilnærming til lesing for barn, med vekt på barnas autonomi og deres evne til å konstruere mening (Solstad, 2015). I tillegg bruker vi den økokritiske analysemodellen kjent som The Phyto Analyzes Map (Guanio-Uluru, 2021) for å kaste lys over det komplekse samspillet mellom trær og mennesker slik det er fremstilt i barnelitteraturen. Gjennom hele prosjektet viste barna lekne og tankevekkende refleksjoner, spesielt angående de biologiske og ernæringsmessige forholdene som kreves for frøspiring, som presentert i boken. Dessuten genererte de fantasifulle forslag til nye former for interaksjon mellom mennesker og trær, basert på en empatisk tilnærming som tar hensyn til behovene til både trær og mennesker.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139250201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Artikkelen knytter seg til FNs bærekraftsmål 4 som omhandler god utdanning, og retter seg mot utdanning av barnehagelærere innenfor kunstfagene forming og drama. I beskrivelse av estetiske læreprosesser knyttes gjerne estetikk til det å ta alle sansene i bruk i skapende arbeid. Estetikkbegrepet knyttes i denne artikkelen til sansing av rom, tid, materialer og bevegelse, men også til hvordan denne sansingen inngår i og fører til skapende praksis der vi berører og lar oss berøre. Vi undersøker hvordan god utdanning i kunstfag kan utvikles gjennom å åpne opp for den estetiske dimensjon for studenter i undervisningen. Bærekraftig utdanning i kunstfag handler om at studentene skal forstå den estetiske dimensjon som betydningsfull i egen profesjonsutøvelse, og se den didaktiske verdien av denne i møte med barn i barnehagen. Artikkelens materiale er skapt sammen med en gruppe studenter som spesialiserer seg i enten drama, forming, eller musikk og har fellesemnet Kunstfaglig utviklingsarbeid i barnehagen (KKK-200). Sammen med studentene har vi lekt og utforsket bevegelse med nøster i ute- og innerom, og assosiert over hva begrepene rom, tid, materialer og bevegelse betyr i deres respektive fag. Undersøkelsen viser at en integrert tverrfaglig tilnærming og en utforskende undervisningsform kan bidra til god utdanning i kunstfag fordi det åpner for studentenes sanseerfaringer og estetiske opplevelser gjennom å bryte med det vante og utsettes for risiko.
{"title":"Skape nye rom, ny tid og nye bevegelser","authors":"Monica Klungland, Anne-Mette Liene","doi":"10.7577/ar.5131","DOIUrl":"https://doi.org/10.7577/ar.5131","url":null,"abstract":"Artikkelen knytter seg til FNs bærekraftsmål 4 som omhandler god utdanning, og retter seg mot utdanning av barnehagelærere innenfor kunstfagene forming og drama. I beskrivelse av estetiske læreprosesser knyttes gjerne estetikk til det å ta alle sansene i bruk i skapende arbeid. Estetikkbegrepet knyttes i denne artikkelen til sansing av rom, tid, materialer og bevegelse, men også til hvordan denne sansingen inngår i og fører til skapende praksis der vi berører og lar oss berøre. Vi undersøker hvordan god utdanning i kunstfag kan utvikles gjennom å åpne opp for den estetiske dimensjon for studenter i undervisningen. Bærekraftig utdanning i kunstfag handler om at studentene skal forstå den estetiske dimensjon som betydningsfull i egen profesjonsutøvelse, og se den didaktiske verdien av denne i møte med barn i barnehagen. Artikkelens materiale er skapt sammen med en gruppe studenter som spesialiserer seg i enten drama, forming, eller musikk og har fellesemnet Kunstfaglig utviklingsarbeid i barnehagen (KKK-200). Sammen med studentene har vi lekt og utforsket bevegelse med nøster i ute- og innerom, og assosiert over hva begrepene rom, tid, materialer og bevegelse betyr i deres respektive fag. Undersøkelsen viser at en integrert tverrfaglig tilnærming og en utforskende undervisningsform kan bidra til god utdanning i kunstfag fordi det åpner for studentenes sanseerfaringer og estetiske opplevelser gjennom å bryte med det vante og utsettes for risiko.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"56 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139247733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this text the focus is on re-telling multispecies stories about life below water, and the specific focus is on how to tell such stories, which awake moral agency in humans to care what happens with life below water. Sustainable development goal (SDG) number 14 Life below water concerns about “conserving and sustainable use the oceans, seas and marine resources for sustainable development”. To be able to achieve the goal there are created ten targets to create action for sustainable future. All ten targets are closely related with human use of life below water as a resource for own needs. What about thinking water as home for many living creatures and life below water as something we humans could have an empathic relationship with? The text suggests that the use of dramatic empathy in multispecies storytelling practice is close of the strategies of feministic care ethics where other-directedness and openness to difference may create empathic relationship with the other, which is essential for achieving attitude change and moral agency for more sustainable future.
{"title":"Re-storying SDG 14: life below water","authors":"Heli Aaltonen","doi":"10.7577/ar.5172","DOIUrl":"https://doi.org/10.7577/ar.5172","url":null,"abstract":"In this text the focus is on re-telling multispecies stories about life below water, and the specific focus is on how to tell such stories, which awake moral agency in humans to care what happens with life below water. Sustainable development goal (SDG) number 14 Life below water concerns about “conserving and sustainable use the oceans, seas and marine resources for sustainable development”. To be able to achieve the goal there are created ten targets to create action for sustainable future. All ten targets are closely related with human use of life below water as a resource for own needs. What about thinking water as home for many living creatures and life below water as something we humans could have an empathic relationship with? The text suggests that the use of dramatic empathy in multispecies storytelling practice is close of the strategies of feministic care ethics where other-directedness and openness to difference may create empathic relationship with the other, which is essential for achieving attitude change and moral agency for more sustainable future.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"291 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139248059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article proposes ways of implementing sustainability goals in theatre productions to create interesting creative expressions. It is a case study that examines the work done by the author in the first-year bachelor course on “Theatre Production” in 2021-2023, to turn the course sustainable by addressing UN Sustainable Development Goal no. 12 “Responsible Consumption and Production”. In the article, I describe the course’s design and curatorial choices, and the tools used to identify and implement sustainable goals. I discuss the impact of integrating the 4R principles (Reuse, Reduce, Repurpose, Recycle) and the Climate Policy and Action Plans in the creative process. I then argue that the qualities of the sustainable process – the counting and the measuring – impact the artistic choices in unexpected ways. Cover image: From the performance “People and their enemies” (2021). Photo: Elena Perez
{"title":"Turning it sustainable: implementing sustainability goals in theatre productions at NTNU","authors":"Elena Pérez","doi":"10.7577/ar.5247","DOIUrl":"https://doi.org/10.7577/ar.5247","url":null,"abstract":"This article proposes ways of implementing sustainability goals in theatre productions to create interesting creative expressions. It is a case study that examines the work done by the author in the first-year bachelor course on “Theatre Production” in 2021-2023, to turn the course sustainable by addressing UN Sustainable Development Goal no. 12 “Responsible Consumption and Production”. In the article, I describe the course’s design and curatorial choices, and the tools used to identify and implement sustainable goals. I discuss the impact of integrating the 4R principles (Reuse, Reduce, Repurpose, Recycle) and the Climate Policy and Action Plans in the creative process. I then argue that the qualities of the sustainable process – the counting and the measuring – impact the artistic choices in unexpected ways. Cover image: From the performance “People and their enemies” (2021). Photo: Elena Perez","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"39 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139246608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The video works A Ship with a View and The Kitchen Garden were made during 2010 at the M/S Innvik, run by Nordic Black Theatre. This turned out to be the last year of the ship’s existence as an intercultural creative environment in the urban development Bjørvika. The works are created as montages with contributions of music, art and performance from people connected to the M/S Innvik. It shows glimpses of activities on board and the changing surroundings. This work pertains to the Sustainable Development Goal no 11: “Make cities and human settlements inclusive, safe, resilient and sustainable, and partly to the SDG no 7: “Clean and affordable energy”. It also suggests culture should be included in sustainability discourse. Cover image: video still by Kristin Bergaust Video work: A Ship with a View Video work: The Kitchen Garden
{"title":"M/S Innvik: A Ship with a View - Culture is who we are","authors":"Kristin Bergaust","doi":"10.7577/ar.5638","DOIUrl":"https://doi.org/10.7577/ar.5638","url":null,"abstract":"The video works A Ship with a View and The Kitchen Garden were made during 2010 at the M/S Innvik, run by Nordic Black Theatre. This turned out to be the last year of the ship’s existence as an intercultural creative environment in the urban development Bjørvika. The works are created as montages with contributions of music, art and performance from people connected to the M/S Innvik. It shows glimpses of activities on board and the changing surroundings. This work pertains to the Sustainable Development Goal no 11: “Make cities and human settlements inclusive, safe, resilient and sustainable, and partly to the SDG no 7: “Clean and affordable energy”. It also suggests culture should be included in sustainability discourse. Cover image: video still by Kristin Bergaust Video work: A Ship with a View Video work: The Kitchen Garden","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"782 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139246900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents results from a study where applied drama interventions were deployed in four different groups to build capacities to re-imagine economics. Participants were interviewed or entered dialogue with each other after completing the drama work. Through a close reading of one of the conversations that stands out as glowing in the research material and with inspiration from rhizomatic analysis, we identify four nodes that point to drama as a hopeful practice during insecure times. The dramatic arts have historically facilitated the navigation of localized political and economic tensions, but research and practice has not seemingly addressed the transitions to more holistic forms of development embedded within the United Nation’s Sustainable Development Goal 8: Decent Work and Inclusive Economic Growth. Conceptualizing this transition as liminal, we argue for the use of drama(tic) arts to navigate this state. The node Space for emotions articulates drama as a possibility to embrace and integrate difficult emotions. The node Openings and invitations – a new learning experience describes drama as an unconventional form of teaching that opens for creativity and new understandings. The third node Pretending towards new realities points to how the imaginative aspects of drama can give experiences of new pretended states beyond the liminal. Finally, the node Discomfort and its reinterpretations shows how challenging aspects of drama can be understood as in itself creating a liminal state where the unexpected can emerge. Findings echo the transformatory potential of drama(tic) arts in prior environmental and sustainability education research but extend it in the specific context of navigating and re-imagining economic growth (SDG8), and point to specific qualities of drama when trying to move towards sustainability in difficult times.
{"title":"Drama as a hopeful practice when navigating liminal times","authors":"Julia Fries, Tony Wall","doi":"10.7577/ar.5572","DOIUrl":"https://doi.org/10.7577/ar.5572","url":null,"abstract":"This article presents results from a study where applied drama interventions were deployed in four different groups to build capacities to re-imagine economics. Participants were interviewed or entered dialogue with each other after completing the drama work. Through a close reading of one of the conversations that stands out as glowing in the research material and with inspiration from rhizomatic analysis, we identify four nodes that point to drama as a hopeful practice during insecure times. The dramatic arts have historically facilitated the navigation of localized political and economic tensions, but research and practice has not seemingly addressed the transitions to more holistic forms of development embedded within the United Nation’s Sustainable Development Goal 8: Decent Work and Inclusive Economic Growth. Conceptualizing this transition as liminal, we argue for the use of drama(tic) arts to navigate this state. The node Space for emotions articulates drama as a possibility to embrace and integrate difficult emotions. The node Openings and invitations – a new learning experience describes drama as an unconventional form of teaching that opens for creativity and new understandings. The third node Pretending towards new realities points to how the imaginative aspects of drama can give experiences of new pretended states beyond the liminal. Finally, the node Discomfort and its reinterpretations shows how challenging aspects of drama can be understood as in itself creating a liminal state where the unexpected can emerge. Findings echo the transformatory potential of drama(tic) arts in prior environmental and sustainability education research but extend it in the specific context of navigating and re-imagining economic growth (SDG8), and point to specific qualities of drama when trying to move towards sustainability in difficult times.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"96 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139248471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a text based on a keynote address that I gave at the IDIERI, 2022 conference in Warwick. The theme of IDIERI, 2022 was “Navigating mess and complexity in uncertain times.” It is particularly relevant to this issue because the project described in this keynote emerges from, and is embedded in, our on-going work at Study Hall Educational Foundation (SHEF) and addresses Sustainable Development Goals 1, 4, 5, 10 and 13. The project is about teenage girls in Lucknow, India. It includes critical dialogues, poetry and drama, and culminates in a collectively curated script and performance. As girls in India, it reveals their fears and concerns about their current lives and their view of their future . Their embodied voices and poems show us what their lives are like and how they feel about the uncertainties shaped by their experience. Strict patriarchal social norms leave them feeling insecure, unsafe and unfree at home and in their immediate environment. It emerged that while they have a caring, connected relationship with nature, the climate crisis seems too distant. Their concerns about securing their present lives are more immediate.
{"title":"Trembling: The winds and I","authors":"Urvashi Sahni","doi":"10.7577/ar.5641","DOIUrl":"https://doi.org/10.7577/ar.5641","url":null,"abstract":"This is a text based on a keynote address that I gave at the IDIERI, 2022 conference in Warwick. The theme of IDIERI, 2022 was “Navigating mess and complexity in uncertain times.” It is particularly relevant to this issue because the project described in this keynote emerges from, and is embedded in, our on-going work at Study Hall Educational Foundation (SHEF) and addresses Sustainable Development Goals 1, 4, 5, 10 and 13. The project is about teenage girls in Lucknow, India. It includes critical dialogues, poetry and drama, and culminates in a collectively curated script and performance. As girls in India, it reveals their fears and concerns about their current lives and their view of their future . Their embodied voices and poems show us what their lives are like and how they feel about the uncertainties shaped by their experience. Strict patriarchal social norms leave them feeling insecure, unsafe and unfree at home and in their immediate environment. It emerged that while they have a caring, connected relationship with nature, the climate crisis seems too distant. Their concerns about securing their present lives are more immediate.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"42 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139249590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how psychodrama might contribute to promote well-being and thus support goal nr. 3 in UN’s 2030 Agenda for Sustainable Development. The study utilises a case-study design, examining the individual case study of “Fiona” who was a participant in a non-clinical psychodrama group. Fiona’s experiences from participating in this group are investigated through a thematic based analysis to address the following question: How might engagement in psychodrama practice promote eudaimonic well-being? In this study we broadly define eudaimonic well-being as human flourishing and as a movement towards growth, self-realization, development of one’s best self and meaningful purpose in one’s life. Our inquiry uses the theory-guided dimensions of eudaimonic well-being developed by Carol Ryff as an analytical lens. The results reveal that participating in the psychodrama group supported Fiona’s eudaimonic well-being mostly according to the following dimensions: autonomy, personal growth, positive relations with others, and self-acceptance. When analysing how dimensions of eudaimonic well-being were promoted, we found three main themes: playfulness, visual symbolism and psychodramatic role-playing techniques. The study thus shows that engagement in psychodrama is well suited to nurture human growth and development as an element of promoting good health and well-being. Cover image: Drawing by "Fiona" (anonymous). Published with permission.
{"title":"Psychodrama & eudaimonic well-being – potentials in playful and aesthetic experiences","authors":"Siri Skar, Wenche Torrissen","doi":"10.7577/ar.5101","DOIUrl":"https://doi.org/10.7577/ar.5101","url":null,"abstract":"This article explores how psychodrama might contribute to promote well-being and thus support goal nr. 3 in UN’s 2030 Agenda for Sustainable Development. The study utilises a case-study design, examining the individual case study of “Fiona” who was a participant in a non-clinical psychodrama group. Fiona’s experiences from participating in this group are investigated through a thematic based analysis to address the following question: How might engagement in psychodrama practice promote eudaimonic well-being? In this study we broadly define eudaimonic well-being as human flourishing and as a movement towards growth, self-realization, development of one’s best self and meaningful purpose in one’s life. Our inquiry uses the theory-guided dimensions of eudaimonic well-being developed by Carol Ryff as an analytical lens. The results reveal that participating in the psychodrama group supported Fiona’s eudaimonic well-being mostly according to the following dimensions: autonomy, personal growth, positive relations with others, and self-acceptance. When analysing how dimensions of eudaimonic well-being were promoted, we found three main themes: playfulness, visual symbolism and psychodramatic role-playing techniques. The study thus shows that engagement in psychodrama is well suited to nurture human growth and development as an element of promoting good health and well-being. Cover image: Drawing by \"Fiona\" (anonymous). Published with permission.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139246858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Moema Gregorzewski, Briar O'Connor, Peter O'Connor
We offer a case study of a long-running Aotearoa New Zealand-based applied theatre programme, Everyday Theatre. As both academics and Everyday Theatre practitioners, we explore how the programme addresses the aspirations of the United Nations’ Sustainable Development Goal (SDG) 16.2, which is centred on eliminating violence towards children. Our reflections are informed by the qualitative data collected in our ongoing discussions as facilitators, our reflective journals, teacher evaluations of the programme, and a series of collaborative research workshops. We investigate the role and place of the drama conventions of teacher-in-role, pre-text, aesthetics, and framing. They are potent constituents of participatory theatre practice that can provoke both students and teachers to collaboratively conceptualise themselves and each other as active, responsible, critical, and empathetic agents for social change. These explorations throw light on how applied theatre practice can form small but significant contributions to engendering opportunities for students and teachers to consider how they could change their own future narratives, creating more socially cohesive local communities, and, in this way, addressing SDG 16.2. Cover image: photo by WOKANDAPIX on Pixabay
{"title":"Addressing SDG16.2: Eliminating violence towards children – An applied theatre approach","authors":"Moema Gregorzewski, Briar O'Connor, Peter O'Connor","doi":"10.7577/ar.5082","DOIUrl":"https://doi.org/10.7577/ar.5082","url":null,"abstract":"We offer a case study of a long-running Aotearoa New Zealand-based applied theatre programme, Everyday Theatre. As both academics and Everyday Theatre practitioners, we explore how the programme addresses the aspirations of the United Nations’ Sustainable Development Goal (SDG) 16.2, which is centred on eliminating violence towards children. Our reflections are informed by the qualitative data collected in our ongoing discussions as facilitators, our reflective journals, teacher evaluations of the programme, and a series of collaborative research workshops. We investigate the role and place of the drama conventions of teacher-in-role, pre-text, aesthetics, and framing. They are potent constituents of participatory theatre practice that can provoke both students and teachers to collaboratively conceptualise themselves and each other as active, responsible, critical, and empathetic agents for social change. These explorations throw light on how applied theatre practice can form small but significant contributions to engendering opportunities for students and teachers to consider how they could change their own future narratives, creating more socially cohesive local communities, and, in this way, addressing SDG 16.2. Cover image: photo by WOKANDAPIX on Pixabay","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139248128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rikke Gürgens Gjærum, Lilli Mittner, Elina Plucker, Ingrid Tranum Vélasquez
I denne artikkelen belyser vi hvordan kunstfaglig metodikk på en demensavdeling kan bidra til sosial innovasjon. Vi beskriver hvordan en slik metodikk har potensiale til å bidra til et bærekraftig samfunn der mennesker som lever med demens blir likeverdige medborgere. Artikkelen bygger på et åtteårig kunstintervensjonsprosjekt ved et sykehjem i en by i Nord-Norge. Vi presenterer våre funn langs fire idealtypiske konstruksjoner: beboerperspektivet, kunstnerperspektivet, helsearbeiderperspektivet og lederperspektivet. Vi finner at samskaping på sykehjem er utfordrende fordi en må rigge estetiske møter på tvers av avdelinger, fag, roller og rutiner. Det utfordrende i det samskapende arbeidet handler særlig om: 1) at alle som blir involvert må gå utover sin komfort sone 2) at stell og estetiske opplevelser ikke gjelder som likeverdig i hverdagen på sykehjemmet 3) at kunnskapen om poetisk-sanselige møtesteder ikke er internalisert i staben og 4) at det er lite rom for å utvikle felles forståelse og språk om estetisk praksis. Disse funnene peker på at kunstfaglig metodikk i form av samskapende estetiske prosesser trenger mer oppmerksomhet i sosial innovasjon i eldreomsorgen.
{"title":"Kunstfaglig metodikk og sosial innovasjon i demensomsorgen","authors":"Rikke Gürgens Gjærum, Lilli Mittner, Elina Plucker, Ingrid Tranum Vélasquez","doi":"10.7577/ar.5097","DOIUrl":"https://doi.org/10.7577/ar.5097","url":null,"abstract":"I denne artikkelen belyser vi hvordan kunstfaglig metodikk på en demensavdeling kan bidra til sosial innovasjon. Vi beskriver hvordan en slik metodikk har potensiale til å bidra til et bærekraftig samfunn der mennesker som lever med demens blir likeverdige medborgere. Artikkelen bygger på et åtteårig kunstintervensjonsprosjekt ved et sykehjem i en by i Nord-Norge. Vi presenterer våre funn langs fire idealtypiske konstruksjoner: beboerperspektivet, kunstnerperspektivet, helsearbeiderperspektivet og lederperspektivet. Vi finner at samskaping på sykehjem er utfordrende fordi en må rigge estetiske møter på tvers av avdelinger, fag, roller og rutiner. Det utfordrende i det samskapende arbeidet handler særlig om: 1) at alle som blir involvert må gå utover sin komfort sone 2) at stell og estetiske opplevelser ikke gjelder som likeverdig i hverdagen på sykehjemmet 3) at kunnskapen om poetisk-sanselige møtesteder ikke er internalisert i staben og 4) at det er lite rom for å utvikle felles forståelse og språk om estetisk praksis. Disse funnene peker på at kunstfaglig metodikk i form av samskapende estetiske prosesser trenger mer oppmerksomhet i sosial innovasjon i eldreomsorgen.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139249238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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