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 Nwould be seen as the last step after learning a set of skills and models forsolutions. This is yet again the dilemma of artistic freedom within aninstitution of education. I do not advocate that the model-based approach isthe only right way to conduct the subject. However, it is one of the waystowards a common knowledge base and skills that are required to achieve acertain level of proficiency in the subject. To choose an approach onlythrough creative self-expression will not ensure that the pupils areuninfluenced by outside sources, but that they will be influenced by allexternal sources that might have an aesthetic agenda, be it beneficial or not(Duncum 2007). Having no knowledge to reflect on aesthetical or materialchoices is a poor point of departure.The teaching professional’s role and discussion of expert knowledge becomesvital along with a reflection on the subject’s history and practice. Ifconsulting the sub-categories of the Curriculum of 2006, I would claim thatthese two views of A&C try to reconcile within one document. There is adifference in the purpose and use of the objects — creative art works, ordesigns and models. If pressed to highlight the factors behind the differentapproaches, I would say: 1) the individual focus of fine art — how oneperson/group chooses to substantiate a comment on an idea, and 2) the groupconcerns of design, architecture and visual communication — how to makethe best product/solution to secure a gain — financial, social, cultural, ethicaland/or environmental. One work is executing an ethical comment and theother is causing an ethical consequence. One is individual expression, whilethe other is a knowledge-based product. This is as important as some of thesimilarities in techniques and/or materials or compositions used. In spite ofhaving these two distinct features present, the main focus of the A&Csubject-matter content is on the qualified users and clients in the materialworld. The knowledge described in the “new subject” cannot be said to be‘wrong as such’, as it is a result of a tradition and a contemporary focus onwhat constitutes a qualified user and consumer. However, in connection tothe focus of the Core curriculum, there is a need to deliberate over theconcept of knowledge (Skarpenes 2005) and basic subject-matter content inquestion to the qualified user and subject-matter knowledge.The core curriculum of the current curriculum highlights some of thesedilemmas as it states that the end result for the professional teacher should beto provide an education which contributes to a society of ‘integrated humanbeings’ (KUF 1996). This integrated human being is equipped to deal with arapidly changing society. It is a moral being. The common platform for all isbeing able to continuously learn. It can then be argued that this constant 1)focus on feeling safe, seen through the widely used slogan; School — a safeplace to be, a good place to learn, where learning somehow is placed as64
T H E ’ S C H O O L W O R L D ’ A N D ’ A R T W O R L D ’secondary, and 2) the focus on the changing society and a need forqualification for participating throughout a situation of change reflected inthe slogan; Responsibility to educate yourself! 42 can be seen as a developmenton the expense of subject-specific knowledge (Skarpenes 2005). The constantinward focus on personal knowledge and everyday actions, combined withfocus on societal change has eroded the knowledge base of the Norwegiancurriculum (Skarpenes 2004; Time 2005). The need to feel safe warrants anintegration of everyday experiences into the individual learning and teaching/learning strategies for future knowledge gain takes precedence over basicknowledge content (Telhaug 2005; 2006). To be able to learn continuouslycan be read as being more important than possessing any fixed level ofknowledge (Skarpenes 2005).In addition to this general problem regarding subject-matter knowledgecontent, for A&C and the knowledge aspect, there is another factor thatbecomes important as well. Is the subject recognised as a knowledge subject?Even as it tries to communicate knowledge content on several levels, there isno demand for final examination within the subject. It will be evaluatedsolely by what is called Overall achievement grades, not by externalevaluations (KD and Udir 2006). It can be seen as a signal towards seeing thesubject as lacking a knowledge base, but rather accepted as a place to ‘relax’(Henriksen 2008). This attitude is a survivor of the romantic orientation. Thisfocus on individuality and feeling has an impact on the A&C teachers’positions as professionals as well. If nothing can be taught, why do you needa professional to teach? If A&C is not to be considered a knowledge-basedsubject at all, and coping with change is more important that a minimum ofskills and knowledge, why hire a professional? If this emotivism (Skarpenes2005) and its romantic individual focus (Borgen 2005) continues to be theleading paradigm, then the teachers’ personality traits will continue to beseen as more important than the teachers’ professional knowledge (Skarpenes2005). However, the merge of 1960 forced a discussion between the craftsand their focus on ‘practical useful knowledge and skill’, the art and the focuson a charismatic view of the individual, and the romantic view of the child.Through a continuous debate at practice level Art & Crafts has slowlydeveloped into a subject where ‘sloyd’, ’textile’, ‘technology’, and ‘fine art’topics imbricate and cooperate within the four sub-categories Architecture,Design, Visual communication, and Fine art.Now, in light of new technology and visual media, there is an orientationback towards some of the craft thinking, product, knowledge, and process.The tenet is that this holistic approach offers a strengthening of the parts. In42 Norwegian slogan: Ansvar for eiga læring!65
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B I B L I O G R A P H YBénatouïl,
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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 YLied, Edith.
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B I B L I O G R A P H YSchjønsby,
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B I B L I O G R A P H YThavenius, J
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CON â¢ TEXT - Arkitektur- og designhÃ¸gskolen i Oslo - AHO