CON â¢ TEXT - Arkitektur- og designhÃ¸gskolen i Oslo - AHO

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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 N(Bumgarner 1993). In Sweden Kultur i skolan (KiS) has similarities to theNorwegian DKS program, and studies and writings have been undertaken(Thavenius 2004; Thavenius and Aulin-Gråhamn 2003; Thavenius andPersson 2004). Creative partnerships — Artists in schools have beenestablished in the UK (Orfali 2004). 18 I have chosen to comment on the factthat these programs exist, to point out that the challenges facing theNorwegian endeavour are not only uniquely Norwegian. In light of thequestions raised in the evaluations in these programs in terms of collaborationbetween the art world and the school world, some challenges can be seen tobe more widespread. There are recognisably some questions in common todiscuss, even though some parts will be local through the fact that theregulations and curricula that constitutes the subjects differ from country tocountry.DKS — Meeting Ground or Battle GroundThe DKS program is, through its goals, located within the schools learningaims, as well as the core curriculum’s epistemological orientation (KKD2003a). The context in which the program operates is education, as statedearlier more specifically 1st to 10th grade compulsory school in Norway. It isstated in the National curriculum of 2006, Kunnskapsløftet (the Knowledgepromotion), that;“The subject Art and Crafts has an important position indeveloping general cultural education. It also prepares pupilsfor a number of further education, trades and occupations.Aesthetic competence is a source of development, on severallevels from personal growth, to influence on personalsurroundings, to creative innovations in a larger socialperspective” (KD and Udir (Kunnskapsdepartementet andUtdanningsdirektoratet) 2006)It can be argued that general education is the single largest culture institutionin the country, as it is the one institution that everyone has to attend regularly.No matter one’s background or location, the National curriculum provides acommon knowledge base and recognition for traditions, culture and socialvalues.The execution of DKS requires actors from state to local school level. Whenthe program was established it was decided that both the culture sector andthe school sector should share the responsibility. “The relations between theschool- art- and culture-sector within DKS, turns out to be variegated and18 I have repeatedly tried to contact the program to gain information regarding any local evaluations. There hasbeen no reply to these requests.10
R E S E A R C H I N G D K Stension filled. The program’s Achilles heel is the divided responsibility”(Borgen and Brandt 2006:9). 19 These two sectors represent different values,and collaboration will prompt the ‘school world’ and ‘art world’ to displaytheir values. As long as the explicitly stated mandate is to strengthen theeducation within the subject A&C, not to replace it or exist outside of it(KKD 2007; Skjelbred 2007), and the funding is located within the culturesector, while the practice is located within the school institution, it sometimesmakes for an uneasy alliance. This is where some of the challenges lie. Howdo the field of art, the educational aims that exist as a given on a general levelfor schools, and subject-matter specific for the school subject A&C manageto coexist within the practice of DKS?This dilemma exists at all levels of the collaboration, also with professionsoperating in the same space. The DKS project is a good case to explore theschool subject in terms of professional struggle pertaining to content, qualityand further development, and on the inclusion of art and design in a schoolthat is increasingly knowledge focused. It will also unveil opposing claims ofownership within the DKS program over said knowledge and contentchoices. These claims of ownership, made both publicly and at institutionallevel will influence the work practice, and be of importance in the discussionnot only of the execution of DKS, but of the recognition of the professionalteacher.An Insider and Outsider View of Educational PracticeAs the DKS program in Visual art brings together professionals from twodifferent worlds - the ’school world’ and the ’art world’, they bring theirpreconceptions and professional views into the work setting, and rationalizetheir choices from these. As a double practitioner in this, I am both an A&Cteacher and an A&C education researcher. However, if I in my research amnot constantly aware of this, it can also be a bias that influences the results(Larsson 2005). This forces me to consider my own role and preconceptionscarefully before advancing any further with the study.In terms of Art and design didaktik research — I will return to the conceptdidaktik fully later — to step away from the practice, and the pedagogicaltheory to assume a wider framework to accommodate all these parts can bevaluable. It can be argued that it might not be entirely possible to free myselffrom the values and views gained from the professional field I was trained in,and placing myself within a qualitative research tradition focusing on‘matters of concern’ rather than ‘matters of fact’ (Latour 2004), the19 OQ: “Forholdet mellom skole- og kunst- og kultursektorene i Den kulturelle skolesekken viser seg å væremangfoldig men spenningsfylt. Ordningens akilleshæl er det delte ansvaret”.11
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B I B L I O G R A P H YKlafki, Wolf
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B I B L I O G R A P H YThavenius, J
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