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  • 1.
    Ahrenby, Hanna
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för kultur-, religions- och utbildningsvetenskap, Bildpedagogik.
    Everything is possible!: - what can happen when the content in art education is equal to a visual culture that young people live in and take part of in their everyday life2014Inngår i: 34th World Congress of the International Society for Education through Art (InSEA ) :  Diversity through Art, Change, Continuity, Context: Abstracts : Pecha Kucha Presentations, 2014, s. 1-Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The aim of this paper is to discuss the content of Art in lower secondary school education. What happens when the content is equal to a visual culture that young people live in and take part of in their everyday life? To be able to make a transition from traditional art education such as learning traditional art technics, to explore and work with contemporary visual culture that concerns young people to day, it is crucial to find out what kind of visual culture is relevant to teenagers to day. When I started working at the University of Gävle in Sweden I had the opportunity to look back at my own practise as an art teacher. In a project with pupils between the ages of 13 to 16 were asked to show in photographs and clarifying text, what they thought possibleto do technically in the art class classroom. The 13-year olds took photographs of objects that represented what they saw as possible to do in that classroom. After the pupils had taken, shown and commented on their photographs a discussion with the pupils about the content, possibilities and limitations that they experienced in that art class room followed. As a second part of the project pupils aged 16 were then invited to discuss the same questions. The forms of visual culture that turned out to be the most important to both groups were digital forms of pictures, such as film, photographs made with their mobile phones, and often published on social forums such as Facebook or Instagram, as well as computer games with there visually designed settings. In conclusion the photographs and the discussions following showed that when the pupils could work with a visual media that they meet in their everyday life it gave meaning to the art subject. Some even expressed that in the art class room “everything was possible”.

  • 2.
    Ahrenby, Hanna
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för kultur-, religions- och utbildningsvetenskap, Bildpedagogik.
    Får ungas visuella kultur plats i skolans bildsal?2014Inngår i: Visuella arenor och motsägelsefulla platser: Tio texter om transformativt lärande, identitet och kulturell förändring / [ed] Karlsson, Sten O, Göteborg: Daidalos, 2014, 1, s. 193-218Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 3.
    Ahrenby, Hanna
    et al.
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Silfver, Birgitta
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Aesthetic learning processes2015Inngår i: 25th EECERA Annual conference 'Innovation, experimentation and adventure in early childhood': Abstract Book, 2015, s. 271-271Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The aim with our ongoing research is to find out what primary school teacher students (working with 6-8 year old pupils) thought of the meaning of aesthetics in teaching. What are the benefits of an aesthetic learning process? Previous research that we refer to is the dissertation of Tarja Häikö (2007). She investigates how aestethic learning processes are used in school and preschools. Boberg & Högberg (2015) have investigated how aestethic learning processes are used in schools and teacher education. Chemi (2012) has investigated the relationship between art, emotions and learning. Our framework is socio-cultural theory in accordance with Vygotsky (1995). The work of Gardner (2009), Hethland (2013) and Lindström (2010 & 2012) provides us with tools for analysis. The work has an hermeneutic phenomenologic research approach, using narratives (poetry as method). The participants were informed of the study and its aims. The confidentiality of the informants was secured. Consequences for informants were considered. A story can be a powerful way of reporting the results in research. How about using an even more condensed form, like a poem? We assume that the poetic language communicates with the reader in a more sensitive way than other research languages. Can the creation of the haiku in itself be a tool for discovery? We hope that the students will became aware of the usefulness and meaning of aesthetic learning. We also hope for increased use of aesthetic learning processes in schools. 

  • 4.
    Ahrenby, Hanna
    et al.
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Silfver, Birgitta
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Estetiska lärprocesser: vad ger det studenterna?2015Konferansepaper (Annet vitenskapelig)
  • 5.
    Silfver, Birgitta
    et al.
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Ahrenby, Hanna
    Högskolan i Gävle, Akademin för utbildning och ekonomi, Avdelningen för utbildningsvetenskap, Bild- och dramapedagogik.
    Haiku som en undersökande metod2016Inngår i: Praktiknära forskning: Barn, lärare och lärande / [ed] Elisabeth Björklund och Christina Gustafsson, Lund: Studentlitteratur, 2016, 1, s. 45-60Kapittel i bok, del av antologi (Annet vitenskapelig)
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