Katrine Heggstad is a PhD candidate at Western Norway University of Applied Sciences (HVL), enrolled in the PhD programme Bildung and didactical practices since April 2016 with the project: Drama, Dementia & Dignity: Questioning borderlines in drama pedagogics.
Kari Holdhus has published a new article in Thinking Skills and Creativity volum 31, 2019. The article is entitled The Polyphony of Musician–Teacher Partnerships: Towards Real Dialogues?
This article aims to explore and discuss how, on many levels and in many ways, polyphonic dialogues can fluctuate among participants in a multidisciplinary didactic art project im- plemented in schools, namely, School and Concert – From Transmission to Dialogue (DiSko). DiSko is an innovation project that aims to try different ways to address the significant lack of school ownership to professional visiting concerts in Norwegian schools.
The project method, educational design research, is a combination of approaches that are usually applied to well-known research-based problems. Empirically, researchers and partici- pants carry out successive iterations of experiential case interventions based on ongoing analysis. A central aim of the method is to suggest concrete research-based solutions or new ways of addressing a problem, which is instrumental outside specific case contexts.
Dialogue is a major epistemological grounding for DiSko and its descriptive cases, and throughout the article, the project design and activities are viewed in terms of Bakhtin’s concepts chronotope, carnival and polyphony. Through discussions about aspects of the methodology as well as by providing an empirical case example, this article describes how elements of educa- tional design research may be composed in order to maintain an epistemology of dialogue and polyphony.
This is an article written by Kari Holdhus and published in Qualitative Inquiry in 2018.
In this article, Kari Holdhus shares a journey of research on student teacher reports regarding creativity pedagogies. The empirical material comprises student reports on teaching for creativity. The text draws on the literatures of creativities, creativity pedagogies, and professional improvisation, inspired by a backdrop of literature on narrativity and narrative writing. The text aims to discuss how creativity pedagogies can take place in different practical surroundings and to provide an example of how teaching in higher education can both contribute to research and be research-based. The following research question is asked: What characterizes student teachers’ reports on designs and choices when facilitating creative learning processes, and which interpretations and reflections do these reports evoke within their teacher? In comparing student papers, Holdhus has conceptualized their common features into the following concepts: context, skills, design, and trust. Within the text, each of these concepts is addressed through example narratives extracted from the student reports. Holdhus concludes that a combination of aspects from each of the four concepts can be said to construct a liminal room of immersion.
Members of Culture, Criticism and Community participate in various artistic constellations in and outside of work. Such involvement may serve as platforms for future artistic research efforts. Until such artistic research projects become a reality, we will introduce here some of the general artistic activities we participate in.
A first example is the jazz band called Constanza Bergen Jazz Project, where our research group member Øystein Kvinge plays the piano. The band and its repertoare is centred around the talented and emerging singer Constanza Giacomelli from Malaga, Spain. The repertoire is a mix of well known standard tunes from the American songbook, and an exquisite selection of French standard material. Both the American and French material is treated as jazz standards, which allow for spontaniety and innovation during performance.
The band has appeared at jazz clubs in Bergen and in the surrounding region. Coming up is a performance at Mæland Jazz Club on April 25th, 2019.
Current line up:
Constanza Giacomelli – vocals
Peter Sæverud – bass
Jan Tore Ness- drums
Bjørn Blomberg – sax
Øystein Kvinge – piano
The band performs What a difference a day makes
(Grever/Adams) at Dyveke’s Wine Cellar, October 2018
DiSko is an innovation project intending to innovate school concert practices produced and implemented nationally by Arts for Young Audiences Norway (AYAN) and regional partners in Norway. The project will innovate an established practice through research based innovation procedures in order to respond to challenges connected to school ownership and school integration. This research-based innovation work will be carried out over four years with a selection of schools and groups of musicians and producers from NCA within a budget of 7.4 mill NOK. The DiSko project will develop and try out alternative concert forms, which to a greater degree can be experienced and shared by pupils, teachers as well as musicians. Our research questions are:
- How can dialogue based concert practices be produced in order to be integrated as meaningful and professional elements in school´s everyday life?
- How can schools facilitate such integration in their work with teaching, learning and Bildung?
DiSko´s point of departure is that shared ownership emerges through equity-based relations, and our practical innovation processes will be grounded in this belief. From the practical iterations of concert productions, researchers will develop analysis and research reports, and parallel to the concert production activities, a continuous implementation and discussion will take place. An interactive website will be a central component in the communication between researchers, musicians, teachers and users, other interested persons and organizations.
Funding: Norwegian Research council (NFR)
Project owner: Arts for Young Audiences Norway (AYAN)
Research partner: CASE center, at Stord/Haugesund University College
- Project leader: Associate Professor Kari Holdhus
Principal investigator:Professor Magne Espeland
Jonas is lecturer in music education and community music and researcher at Western Norway University College of Applied Sciences, campus Stord. Since 2016 he has been central in the development of Scandinavia’s first bachelor program in Community Music.
Jonas is active as a researcher in “School and concert – from transmission to dialogue” – an innovation project on Norwegian professional visiting concerts in partnership with Kulturtanken, founded by the Norwegian Research Council (www.diskoprosjektet.no). This project runs for four years from 2017.
He holds a master’s degree in Creative Subjects and Learning Processes from 2015. The thesis is named “My Music Performance is Changing!” – Perspectives on “The Aesthetic Talk” in Ensemble Teaching in Upper Secondary School.
Teaching subjects: Arranging/Composing, popular music and jazz music history, ensemble playing, how to workshop, ear training, music theory, community music philosophy, history and central concepts, supervision of bachelor candidates.
He has a background as a music teacher in Norwegian upper secondary school (“Musikklinja”), in municipal culture schools, as music reviewer, arranger for choir and big band, and is currently conducting/leading and arranging for a local big band.
Jonas’s research interests are creativity, learning processes, inclusion, democracy and sustainability, the potential of community music praxis in Scandinavian music pedagogy, music philosophies and their relationship to quality conceptions.