CON • TEXT - Arkitektur- og designhøgskolen i Oslo - AHO

E S T A B L I S H I N G A M Y T H ?‘school world’ has to facilitate the ‘art world’ and do the work in front of,and after the professional visit. “In our view the teachers’ competence is themost decisive factor to being able to complete an art education after the setintentions” (S:Carlsen and Streitlien 1995:88). 172 The teachers’ contributionis referred to in terms of professionals. The A&C teachers are listed asresponsible for finding ways for the projects to be included in the curriculumaims (KKD 2007). In the 2007 document, even the responsibility for aprofessional dissemination is placed on the artists. The teachers are formallyeducated to a profession where curriculum, dissemination, teaching, methods,subject-matter content, and knowledge of age group, individual orientation,guidance and assistance are all directly aimed at creating the best possiblelearning environment for the school children. Thus, the fact that they aredismissed from most parts of their area of expertise in relation to DKSprojects (KKD 2007) should, at some level, give rise to concern. It did in thenational evaluation, and it would have been beneficial to see some of thequestions mirrored in the 2007 document. This did not happen, as theMinistry of Culture and Church Affairs (MCCA) themselves comment: “…the evaluation of the program from NIFU STEP does not provide basis forany major or far-reaching changes in the running of DKS” (M:Oftestad2008). 173 The ministry further authored the 2007 political document thatsided with the critique of the evaluation the ministry itself had requisitioned,rather than address the issues referred to in it. It is voiced in the manner thatenforces the view that the school is a performance venue for the artist hero,rather than the main arena in terms of educational content for the program.“In2005 the National museum was given the task of developing a plan of actionfor a nationwide dissemination of fine arts, crafts, architecture and design byThe MCCA” (D:KKD 2007:31). 174 As I see it, it mirrors the public myth ofthe artist hero as an automatic teacher in light of artistic freedom ofexpression, while the teacher obstacle is a bad pedagog in light ofinstitutional affiliation.GULLSEKKENThe concept of professionals and quality that is expressed in the stereotypes,and also now in documents concerning DKS, is also reflected in regards tothe national prize Gullsekken (The Golden Rucksack) that was firstestablished and rewarded in 2007. The jury selection, and further, on theselection of winners by the jury, can, in my view, be seen as a case of172 OQ: “Etter vårt syn er lærerens kompetanse den mest avgjørende faktoren for å kunne gjennomføre enformingsundervisning etter intensjonene”.173 OQ: “... evalueringen av ordningen fra NIFU STEP ikke gir grunnlag for [ gj;re store og omfattendeendringer i organiseringen av DKS ...”.174 OQ: “I 2005 fekk Nasjonalmuseet i oppdrag frå Kultur- og kyrkjedepartementet å utarbeide einhandlingsplan for landsdekkjande formidling av biletkunst, kunsthandverk, arkitektur og design”.149