The German JeKi programme (An instrument for every child) aims at offering primary school children the opportunity to learn an instrument in school. For this, primary schools cooperate with music schools. In order to scientifically evaluate processes and effects of this programme, the German Federal Ministry for Education and Research (BMBF) has funded JeKi research for a total of seven years. This article outlines interdisciplinary research questions und key results of studies ranging from music education, music psychology, neurosciences to educational sciences. Central points of interest are aspects of effects, cooperation, quality and participation.
{"title":"Perspektiver fra forskningen på det musikkpedagogiske konseptet Jedem Kind ein Instrument [Et instrument til hvert barn] i Tyskland1","authors":"Ulrike Kranefeld","doi":"10.23865/noasp.152.ch10","DOIUrl":"https://doi.org/10.23865/noasp.152.ch10","url":null,"abstract":"The German JeKi programme (An instrument for every child) aims at offering primary school children the opportunity to learn an instrument in school. For this, primary schools cooperate with music schools. In order to scientifically evaluate processes and effects of this programme, the German Federal Ministry for Education and Research (BMBF) has funded JeKi research for a total of seven years. This article outlines interdisciplinary research questions und key results of studies ranging from music education, music psychology, neurosciences to educational sciences. Central points of interest are aspects of effects, cooperation, quality and participation.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"85 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121110889","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}
Collaboration between grunnskole (primary schools) and kulturskole (culture schools) has been promoted in policy documents since the 1980s. In several municipalities, different models for cooperation are being tested. This chapter is based on a study of a specific collaborative project, called “Sentrums-prosjektet”. The purpose of the study was to provide more knowledge about such collaborations. The investigation had a case study design and the data consisted of interviews and participatory observation. The collaborative project is described and understood in light of the various schools’ curriculum and previous research. We investigate whether this is a “win-win collaboration” or an “aid project” on the part of the culture school. We also investigate what the various schools achieve through the collaboration. on the experiences from this specific collaboration, we argue that the project for primary school has provided well-being, musical joy and interest in music, and thus strengthened the general classroom environment – while the project for culture school contributes to fulfilling its vision of being a “school for all”. However, we also claim that there is potential for expansive learning in such collaborations that has not been fully utilized in this case.
{"title":"Vinn-vinn? En studie av «Sentrum-prosjektet» – et samarbeid mellom grunnskole og kulturskole","authors":"Anne Haugland Balsnes, Jorun Christensen","doi":"10.23865/noasp.152.ch6","DOIUrl":"https://doi.org/10.23865/noasp.152.ch6","url":null,"abstract":"Collaboration between grunnskole (primary schools) and kulturskole (culture schools) has been promoted in policy documents since the 1980s. In several municipalities, different models for cooperation are being tested. This chapter is based on a study of a specific collaborative project, called “Sentrums-prosjektet”. The purpose of the study was to provide more knowledge about such collaborations. The investigation had a case study design and the data consisted of interviews and participatory observation. The collaborative project is described and understood in light of the various schools’ curriculum and previous research. We investigate whether this is a “win-win collaboration” or an “aid project” on the part of the culture school. We also investigate what the various schools achieve through the collaboration. on the experiences from this specific collaboration, we argue that the project for primary school has provided well-being, musical joy and interest in music, and thus strengthened the general classroom environment – while the project for culture school contributes to fulfilling its vision of being a “school for all”. However, we also claim that there is potential for expansive learning in such collaborations that has not been fully utilized in this case.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114773069","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 is about the initial phases in devised theatre for children, and examines how children can be included in the creative process. In a musical theatre project for kindergarten children, a group of students developed a performance in close dialogue with reference groups of children. Gadamer’s concept of fusion of horizons is essential. The meeting of horizons – between students’ and children’s ideas and the source material – is crucial for the development of a conceptual idea for target groups. This is possible through a continuous dialogue between the students’ ideas and the children’s input, so that meaning is progressively created in hermeneutic circles between them.
{"title":"Fra impuls til konseptuell idé i egenskapt barneteater – En hermeneutisk prosess i samspill mellom barn og kunstnere","authors":"Lene Helland Rønningen","doi":"10.23865/noasp.152.ch11","DOIUrl":"https://doi.org/10.23865/noasp.152.ch11","url":null,"abstract":"This article is about the initial phases in devised theatre for children, and examines how children can be included in the creative process. In a musical theatre project for kindergarten children, a group of students developed a performance in close dialogue with reference groups of children. Gadamer’s concept of fusion of horizons is essential. The meeting of horizons – between students’ and children’s ideas and the source material – is crucial for the development of a conceptual idea for target groups. This is possible through a continuous dialogue between the students’ ideas and the children’s input, so that meaning is progressively created in hermeneutic circles between them.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124300307","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 purpose of this study has been to try to capture tensions and contradictions in the project «culture day in school», a collaborative project between cultural school and primary school. In addition, it has been an intention to try to understand and analyze the tensions and contradictions. The research question addressed in the article is: How is the collaboration between cultural school teacher and primary school teacher organized and implemented in the project culture day in school, and what tensions and contradictions can be discovered in this collaboration towards common goals / intention. Previous studies of collaboration between cultural schools and primary schools show that there are challenges associated with such collaborations, especially with regard to how such collaborative projects are operationalized. One of the main arguments for the study is to increase the understanding and knowledge of how such collaborations can be improved and developed. In this study, I have interviewed a cultural school teacher and an elementary school teacher. In addition, the project’s goals and intentions have been used as a guiding guide to see how the collaborative project works towards these. The study shows that there are several tensions and contradictions that are revealed, and that several of these have not come to the surface and been addressed by the participants in the collaboration. The study also shows that there is a need for practitioners who are to carry out collaborative projects to a much greater extent to be involved in all processes, from planning to evaluation.
{"title":"Samarbeid mellom kulturskolelærer og grunnskolelærer – utfordringer og muligheter","authors":"Kåre Hauge","doi":"10.23865/noasp.152.ch7","DOIUrl":"https://doi.org/10.23865/noasp.152.ch7","url":null,"abstract":"The purpose of this study has been to try to capture tensions and contradictions in the project «culture day in school», a collaborative project between cultural school and primary school. In addition, it has been an intention to try to understand and analyze the tensions and contradictions. The research question addressed in the article is: How is the collaboration between cultural school teacher and primary school teacher organized and implemented in the project culture day in school, and what tensions and contradictions can be discovered in this collaboration towards common goals / intention.\u0000Previous studies of collaboration between cultural schools and primary schools show that there are challenges associated with such collaborations, especially with regard to how such collaborative projects are operationalized. One of the main arguments for the study is to increase the understanding and knowledge of how such collaborations can be improved and developed.\u0000In this study, I have interviewed a cultural school teacher and an elementary school teacher. In addition, the project’s goals and intentions have been used as a guiding guide to see how the collaborative project works towards these.\u0000The study shows that there are several tensions and contradictions that are revealed, and that several of these have not come to the surface and been addressed by the participants in the collaboration. The study also shows that there is a need for practitioners who are to carry out collaborative projects to a much greater extent to be involved in all processes, from planning to evaluation.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114905041","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 programme “Jedem Kind ein Instrument”1 (JeKi) in Germany demands the cooperation between primary school and music school teachers, working in teams of two for one lesson each week during the first year of school to offer basic musical training and to present various musical instruments. The ideal that the teachers’ skills complement each other is guiding the programme but preliminary results from a study on JeKi showed that there is hardly any coordination prior to co-taught classes, mostly due to a lack of time. This leads to the relevant research question concerning how teachers collaborate for co-classes when the very requirements for successful collaboration, i.e., coordination and communication, are mostly missing, but co-teaching still takes place, albeit sporadically. In order to address this desideratum, this video study tries to reconstruct an interactional framing of assistance as the predominantly found model of cooperation between music teachers from different professional backgrounds.2
德国的“Jedem Kind in Instrument”(JeKi)项目要求小学教师和音乐学校教师合作，在学校的第一年，每两个人一组，每周上一节课，提供基本的音乐培训，并展示各种乐器。教师技能互补的理想是指导该计划，但对JeKi的研究的初步结果表明，在共同授课之前几乎没有任何协调，主要是由于缺乏时间。这就导致了一个相关的研究问题，即当成功合作的基本要求，即协调和沟通大多缺失时，教师如何进行合作课堂，但合作教学仍然发生，尽管偶尔发生。为了解决这一需求，本视频研究试图重建一个互动性框架，作为不同专业背景的音乐教师之间合作的主要模式
{"title":"Assisting. Reconstructing a Cooperation Pattern on a Video Basis among Co-teachers in the Programme Jedem Kind ein Instrument","authors":"Ulrike Kranefeld, Kerstin Heberle, Jan Duve","doi":"10.23865/noasp.152.ch9","DOIUrl":"https://doi.org/10.23865/noasp.152.ch9","url":null,"abstract":"The programme “Jedem Kind ein Instrument”1 (JeKi) in Germany demands the cooperation between primary school and music school teachers, working in teams of two for one lesson each week during the first year of school to offer basic musical training and to present various musical instruments. The ideal that the teachers’ skills complement each other is guiding the programme but preliminary results from a study on JeKi showed that there is hardly any coordination prior to co-taught classes, mostly due to a lack of time. This leads to the relevant research question concerning how teachers collaborate for co-classes when the very requirements for successful collaboration, i.e., coordination and communication, are mostly missing, but co-teaching still takes place, albeit sporadically. In order to address this desideratum, this video study tries to reconstruct an interactional framing of assistance as the predominantly found model of cooperation between music teachers from different professional backgrounds.2","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128227236","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 chapter examines, from a design theoretical perspective, the different kinds of educational culture students became part of during a municipal collaborative project where municipal music and art school teachers and primary school teachers collaborated on the total music education program of a primary school throughout a school year. Data material is generated through participatory observation in an ethnographic way, with observations in different parts of the school’s music teaching, and analyzed through the research question: What kinds of institutional patterns, potential resources, representations and recognition cultures can be observed at the different stations of the rolling music teaching program? Through analysis and discussion, the chapter contributes to a broad perspective on collaboration between municipal music and art school and primary school, which involves embracing a broader subject-specific and pedagogical diversity.
{"title":"Utdanningskulturelt mangfold i et rullerende musikkundervisningstilbud","authors":"Bjørn Bandlien","doi":"10.23865/noasp.152.ch5","DOIUrl":"https://doi.org/10.23865/noasp.152.ch5","url":null,"abstract":"This chapter examines, from a design theoretical perspective, the different kinds of educational culture students became part of during a municipal collaborative project where municipal music and art school teachers and primary school teachers collaborated on the total music education program of a primary school throughout a school year. Data material is generated through participatory observation in an ethnographic way, with observations in different parts of the school’s music teaching, and analyzed through the research question: What kinds of institutional patterns, potential resources, representations and recognition cultures can be observed at the different stations of the rolling music teaching program? Through analysis and discussion, the chapter contributes to a broad perspective on collaboration between municipal music and art school and primary school, which involves embracing a broader subject-specific and pedagogical diversity.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125758333","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 chapter explores the collaborative constellations that Kulturskolen has in its own municipalities, and how these collaborations are experienced by Kulturskolen’s leaders and owners. The purpose of the chapter is to contribute to more thorough understanding of who Kulturskolen collaborates with and the intentions behind these collaborations. The study adds to the field of Kulturskolen-related research in expanding the focus on collaboration to include not only schools, kindergartens and cultural organizations, but also health services, local associations, businesses and all other partners in the municipality. The data material for the chapter is comments and free text answers made by leaders and local municipal authorities (school owners) from two nationwide surveys in Norway conducted in 2018. The study is designed as a grounded theory study, where the analysis and theory development are operationalized through constant comparison and synthesizing of the data material (Strauss & Corbin, 1990). Through this approach and inspired by the theory of resource dependence (Aldrich & Pfeffer, 1976; Pfeffer & Salancik, 1978), we recapitulate the developed insights about Kulturskolen’s local collaborations as the theory about value-based intertwined dependency relations (VSA in Norwegian). VSA describes Kulturskolen’s wide range of partners as relations that are both interweaved and interdependent and illustrates the distinctions between original intentions for collaboration and intentions brought about through these relationships as intangible and seamlessly enlaced.
{"title":"Kulturskolens mange samarbeidskonstellasjoner som verdidrevne sammenvevde avhengighetsrelasjoner","authors":"Anne Berit Emstad, Elin Angelo","doi":"10.23865/noasp.152.ch1","DOIUrl":"https://doi.org/10.23865/noasp.152.ch1","url":null,"abstract":"This chapter explores the collaborative constellations that Kulturskolen has in its own municipalities, and how these collaborations are experienced by Kulturskolen’s leaders and owners. The purpose of the chapter is to contribute to more thorough understanding of who Kulturskolen collaborates with and the intentions behind these collaborations. The study adds to the field of Kulturskolen-related research in expanding the focus on collaboration to include not only schools, kindergartens and cultural organizations, but also health services, local associations, businesses and all other partners in the municipality. The data material for the chapter is comments and free text answers made by leaders and local municipal authorities (school owners) from two nationwide surveys in Norway conducted in 2018. The study is designed as a grounded theory study, where the analysis and theory development are operationalized through constant comparison and synthesizing of the data material (Strauss & Corbin, 1990). Through this approach and inspired by the theory of resource dependence (Aldrich & Pfeffer, 1976; Pfeffer & Salancik, 1978), we recapitulate the developed insights about Kulturskolen’s local collaborations as the theory about value-based intertwined dependency relations (VSA in Norwegian). VSA describes Kulturskolen’s wide range of partners as relations that are both interweaved and interdependent and illustrates the distinctions between original intentions for collaboration and intentions brought about through these relationships as intangible and seamlessly enlaced.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125319904","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 (elective) school subject sal og scene (stage and scene) was introduced as a multi-aesthetic arts education subject at Norwegian secondary schools in 2012. The main objective of the subject is to create and perform various audiovisual or scenic expressions and productions. The purpose of this article is to provide a picture of what characterizes the subject sal og scene in the Norwegian school in 2019. The data for the article is generated through a nationwide questionnaire survey among subject teachers. The study is designed as a quantitative study in an exploratory design, and the analysis is conducted as descriptive statistical analysis. Results show that 70,3 % of schools in Norway offer the subject as an elective subject, 73,8 % of the pupils participating in the subject are girls, and 61,4 % of the teachers are women. Further results show that the most common forms of scene production in the subject are theatre and musical theatre productions, 77,29 % of the teachers have some form of arts education, and music is the most commonly represented artform in the teachers’ areas of competence. Results also show that the subject has a position of high status in the school’s management, and that 46% of the teachers teach the subject alone, without collaborating with other teachers.
(选修)学校科目sal og scene(舞台和场景)于2012年作为一门多审美艺术教育科目引入挪威中学。该学科的主要目标是创作和表演各种视听或风景表达和作品。本文的目的是提供2019年挪威学校主题学习场景的特征。本文的数据是通过在全国范围内对学科教师进行问卷调查得出的。本研究采用探索性设计的定量研究，分析采用描述性统计分析。结果表明，挪威73.3%的学校将这门课作为选修课，73.8%的学生选修这门课，61.4%的教师是女性。进一步的结果表明，该学科中最常见的场景制作形式是戏剧和音乐剧制作，77.29%的教师接受过某种形式的艺术教育，音乐是教师能力领域中最常见的艺术形式。结果还表明，该学科在学校的管理中占有很高的地位，46%的教师单独教授该学科，而不与其他教师合作。
{"title":"Det store bildet: En kartlegging av faget sal og scene i Norge i 2019","authors":"Solveig Salthammer Kolaas, Jens Knigge","doi":"10.23865/noasp.152.ch12","DOIUrl":"https://doi.org/10.23865/noasp.152.ch12","url":null,"abstract":"The (elective) school subject sal og scene (stage and scene) was introduced as a multi-aesthetic arts education subject at Norwegian secondary schools in 2012. The main objective of the subject is to create and perform various audiovisual or scenic expressions and productions. The purpose of this article is to provide a picture of what characterizes the subject sal og scene in the Norwegian school in 2019. The data for the article is generated through a nationwide questionnaire survey among subject teachers. The study is designed as a quantitative study in an exploratory design, and the analysis is conducted as descriptive statistical analysis. Results show that 70,3 % of schools in Norway offer the subject as an elective subject, 73,8 % of the pupils participating in the subject are girls, and 61,4 % of the teachers are women. Further results show that the most common forms of scene production in the subject are theatre and musical theatre productions, 77,29 % of the teachers have some form of arts education, and music is the most commonly represented artform in the teachers’ areas of competence. Results also show that the subject has a position of high status in the school’s management, and that 46% of the teachers teach the subject alone, without collaborating with other teachers.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124045942","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 chapter explores the idea of transgressions within tertiary arts education, focusing on how transgressions might lead us toward understanding notions of difference, and contributing to understandings of culturally relevant pedagogy (CRP), inclusion, and diversity in education. These ideas are explored from my first-person perspective as a tertiary arts educator and researcher, with the research taking a qualitative auto-narrative approach. Through unpacking my auto-narratives this chapter identifies how transgressions within teaching might add to the teaching and learning context, and I ask: How might we, as educators, see these transgressions as opportunities, and as ways to encourage difference in our teaching and learning? Through critiquing my own pedagogical choices and practices, I reveal that when seeking to embark on an inclusive and dialogical approach towards education, transgressions can be made, and through these transgressions there are opportunities to develop teaching practices in arts education.
{"title":"Transgressions Towards Difference: A Tertiary Arts Educator’s Reflection on Teaching in Norway","authors":"Rose Martin","doi":"10.23865/noasp.152.ch14","DOIUrl":"https://doi.org/10.23865/noasp.152.ch14","url":null,"abstract":"This chapter explores the idea of transgressions within tertiary arts education, focusing on how transgressions might lead us toward understanding notions of difference, and contributing to understandings of culturally relevant pedagogy (CRP), inclusion, and diversity in education. These ideas are explored from my first-person perspective as a tertiary arts educator and researcher, with the research taking a qualitative auto-narrative approach. Through unpacking my auto-narratives this chapter identifies how transgressions within teaching might add to the teaching and learning context, and I ask: How might we, as educators, see these transgressions as opportunities, and as ways to encourage difference in our teaching and learning? Through critiquing my own pedagogical choices and practices, I reveal that when seeking to embark on an inclusive and dialogical approach towards education, transgressions can be made, and through these transgressions there are opportunities to develop teaching practices in arts education.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115958452","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 article explores collaboration between primary and lower secondary schools and schools of music and performing arts (‘kulturskole’), and examines how such cooperation can be understood as insourcing. Research in the field has shown that common collaboration models are most often based on an outsourcing idea, through the purchase of services. Such a model, in which teachers from schools of music and performing arts are hired to carry out specific tasks in primary/lower secondary schools, is not necessarily sustainable in the face of economic and cultural obstacles. Through a qualitative approach, this study therefore examines how collaboration between primary/lower secondary schools and schools of music and performing arts can be understood within an insourcing framework. Key actors who have experience with both conceptual and contextual conditions in collaboration between the schools have been interviewed, and a number of policy documents have also been studied. The usual understanding of insourcing implies using your own employees to solve tasks instead of outsourcing tasks by hiring external contractors. In this study, I argue that models based on insourcing, through a sustainable collaboration with the schools of music and performing arts, can contribute to lasting competence development and quality improvement in the arts and music subjects and important culture-building in primary/lower secondary school.
{"title":"Insourcing som samarbeid mellom kulturskole og grunnskole","authors":"Morten Strand","doi":"10.23865/noasp.152.ch3","DOIUrl":"https://doi.org/10.23865/noasp.152.ch3","url":null,"abstract":"The article explores collaboration between primary and lower secondary schools and schools of music and performing arts (‘kulturskole’), and examines how such cooperation can be understood as insourcing. Research in the field has shown that common collaboration models are most often based on an outsourcing idea, through the purchase of services. Such a model, in which teachers from schools of music and performing arts are hired to carry out specific tasks in primary/lower secondary schools, is not necessarily sustainable in the face of economic and cultural obstacles. Through a qualitative approach, this study therefore examines how collaboration between primary/lower secondary schools and schools of music and performing arts can be understood within an insourcing framework. Key actors who have experience with both conceptual and contextual conditions in collaboration between the schools have been interviewed, and a number of policy documents have also been studied. The usual understanding of insourcing implies using your own employees to solve tasks instead of outsourcing tasks by hiring external contractors. In this study, I argue that models based on insourcing, through a sustainable collaboration with the schools of music and performing arts, can contribute to lasting competence development and quality improvement in the arts and music subjects and important culture-building in primary/lower secondary school.","PeriodicalId":402443,"journal":{"name":"Utdanning i kunstfag: Samarbeid, kvalitet og spenninger","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128220385","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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