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This article presents the results of a study about student teachers' feelings toward craft-ma... more This article presents the results of a study about student teachers' feelings toward craft-making and teaching crafts. As a teacher educator in teacher training, my interest lies first in student teachers' prior craft experiences and in their prejudices about themselves as craft-makers in relation to the human condition as set forth by philosopher Hannah Arendt (1958/2002). Second, I am interested in how students' experiences and their image of crafts affect their attitude to crafts and teaching crafts. Sorensen, 1992) to identify and categorise student teachers' emotional experiences. The data consist of essays (craft biographies, N=144) by first-year student teachers which were written in 2008 and 2009 during a basic course in crafts as part of teacher education at the University of Helsinki. Arendt (1958/2002) labelled the elements of the human condition as labour, work and action. In this study I discuss how, for instance, Arendtian concepts could be explained in...

FormAkademisk

The goal of this research is to explore how teachers’ pedagogical tact occurs in craft-art learni... more The goal of this research is to explore how teachers’ pedagogical tact occurs in craft-art learning situations, in the context of Finnish Basic Education in the Arts, by using the grounded theory (GT) method. The theoretical concepts—the term pathic, pedagogical tact and self-determination theory (SDT) and the key concepts autonomy, competence and relatedness—have been chosen based on how they supported the data analysis. The data consisted of five stimulated recall interviews with teachers. The GT analysis revealed that teachers’ pedagogical tact manifested itself in pathic perceiving, acting and interacting. The teachers supported students’ autonomy, relatedness and competence in craft-art learning by creating an open atmosphere and caring relationships with the students to support their sense of ownership and personal resources. The results provide conceptual understanding of craft-art pedagogy.

Research in Arts and Education

Interaction in Educational Domains, 2013

The purpose of this chapter is twofold: on the one hand, to search for a meaningful form of inter... more The purpose of this chapter is twofold: on the one hand, to search for a meaningful form of interdisciplinary integration in order to enhance students’ collaborative, associative, and creative learning; and on the other hand, to highlight the essential role of interaction in integrative teaching. Our focus is on a program to develop interdisciplinary integration in teacher education, by which we mean the activities that start with teaching the basics of separate subjects and continues to search for associations between the core of one subject in the content of another subject.

International Journal of Art & Design Education, 2014

ABSTRACT

International Journal of Art & Design Education, 2014

ABSTRACT

Techne Series: Research in Sloyd Education and Craft Science A, 2013

This article presents the results of a study about student teachers’ feelings toward craft-making... more This article presents the results of a study about student teachers’ feelings toward craft-making and teaching crafts. As a teacher educator in teacher training, my interest lies first in student teachers’ prior craft experiences and in their prejudices about themselves as craft-makers in relation to the human condition as set forth by philosopher Hannah Arendt (1958/2002). Second, I am interested in how students’ experiences and their image of crafts affect their attitude to crafts and teaching crafts. The study uses qualitative content analysis (e.g. Cohen, Manion & Morrison, 2007), concept clarification (e.g. Kramer, 1993; Burkin, 2011) and thought experiments (Zalta, 2011; Cohnitz, 2006; Sorensen, 1992) to identify and categorise student teachers’ emotional experiences. The data consist of essays (craft biographies, N=144) by first-year student teachers which were written in 2008 and 2009 during a basic course in crafts as part of teacher education at the University of Helsinki....

International Journal of Education and the Arts, 2018

Our pedagogic developing project, ImproStory, addresses improvisation and storytelling. We study ... more Our pedagogic developing project, ImproStory, addresses improvisation and storytelling. We study how these two concepts could be applied in arts and crafts education for both primary and Kindergarten (daycare) teachers. The majority of our data consists of digital questionnaires in basic arts and crafts studies of primary preservice teachers (N=323). Additional data (portfolios) contain a group of Kindergarten and primary pre-service teachers with a focus in visual arts (N=8). All data were collected at the University of Helsinki (Finland) during the academic year 2014–2015. According to our study, pre-service teachers consider improvisation and storytelling to be beneficial skills. They see developing them as necessary and useful. Experimenting and learning the approach appear to strengthen pre-service teachers’ collaboration and allow them to build independence, trust, and self-confidence within arts and crafts education. In addition, improvisation and storytelling helps them to r...

The repertory grid is a technique used in psychological and behavioral studies to elicit individu... more The repertory grid is a technique used in psychological and behavioral studies to elicit individuals' personal constructs. This pilot study examined the feasibility of using this technique with young children in early childhood education settings with regard to visual art education, based on the view that listening to, and appreciating children's opinions and criteria about their own work and that of others is essential to understanding why children's work is the way it is. Repertory Grid offers a more structural basis for conversation and feedback in art education than does an open interview. Participating in the pilot study were two 5-year-olds. One feedback conversation was held with each child separately, as well as one unusable conversation with both children together, to elicit their constructs. During the conversations, 5 art works (elements) were selected from about 10 the child had made at home or at art school within the preceding 6 months. Constructs (product ...

This article presents the results of a study about student teachers' feelings toward craft-ma... more This article presents the results of a study about student teachers' feelings toward craft-making and teaching crafts. As a teacher educator in teacher training, my interest lies first in student teachers' prior craft experiences and in their prejudices about themselves as craft-makers in relation to the human condition as set forth by philosopher Hannah Arendt (1958/2002). Second, I am interested in how students' experiences and their image of crafts affect their attitude to crafts and teaching crafts. Sorensen, 1992) to identify and categorise student teachers' emotional experiences. The data consist of essays (craft biographies, N=144) by first-year student teachers which were written in 2008 and 2009 during a basic course in crafts as part of teacher education at the University of Helsinki. Arendt (1958/2002) labelled the elements of the human condition as labour, work and action. In this study I discuss how, for instance, Arendtian concepts could be explained in...

FormAkademisk

The goal of this research is to explore how teachers’ pedagogical tact occurs in craft-art learni... more The goal of this research is to explore how teachers’ pedagogical tact occurs in craft-art learning situations, in the context of Finnish Basic Education in the Arts, by using the grounded theory (GT) method. The theoretical concepts—the term pathic, pedagogical tact and self-determination theory (SDT) and the key concepts autonomy, competence and relatedness—have been chosen based on how they supported the data analysis. The data consisted of five stimulated recall interviews with teachers. The GT analysis revealed that teachers’ pedagogical tact manifested itself in pathic perceiving, acting and interacting. The teachers supported students’ autonomy, relatedness and competence in craft-art learning by creating an open atmosphere and caring relationships with the students to support their sense of ownership and personal resources. The results provide conceptual understanding of craft-art pedagogy.

Research in Arts and Education

Interaction in Educational Domains, 2013

The purpose of this chapter is twofold: on the one hand, to search for a meaningful form of inter... more The purpose of this chapter is twofold: on the one hand, to search for a meaningful form of interdisciplinary integration in order to enhance students’ collaborative, associative, and creative learning; and on the other hand, to highlight the essential role of interaction in integrative teaching. Our focus is on a program to develop interdisciplinary integration in teacher education, by which we mean the activities that start with teaching the basics of separate subjects and continues to search for associations between the core of one subject in the content of another subject.

International Journal of Art & Design Education, 2014

ABSTRACT

International Journal of Art & Design Education, 2014

ABSTRACT

Techne Series: Research in Sloyd Education and Craft Science A, 2013

This article presents the results of a study about student teachers’ feelings toward craft-making... more This article presents the results of a study about student teachers’ feelings toward craft-making and teaching crafts. As a teacher educator in teacher training, my interest lies first in student teachers’ prior craft experiences and in their prejudices about themselves as craft-makers in relation to the human condition as set forth by philosopher Hannah Arendt (1958/2002). Second, I am interested in how students’ experiences and their image of crafts affect their attitude to crafts and teaching crafts. The study uses qualitative content analysis (e.g. Cohen, Manion & Morrison, 2007), concept clarification (e.g. Kramer, 1993; Burkin, 2011) and thought experiments (Zalta, 2011; Cohnitz, 2006; Sorensen, 1992) to identify and categorise student teachers’ emotional experiences. The data consist of essays (craft biographies, N=144) by first-year student teachers which were written in 2008 and 2009 during a basic course in crafts as part of teacher education at the University of Helsinki....

International Journal of Education and the Arts, 2018

Our pedagogic developing project, ImproStory, addresses improvisation and storytelling. We study ... more Our pedagogic developing project, ImproStory, addresses improvisation and storytelling. We study how these two concepts could be applied in arts and crafts education for both primary and Kindergarten (daycare) teachers. The majority of our data consists of digital questionnaires in basic arts and crafts studies of primary preservice teachers (N=323). Additional data (portfolios) contain a group of Kindergarten and primary pre-service teachers with a focus in visual arts (N=8). All data were collected at the University of Helsinki (Finland) during the academic year 2014–2015. According to our study, pre-service teachers consider improvisation and storytelling to be beneficial skills. They see developing them as necessary and useful. Experimenting and learning the approach appear to strengthen pre-service teachers’ collaboration and allow them to build independence, trust, and self-confidence within arts and crafts education. In addition, improvisation and storytelling helps them to r...

The repertory grid is a technique used in psychological and behavioral studies to elicit individu... more The repertory grid is a technique used in psychological and behavioral studies to elicit individuals' personal constructs. This pilot study examined the feasibility of using this technique with young children in early childhood education settings with regard to visual art education, based on the view that listening to, and appreciating children's opinions and criteria about their own work and that of others is essential to understanding why children's work is the way it is. Repertory Grid offers a more structural basis for conversation and feedback in art education than does an open interview. Participating in the pilot study were two 5-year-olds. One feedback conversation was held with each child separately, as well as one unusable conversation with both children together, to elicit their constructs. During the conversations, 5 art works (elements) were selected from about 10 the child had made at home or at art school within the preceding 6 months. Constructs (product ...