This PhD project is a critical investigation of participatory music
making as an arena for inclusion and community building in primary schools with
intensive language classes for newly arrived immigrant pupils, exploring
dynamics of inclusion and exclusion.
Norway has recently experienced a relatively large influx of immigrants
that has led to rapid changes in its formerly fairly homogeneous society and
school system. The national curriculum states that music as a school subject
plays a central role in adapted teaching in an inclusive school, and that in a
multicultural society music education has the potential to contribute to pupils’
positive identity formation through encouraging a sense of belonging to their
own cultures and cultural heritage, as well as tolerance and respect for other
To collect data, an ethnographic case study of music lessons and music
activities in an urban primary school with an intensive language class is
carried out, including:
Interviews with pupils, teachers and head
Field notes and researcher reflexive log
Pilot project participatory
The theoretical starting points of the study
Socialisation into educational settings that
allows ‘newcomers’ to be active subjects in their new surroundings
Potential communities of musical practice
(Kenny, 2016) in schools with intensive language classes
Building community through musical
participation (Turino, 2008)
Musical action as a performative, social
phenomenon (Bowman, 2007)
Inclusion and exclusion processes for
minority language students in Norwegian schools (Hilt, 2016; Jortveit,
The open seminar Student – teacher-artist collaborations: Developing multi-professional creative partnerships in schools was arranged by the CCC research group 20th February 2019 at Western Norway University of Applied Sciences, campus Bergen. Here are some moments from the seminar. You find the whole program under Events in this blog.
Guanio-Uluru is Associate Professor of Literature at HVL. Her she currently
teaches at the master and PhD levels at Western Norway University of Applied
Sciences, and supervises MA and PhD students. Research interests and
competencies include: narrative theory, fantasy literature, digital games
aesthetics, ecocriticism, posthumanism and climate fiction. She has published Ethics
and Form in Fantasy Literature: Tolkien, Rowling and Meyer (2015) with
Palgrave Macmillan and is co-editor of the anthology Ecocritical
Perspectives on Children’s Texts and Cultures: Nordic Dialogues (2018)
published with Palgrave Macmillan UK.
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
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.
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
Norwegian Research council (NFR)
Project owner: Arts for Young Audiences Norway (AYAN)
partner: CASE center, at Stord/Haugesund University
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.
an open research seminar with the research group Culture – Criticism –
Community in Fyrrommet at HVL campus Kronstad, February 20th 2019 at
About the seminar:
education projects and creative partnerships are included in children’s arts
education within schools. Such
collaborations between artists and schools are often encouraged by politicians,
and by many viewed as excellent opportunities for inspiring artistic
experiences and encounters. However, as research tells us, such collaborations could
also be very challenging and problematic from the perspectives of teachers and
of arts education.
of the seminar is to explore multi-professional collaborations in schools, and
connect this topic to teacher education: What
are the challenges and possibilities surrounding such collaborations, and how
can pre-service arts teachers be prepared to participate in such
1300-1415: What does research say about the possibilities
and challenges of artist-teacher collaborations in school contexts?
Catharina Christophersen: Introduction
Ailbhe Kenny: Teacher-Artist Partnerships as a model of continual professional development in Ireland.
Kari Holdhus & Jonas Romme: Functioning partnerships between schools and artists in dialogical art productions (The DiSko project)
Ingvild Digranes: Professional dilemmas in the Cultural Rucksack
Ailbhe Kenny & Catharina Christophersen: Pathways and possibilities for Collaborations in Schools
1415-1500: What could a functioning
artist-teacher partnership look like, and how could pre-service teachers be
prepared to participate in future partnerships?
discussion will include researchers, teacher educators, arts teachers and
preservice arts teachers. Moderator: Silje Valde Onsrud.