Preface

Abstract

In the spring of 2022, NordFo and University College Copenhagen organised the conference Make It Together. The conference was aimed at Nordic researchers and educators within craft, design/sloyd and related subjects and was divided into three main categories: Research, development and workshop with the following perspectives that participants were encouraged to follow, material, learning, didactics or sustainability. The overall thematisation focused on collaboration. Through the exchange of knowledge and experiences, the participants explored together how collaboration can develop new paths towards learning and experiences in pedagogy/didactics and education.

Ingrid Holmboe Høibo's article Learning perspective in the maker movement literature (Læringssyn i skaparrörslelitteraturen) describes the rapid growth of the maker movement and points out how the creative processes together with the creative person are key players in the digital development. The aim of the study is to investigate how researchers internationally and nationally have described and analysed learning in the literature of the maker movement with a special focus on arts and crafts. The Maker Movement insists on creating a fundamentally human playful activity and that the Maker Space provides a framework for the most important value attribution in learning in 1. the encounter between people and 2. the encounter with materials and tools. Maker Spaces are also integrated into the formal and informal learning environment in Norway.

Lena Kramer Pedersen's article From professional wondering to problem statement in a BA project (Fra faglig undren til problemstilling i et BA projekt presents) an example of how a teacher's textile wondering created inspiration for a development project with knitted furniture fabric as the product frame. Through an account of and reflection on her own research, the article argues how it is possible to implement research-based teaching in a processual way. The article is intended for teachers and students as an example of how a research project can form the basis for the development of new knowledge within a subject area. Theories of learning processes, with a particular focus on embodied learning, underpin the article's knowledge sharing. In the final part of the article, based on theory and case studies, an argument is made for how practical skills performed with the body can be acquired and thereby lead to learning.

Anne-Mette Liene and Monica Klungland's article Visual images in movement-to create space and time in kindergarten children's play and movement with nests, (Visuelle bilder i bevegelse-å skape ruimte og tid i barnehagbarns lek og bevegelse med nøster) is based on the research project Å nøste, partly to develop interdisciplinary teaching methods in art subjects and partly to promote developmental quality in the kindergarten teacher training programme. How can a performative approach to the subject of shaping in the preschool teacher training programme open up interdisciplinary potential? The performative approach focuses on the student's activity and the role of the material when playing with the material. The authors explore the possibilities for interdisciplinarity to emerge if attention is shifted from object to action. The research method is practice-driven (Haseman, 2006) and involves researchers working with preschool children and preschool staff to explore play and movement with yarn balls. The project is theoretically anchored in the concept of space-time-materialisation (Barad, 2007) and Rudolf Laban's theory of space 'choreutics' (Laban & Ullman, 2011). The study's findings open up an interdisciplinary potential in the meeting between the subjects of design and drama in the preschool teacher training programme, through the understanding that a form is created with both the material and the body's movements.

Sissel Isachsen and Janne B. Reitan's article Students' background for choosing fashion design as an education and their future career (Studenters bakgrunn for valg av motedesign som utdanning og deres fremtidige karriereplaner) plans is based on a concern about the lack of prior knowledge of future students when they start their fashion design education. Will the students not be able to meet the demands of the industry after graduation? The question is: What impact does prior knowledge have on the choice of fashion design education as a future career path? The research method is focus group interviews with five students about their background for choosing a fashion design programme where design and production are central. The empirical data is discussed in relation to the theory of communities of practice (Wenger) and the theory of design development in a career context (Papanek). The discussion touches on how fashion and design students can be better prepared to face the reality of the fashion industry after graduation. Work is linked to ethical and socially relevant themes.

Peter Haakonsen and Laila Belinda Fauske's article Textile activity in 1960 in the light of responsible creativity - Between creative forces and realistic assignments, (Tekstilaktivitet anno 1960 i lys av ansvarlig kreativitet - Mellom skapende krefter og virkelighetsnære oppdrag) first examines the background to the creation of the subject of moulding in Norway. Forming was created in 1960 as a merger of the subjects of needlework, woodwork and drawing and was called an experimental programme. The main aim was to cultivate creative powers and aesthetic sensitivity. The article is based on the idea of responsible creativity, where students' work is linked to ethical and socially relevant. The research question: To what extent does textile activity in moulding from 1960 correspond to the concept of responsible creativity and how is this expressed, if at all? Methodologically, assamblage is used to analyse the 1960 experimental plan with a focus on textile activity. The experimental plan does not use the concept of creativity; instead, creative forces and realistic tasks are used. This means that while the subject of shaping was then focused on one's own life and future scenarios, today it is global perspectives and scenarios that are actualised through responsible creativity. The article highlights the historical material as a lever for arts and crafts in the encounter with sustainability issues themes.