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 NI followed a project within Visual art in DKS in A&C, 6 th and 7 th grade fromstart to finish. This particular project was set at a rural school, where theartists were invited by the municipal culture contact to do a project withindesign for 6 th and 7 th grades. The community and the school are small enoughthat the involved parties know each other to some extent prior to the projectstart. Because the artists were invited in by the municipality the planning hadto a large degree been executed by the artists within the frames handed themfrom that source before meeting with the school representatives. They hadthen contacted the school to set up a meeting with the head master, the A&Cteacher for the two grades and me, the researcher. The meeting functionedmore or less as an information meeting, where I explaining my researchagenda and strategy concerning the data retrieval, as well as related ethicalquestions.After this information stage of the meeting ended, the artists presented theirwritten proposal for the project.The project ran for a week, with lessons planned by the artists spanning 4days of the week of the project.• Monday 12.00 - 14.00, 2 lessons (6 th and 7 th grade together)• Tuesday 08.30 - 11.00, 2 ½ lessons (6 th gr.)• Thursday 11.30 - 14.00, 2 ½ lessons (7 th gr.)• Friday 08.30 - 11.00, 2 ½ lessons (6 th and 7 th gr. together)It was also decided that an exhibition would be set up in the school’s‘mediatech’ Monday two weeks after project start. The teachers would beresponsible for the exhibition, and the time frame would let the teachers dealwith any late work or finishing touches. These were not included in thepresented time estimate.The artists presented a finished timetable and content description for theproject, finalised with homework assignments and copied forms for thechildren to work with. The practical assignments and questions of materialsand equipment were listed. The teachers expressed the desire for a threedimensionalresult, as the school children responded well to working withmaterials and seeing a process finalised. The artists agreed to this, as they hadalready contemplated the idea. The meeting ended with the two partiessetting the date for the first lesson. There was no further contact between theA&C teacher and the artists before the day of the project start.When observing the project, I placed a video camera in the back of theclassroom to cover the movement and interaction of the teachers and artistsinvolved. The school children did not seem to notice this at all, and carried onworking without any distraction. The camera was placed in a way that40
F I N D I N G D O C U M E N T A T I O Ncaptured all the interaction between the teachers and the artists. The Thursdayof the project, I arrived 10 minutes after the start of the lesson. However, theteachers and artists had activated the video camera, so that the recording wascomplete. More important than the recordings, was the observation diary withfield notes I kept. I wrote down all my impressions concerning the ongoingcollaboration, the professional performances and projects execution. I codedthese with the number on the tape running, and where on the tape in minutesand seconds the observation could be accessed and verified. I later performeda check to see if my notes were correct. At the day of the exhibition I chosenot to keep any video footage, as an invitation to local media and otherteachers had been issued. Several external actors were present and wanted tocomment on my research agenda. It would have been enriching to includethese in the research, but as I had not attained permission to include this, Ichose instead to keep field notes concerning only the actors involved in thespecific project.The combination of notes, video and interviews provides an opportunity toidentify the pivotal points in the narratives, and see where they were visiblein the work situation as well as in the arguments and value statements madearound the choices taken at these pivotal points. They also allowed me to seewhere the expressed narratives seemed at odds with the practice. Thisespecially applied to the collaboration aspect of the project.Narratives from Teachers and ArtistsThe two teachers that were involved in the project have different educationalbackgrounds. Teacher 1 (T1), the contact teacher is an Adjunkt with limitedA&C courses in his education. Teacher 2 (T2) is an Adjunkt with a year ofA&C in her Classroom teacher training. Both artists have degrees from theNational Academy of the Arts.Stories of the DKS case were gathered from the teachers on the Friday, thelast day of the project week, and from the artists on the day of the exhibition.The artists wanted to do the telling together, to be able to complement eachother’s comments. I chose to let them do this, as I had experienced the goodcommunication between them when they were explaining their choicesduring the process.The teachers and artists were participating in a limited project within theDKS case, and the stories told have a focus on this particular limitedsituation, even as the whole case comes into play. As such the stories areopen, but short. It “… presents a compromise between the wish to obtain freeand rich self-narratives, on the one hand, and the need to limit allocated timeand the amount of material per person, on the other” (Lieblich et al. 1998:25).41
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CON â¢ TEXT - Arkitektur- og designhÃ¸gskolen i Oslo - AHO