Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3998
J. S. Knudsen
This article investigates policies of cultural diversity and difference in the promotion of arts to school children. Based on historical examples from concert promotion for children in Norway the article examines how cultural difference has been produced and mobilized strategically in efforts aimed at strengthening diversity. It is argued that, on the one hand, constructions of difference play an important part in the development of cultural identity and visibility, while on the other hand, a focus on difference can be a basis for cultural categorizations, and potentially, for the formation of unfortunate stereotypes. The article is informed by debates and discussions on arts for children, with reference to theorizations of difference from anthropology and education studies. Questions raised concern how difference best can be addressed in the shaping of an inclusive, anti-oppressive education.
{"title":"Arts for Children, Cultural Diversity and the Production of Difference","authors":"J. S. Knudsen","doi":"10.7577/INFORMATION.3998","DOIUrl":"https://doi.org/10.7577/INFORMATION.3998","url":null,"abstract":"This article investigates policies of cultural diversity and difference in the promotion of arts to school children. Based on historical examples from concert promotion for children in Norway the article examines how cultural difference has been produced and mobilized strategically in efforts aimed at strengthening diversity. It is argued that, on the one hand, constructions of difference play an important part in the development of cultural identity and visibility, while on the other hand, a focus on difference can be a basis for cultural categorizations, and potentially, for the formation of unfortunate stereotypes. The article is informed by debates and discussions on arts for children, with reference to theorizations of difference from anthropology and education studies. Questions raised concern how difference best can be addressed in the shaping of an inclusive, anti-oppressive education.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90696459","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.4450
Mildrid Bjerke, J. S. Knudsen, Lise Lundh, R. Tronstad
This special issue of Nordic Journal of Arts and Research is a collection of articles based on selected papers presented at the conference Art in Education held at Oslo Metropolitan university in august 2019. Our goal with the conference was to create a widely based international venue for exploring the many ways in which art becomes meaningful and powerful through ways of teaching and arts promotion. A key intention was to include both artists, academics and teachers and to stimulate encounters that cross conventional disciplinary barriers. The two partners organizing the conference were Kulturtanken: Arts for Young Audiences Norway, and the Faculty of Education at Oslo Metropolitan University. The mobilisation of both the artistic and scholarly networks of these two organizations laid the grounds for three days of stimulating interaction, art experiences and discussions
本期《北欧艺术与研究杂志》特刊是根据2019年8月在奥斯陆城市大学举行的“艺术教育”会议上发表的精选论文收集的文章。我们的目标是创造一个广泛的国际场所，通过教学和艺术推广的方式，探索艺术变得有意义和强大的多种方式。一个关键的意图是包括艺术家、学者和教师，并激发跨越传统学科障碍的相遇。会议的两个合作伙伴是Kulturtanken: Arts for Young audience Norway和Oslo Metropolitan University的教育学院。这两个组织的艺术和学术网络的动员为为期三天的刺激互动，艺术体验和讨论奠定了基础
{"title":"Art in Education – Treasures Within and Treasures Between Us","authors":"Mildrid Bjerke, J. S. Knudsen, Lise Lundh, R. Tronstad","doi":"10.7577/INFORMATION.4450","DOIUrl":"https://doi.org/10.7577/INFORMATION.4450","url":null,"abstract":"This special issue of Nordic Journal of Arts and Research is a collection of articles based on selected papers presented at the conference Art in Education held at Oslo Metropolitan university in august 2019. Our goal with the conference was to create a widely based international venue for exploring the many ways in which art becomes meaningful and powerful through ways of teaching and arts promotion. A key intention was to include both artists, academics and teachers and to stimulate encounters that cross conventional disciplinary barriers. The two partners organizing the conference were Kulturtanken: Arts for Young Audiences Norway, and the Faculty of Education at Oslo Metropolitan University. The mobilisation of both the artistic and scholarly networks of these two organizations laid the grounds for three days of stimulating interaction, art experiences and discussions","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90098449","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3769
Line Engen
As art museum education practices get more ambitious in form and content, and to a higher degree inform the overall audience strategies, the need for a research framing is required. The art museum is facing new and high expectation from society and policy makers in terms of being a relevant social and democratic platform inclusive for everyone. To manifest the changes, the institution must draw on all the different museal knowledges, not least the one about the audience. There has been a history of professional hierarchy and knowledge hegemony inside the art museum, where the object-based knowledge has trumped the practice-based. An important reason for this imbalance has been the lack of adequate practice related research methods and a theoretical framing within art museum education. Research in art museum has to a large extent operated within the classical art historical field, but more and more museums are looking to and are drawing on other models outside the museum disciplines to develop new adequate research standards. One of the museums that have undergone a profound change much due to a change in how they think about practice and research, is Tate with research leader Emily Pringle in the lead. Inspired by models within the arts and school system, they have developed a practice-led research method. In this article I will reflect on how and why it is important for art museum educators to do research on their own practice, drawing on both the Tate model and my own experience from working at the National Museum for over ten years.
{"title":"Practice-led Research in the Art Museum","authors":"Line Engen","doi":"10.7577/INFORMATION.3769","DOIUrl":"https://doi.org/10.7577/INFORMATION.3769","url":null,"abstract":"As art museum education practices get more ambitious in form and content, and to a higher degree inform the overall audience strategies, the need for a research framing is required. The art museum is facing new and high expectation from society and policy makers in terms of being a relevant social and democratic platform inclusive for everyone. To manifest the changes, the institution must draw on all the different museal knowledges, not least the one about the audience. There has been a history of professional hierarchy and knowledge hegemony inside the art museum, where the object-based knowledge has trumped the practice-based. An important reason for this imbalance has been the lack of adequate practice related research methods and a theoretical framing within art museum education. Research in art museum has to a large extent operated within the classical art historical field, but more and more museums are looking to and are drawing on other models outside the museum disciplines to develop new adequate research standards. One of the museums that have undergone a profound change much due to a change in how they think about practice and research, is Tate with research leader Emily Pringle in the lead. Inspired by models within the arts and school system, they have developed a practice-led research method. In this article I will reflect on how and why it is important for art museum educators to do research on their own practice, drawing on both the Tate model and my own experience from working at the National Museum for over ten years.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"114 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80755520","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3732
Jorge Graça, Helena Rodrigues, P. Rodrigues
This article analyses and reflects upon a community music project that occurred in 2016 in Portugal. It involved a community of people with disabilities and a group of artists from different fields. The project’s promotors aimed to create a space in which differences were abated, social well-being was nourished and individual desires were fostered. This article endeavours to understand how artistic performance may provide opportunities for empowering less advantaged people and how it might have been achieved during this project. The reflections present in this article are based on the current literature on community music and are informed by other similar analysis of these kinds of projects. The article starts with a brief description of the project and then elaborates on the term ‘community music’ and its relationship to this project. The project made use of a mix between an art installation and an experimental instrument called Pianoscopio. This article describes this instrument in detail and analyses how it enabled the participants to express themselves to their fullest abilities. A characterisation of the participating community members follows, focusing on the core tenets of the association they were part of. After that, the article examines how the workshops took place and what transpired in the final performance, focusing specifically on the steps taken to accommodate the different disabilities of the participants. The article ends with a reflection upon these kinds of projects and the impact this one project might have had on its participants.
{"title":"Projecto X: A Journey Inside Ourselves and What We Found When We Arrived","authors":"Jorge Graça, Helena Rodrigues, P. Rodrigues","doi":"10.7577/INFORMATION.3732","DOIUrl":"https://doi.org/10.7577/INFORMATION.3732","url":null,"abstract":"This article analyses and reflects upon a community music project that occurred in 2016 in Portugal. It involved a community of people with disabilities and a group of artists from different fields. The project’s promotors aimed to create a space in which differences were abated, social well-being was nourished and individual desires were fostered. This article endeavours to understand how artistic performance may provide opportunities for empowering less advantaged people and how it might have been achieved during this project. The reflections present in this article are based on the current literature on community music and are informed by other similar analysis of these kinds of projects.\u0000The article starts with a brief description of the project and then elaborates on the term ‘community music’ and its relationship to this project. The project made use of a mix between an art installation and an experimental instrument called Pianoscopio. This article describes this instrument in detail and analyses how it enabled the participants to express themselves to their fullest abilities. A characterisation of the participating community members follows, focusing on the core tenets of the association they were part of. After that, the article examines how the workshops took place and what transpired in the final performance, focusing specifically on the steps taken to accommodate the different disabilities of the participants. The article ends with a reflection upon these kinds of projects and the impact this one project might have had on its participants.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"119 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77936531","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.4437
Ilmi Gutzeit Mathiesen
This article presents an arts based approach to some of the motifs that Edvard Munch painted during his many stays in the Norwegian town of Asgardstrand. The author examines the relationship between Munch’s and her own observations made from the very same vantage points in the landscapes. The theoretical thrust of the article is informed by arts based research as promoted by art education theorists Barone and Eisner (2012) and art therapy researcher McNiff (2013). It is also inspired by Pink’s text “Doing sensory ethnography” (2009), which highlights the multisensory experience and recognises the significance of the researcher’s own presence in the data collection process. A key tool in the research project was a tablet device (iPad), used both as a camera in the field and as a tool for creative artistic exploration in practice. The method involved digitally painting Munch’s figures onto photos taken from the same places as the artist must have stood when inspired to paint his famous pictures. The author argues that a tablet with artistic software applications can serve as a versatile and handy “portable studio”, facilitating immediate first-hand experience and understanding. The concluding discussion focuses on how this practical arts based approach to the work of a famous artist can be implemented in an art education setting.
{"title":"In the Footsteps of an Observer – Looking at Edvard Munch in Åsgårdstrand","authors":"Ilmi Gutzeit Mathiesen","doi":"10.7577/INFORMATION.4437","DOIUrl":"https://doi.org/10.7577/INFORMATION.4437","url":null,"abstract":"This article presents an arts based approach to some of the motifs that Edvard Munch painted during his many stays in the Norwegian town of Asgardstrand. The author examines the relationship between Munch’s and her own observations made from the very same vantage points in the landscapes. The theoretical thrust of the article is informed by arts based research as promoted by art education theorists Barone and Eisner (2012) and art therapy researcher McNiff (2013). It is also inspired by Pink’s text “Doing sensory ethnography” (2009), which highlights the multisensory experience and recognises the significance of the researcher’s own presence in the data collection process.\u0000A key tool in the research project was a tablet device (iPad), used both as a camera in the field and as a tool for creative artistic exploration in practice. The method involved digitally painting Munch’s figures onto photos taken from the same places as the artist must have stood when inspired to paint his famous pictures. The author argues that a tablet with artistic software applications can serve as a versatile and handy “portable studio”, facilitating immediate first-hand experience and understanding. The concluding discussion focuses on how this practical arts based approach to the work of a famous artist can be implemented in an art education setting.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"214 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75585251","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3768
Mildrid Bjerke
This paper discusses a dialectic between a so-called disinterested appreciation of literature and what I refer to as the ‘neoliberal ethos’. I am interested, primarily, in the influence of this dialectic on literary pedagogy. I will argue that the way in which the neoliberal ethos has permeated educational settings creates a need for a reconceptualised notion of aesthetic disinterest, without which we will struggle to coherently argue for alternative conceptions of the value of education, especially arts and humanities education. I hope to show that reviving the concept of disinterest will facilitate a renegotiation of the literature classroom as a space for genuine aesthetic experience and non-instrumental discussion.
{"title":"Renegotiating Aesthetic Disinterest for the Literature Classroom","authors":"Mildrid Bjerke","doi":"10.7577/INFORMATION.3768","DOIUrl":"https://doi.org/10.7577/INFORMATION.3768","url":null,"abstract":"This paper discusses a dialectic between a so-called disinterested appreciation of literature and what I refer to as the ‘neoliberal ethos’. I am interested, primarily, in the influence of this dialectic on literary pedagogy. I will argue that the way in which the neoliberal ethos has permeated educational settings creates a need for a reconceptualised notion of aesthetic disinterest, without which we will struggle to coherently argue for alternative conceptions of the value of education, especially arts and humanities education. I hope to show that reviving the concept of disinterest will facilitate a renegotiation of the literature classroom as a space for genuine aesthetic experience and non-instrumental discussion.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74444501","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3745
K. Høst, L. Mork
Haugerudbekken is the collective title of a series of art projects where two local artists (the authors of this article) collaborate with pupils from local schools in Haugerud to create public art installations in the neighbourhood. Haugerudbekken may be considered a practical exploration guided by principles in the fields of socially engaged art (SEA), teaching artists (TA) and community artists (CA). The project is being undertaken within the broader context of a government run local improvement initiative in the Oslo suburbs of Haugerud and Trosterud. A growing demand for art entering a societal context (like urban development) calls for approaches emphasizing dialogue, communication and local affiliation. As this demand grows, so does the need for best-practice guidance for initiating artists as well as for policymakers and others inviting artists to contribute. Furthermore, our approach as independent artists working within a community setting might also benefit from clarification of theory and framework in this field. This article therefore aims to share knowledge gathered through our three years (and still ongoing) working on Haugerudbekken, pinpointing what we believe to be key success factors as well as challenges in our project. Findings are discussed in relation to existing theory and relevant practice in SEA, TA and CA informing existing guidelines as well as terminology.
{"title":"Haugerudbekken: Community Improvement through Socially Engaged Art","authors":"K. Høst, L. Mork","doi":"10.7577/INFORMATION.3745","DOIUrl":"https://doi.org/10.7577/INFORMATION.3745","url":null,"abstract":"Haugerudbekken is the collective title of a series of art projects where two local artists (the authors of this article) collaborate with pupils from local schools in Haugerud to create public art installations in the neighbourhood. Haugerudbekken may be considered a practical exploration guided by principles in the fields of socially engaged art (SEA), teaching artists (TA) and community artists (CA). The project is being undertaken within the broader context of a government run local improvement initiative in the Oslo suburbs of Haugerud and Trosterud. A growing demand for art entering a societal context (like urban development) calls for approaches emphasizing dialogue, communication and local affiliation. As this demand grows, so does the need for best-practice guidance for initiating artists as well as for policymakers and others inviting artists to contribute. Furthermore, our approach as independent artists working within a community setting might also benefit from clarification of theory and framework in this field.\u0000This article therefore aims to share knowledge gathered through our three years (and still ongoing) working on Haugerudbekken, pinpointing what we believe to be key success factors as well as challenges in our project. Findings are discussed in relation to existing theory and relevant practice in SEA, TA and CA informing existing guidelines as well as terminology.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"109 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79818050","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3770
Camilla Kvaal
A society considered to be in a multicultural condition is likely to condition the way things are seen and what is seen as important. Attention is likely to be drawn to difference and diversity and the prospects of including it, and high hopes may be set on music in this. Within a certain multicultural discourse, music is expected to affirm and represent identities, while at the same time to create unity across diversity. Departing from a Norwegian context, drawing on results from fieldwork within the intercultural ensemble Kaleidoscope, this paper explores collaborative music making in relation to diversity and knowledge production. It is argued that musical knowledge may be generated in useful ways by thinking beyond music as representation. Knowing music as operation may better benefit co-construction of diverse and inclusive music practices.
{"title":"Knowing Music as Representation or as Operation: Exploring Musical Diversity through Collaborative Music Making in Kaleidoscope","authors":"Camilla Kvaal","doi":"10.7577/INFORMATION.3770","DOIUrl":"https://doi.org/10.7577/INFORMATION.3770","url":null,"abstract":"A society considered to be in a multicultural condition is likely to condition the way things are seen and what is seen as important. Attention is likely to be drawn to difference and diversity and the prospects of including it, and high hopes may be set on music in this. Within a certain multicultural discourse, music is expected to affirm and represent identities, while at the same time to create unity across diversity. Departing from a Norwegian context, drawing on results from fieldwork within the intercultural ensemble Kaleidoscope, this paper explores collaborative music making in relation to diversity and knowledge production. It is argued that musical knowledge may be generated in useful ways by thinking beyond music as representation. Knowing music as operation may better benefit co-construction of diverse and inclusive music practices.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75497589","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3753
V. Sortland, Ida Gudbrandsen
This article investigates aesthetic learning processes from the perspective of three dancers working in a school context. It is based on our own experiences from Var Vrimmel – a dance project carried out by the dance group Landing at a Norwegian primary school in 2019, where three dancers were “artists in residence” at a primary school for four weeks. We present three different formats, each with a different relationship between the dancers and the fourth graders participating in the project. Our intention is to outline, describe and discuss how our practice can facilitate aesthetic processes at the intersection between art and education. Our theoretical framework is based on John Dewey’s work, particularly his definition of aesthetic experience. Our aim is to contribute to understanding the notion of aesthetic learning processes and broaden perspectives on how artists could work in a school context and the roles they might have.
{"title":"Exploring Situations Between Art and Pedagogy: The Dance Project Var Vrimmel as an Aesthetic Learning Process with Fourth Graders as Participants","authors":"V. Sortland, Ida Gudbrandsen","doi":"10.7577/INFORMATION.3753","DOIUrl":"https://doi.org/10.7577/INFORMATION.3753","url":null,"abstract":"This article investigates aesthetic learning processes from the perspective of three dancers working in a school context. It is based on our own experiences from Var Vrimmel – a dance project carried out by the dance group Landing at a Norwegian primary school in 2019, where three dancers were “artists in residence” at a primary school for four weeks. We present three different formats, each with a different relationship between the dancers and the fourth graders participating in the project. Our intention is to outline, describe and discuss how our practice can facilitate aesthetic processes at the intersection between art and education. Our theoretical framework is based on John Dewey’s work, particularly his definition of aesthetic experience. Our aim is to contribute to understanding the notion of aesthetic learning processes and broaden perspectives on how artists could work in a school context and the roles they might have.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88106413","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}
Pub Date : 2021-05-10DOI: 10.7577/INFORMATION.3742
Inger Fure Grøtting
According to Hannah Arendt, a free and public space is an essential condition for democracy. She presents this free and public space as a space between us, where different voices are expressed and are being heard (Arendt, 2012). In order to maintain a democratic social model, the school system needs to facilitate these open spaces where students can acquire knowledge, develop skills and values they need to become active democratic citizens, as well as giving practical training in exercising them. This article gives an insight on how these competences can be learned in an art museum through dialogue. The argumentation in the article relies upon the research of art mediation at Kunstnernes Hus. The research includes qualitative examinations of a specific case where high school-students encountered artworks by Vanessa Baird.
{"title":"Contemporary Art as Democracy Education","authors":"Inger Fure Grøtting","doi":"10.7577/INFORMATION.3742","DOIUrl":"https://doi.org/10.7577/INFORMATION.3742","url":null,"abstract":"According to Hannah Arendt, a free and public space is an essential condition for democracy. She presents this free and public space as a space between us, where different voices are expressed and are being heard (Arendt, 2012). In order to maintain a democratic social model, the school system needs to facilitate these open spaces where students can acquire knowledge, develop skills and values they need to become active democratic citizens, as well as giving practical training in exercising them. This article gives an insight on how these competences can be learned in an art museum through dialogue. The argumentation in the article relies upon the research of art mediation at Kunstnernes Hus. The research includes qualitative examinations of a specific case where high school-students encountered artworks by Vanessa Baird.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86790327","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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