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D E N K U L T U R E L L E S K U L E S E K K E NM:regjeringen.no 2008). The fact that equality in the collaboration wouldprevent censorship or shocked parents, outrageous projects and failedopportunities is not mentioned in the debate at all. The one world does nottouch the other, as the award would show.The Entertaining Lesson — The Incompetent TeacherThere is recognition that some projects have a difficult time as theprofessions have opposing interests. However, the only critique in this is thatthe ‘school world’ has to be better at pedagogic reflections in the aftermath ofprojects. The artist comments on the exhibition situation that: “I get soinspired by being part of it, and I see how important it is that artists get torelay their competence to the children” (M:Gerhardsen 2007:7). 92 The textgoes on to explain that the artist has: “... understood what it takes to inciteengagement and interest” (M:Gerhardsen 2007:7). 93 The teachers aredescribed as lacking necessary competence to be involved (M:Eidem 2007a;M:Eidem 2007b; M:Holdhus 2008), and it is suggested that this lack ofcompetence, not collaboration difficulties, is the main problem. Theywelcome productions, but are not involved as: “At the same time I canunderstand schools, because art is not necessarily important to them. One isafraid of what one cannot understand…” (M:Eidem 2007b:8). 94 It is evenexplicitly stated that while artists are creative, the teachers have aresponsibility to keep the pupils quiet and calm. “... have not taken on anykind of teacher role, we haven’t yelled or scolded sort of…” (I:A1). 95 Theartists don’t want to deal with the ‘problem of individuality’ in relation toanything other than when the child is occupied in a set frame with a setproject in a set context with a teacher to facilitate. The story of theblackboard regime has become a way to label teaching as static andpacifying. However this backfires in my view when the pictures show the“new blackboards”, paintings and PowerPoint. At the same time, thisrepresents a recipe thinking that is very traditional in form. There are a fewworks of art, the educator talks of techniques, content and use of colours.They talk of whether the picture is abstract or not. Then they talk of thefeelings it might incite in the children. This is what has been labelled ‘blackboarding’ by pedagogues themselves. Sometimes it is needed, but a lot of thetime it is pacifying.92 OQ: “Jeg blir så inspirert av å være med, og jeg ser hvor viktig det er at kunstnere får videreføre sinkompetanse til barna”.93 OQ: “... skjønt hva som skal til for å vekke engasjement og interesse”.94 OQ: “Samtidig skjønner jeg skolene, fordi kunst ikke nødvendigvis er viktig for dem. Man er jo redd alt manikke forstår ...”.95 OQ: “... ikke har tatt noe sånn lærerrolle, vi har ikke kjefta, vi har ikke smelt liksom!”.102