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Art-based action research – participatory art for the north
Abstract
The article will introduce the art-based action research method and the practices and knowledge gained in the fields of art and design education, taking into account contemporary art’s situational, contextual and communal nature. The method is collaboratively created and developed by a small group of artists, educators and researchers with the participation of the students in the Faculty of Art and Design at the University of Lapland to guide the next generation of art and design education scholars. The method, as part of art education and applied visual arts Master’s and Doctoral theses, takes into account the university’s northern circumstances and special features. The article discusses the relevance of the engaging participatory art parallel to developing the art-based research method in visual art education. The article also seeks to introduce a new perspective to the discussion about research in art universities.
... Research on change in the Arctic and northern areas is central, and art education is expected to make a contribution. Many research projects have met this expectation (see Jokela et al. 2015b). The university's joint multidisciplinary Graduate School has three thematic doctoral programmes that support the strategy: culturecentred service design; northern cultures and sustainable natural resource politics; and communities and changing work. ...
... The aim is that doctoral candidates should become fully oriented in the phenomenological field of northern cultures and sustainable natural resource politics, acquire the capacity to apply multidisciplinary methods and understand the complexity affecting northern cultures and sustainable natural resource politics. The themes of the Graduate School have close links with art education's strong research in art-based environmental education, environmental art and Indigenous art and pedagogy (see Jokela et al. 2015b). ...
... The method is strongly attached to environments and to communities. It takes into account, inter alia, the creation of spaces for encounters, the environment, the history of the community and the performative nature of art (Jokela et al. 2015a). ...
... At the beginning, thematic summer schools were an ideal tool for this, and particularly the different forms of environmental art were welcomed with interest in the region. Interaction was not created just between individuals, but different organisations and cultural representatives were referred to the state of creative dialogue, as the operations expanded to the entire Northern European region with European Union funding (Jokela, Hiltunen & Härkönen, 2015a). Support for efforts to reform art education was found as the international networks strengthened. ...
... The expansion of the profession of an art educator opened financing possibilities for field work, both domestically as well as in international forums. Art education demonstrated its ability as the executor of projects funded by the European Union in the entire Northern region (see Jokela et al. 2015a). The forum for development was created by establishing Art, Community and Environment (ACE) project studies at the beginning of the 2000s in the curriculum reforms at the University of Lapland. ...
... The method is an action research and the action tool is art. (Jokela et al. 2015a). ...
... The specific emphasis in this chapter is to introduce methods used for interdisciplinary collaboration and to explore the use of art-based methods. The combination builds educational and research models to identify how community-based art education and socially engaged art can foster sustaining, developing and regenerating communities, especially in the diversifying remote northern areas (Hiltunen, 2010;Jokela, Hiltunen, Härkönen, 2015a;2015b;Jokela, 2017). Diverse disciplinary perspectives enrich the knowledge production process, where research collaboration consists of a variety of approaches and solutions. ...
... The method is collaboratively created and developed by a small group of researchers and artists with the participation of the students in the Faculty of Art and Design at the University of Lapland to guide the next generation of art and design education scholars. The method, as part of art education and applied visual arts master's and doctoral theses, considers the university's northern circumstances and special features (Jokela et al., 2015a). ...
... The aim of our analysis of the Art Gear project was to add fresh viewpoints to the methodological discussions through interdisciplinarity, which increases the possibilities for academic research to challenge inequalities and power relations (Foster, 2012;Hiltunen, Mikkonen, Niskala, Douranou, & Patrigani, 2018). Questions regarding power relations within knowledge production are inherent in social work research (Healy, 2000), which is linked with community-based art education research (Hiltunen, 2009;, social justice art education research (Dewenhurth, 2014;Garber, 2004) and art-based action research (Jokela et al., 2015a;Jokela, 2017). ...
... Our interdisciplinary cooperation has strengthened the notion that the social work and community-based art education fields share a common value base, and both can be used as instruments for social change (Hiltunen, 2008;Schubert & Gray, 2015). Social work research's concern with issues of power and knowledge (Healy, 2000) aligns with community-based art education research (Hiltunen, 2008(Hiltunen, , 2009(Hiltunen, , 2010, social justice art education research (Dewenhurth, 2014;Garber, 2004) and art-based action research (Jokela, Hiltunen, & Härkönen, 2015a;Jokela, 2017). We argue that when combined, their ability to foster sustaining, developing and regenerating communities, especially in remote northern areas, increases (Hiltunen, 2010;Jokela et al., 2015aJokela et al., , 2015bJokela, 2017). ...
... Social work research's concern with issues of power and knowledge (Healy, 2000) aligns with community-based art education research (Hiltunen, 2008(Hiltunen, , 2009(Hiltunen, , 2010, social justice art education research (Dewenhurth, 2014;Garber, 2004) and art-based action research (Jokela, Hiltunen, & Härkönen, 2015a;Jokela, 2017). We argue that when combined, their ability to foster sustaining, developing and regenerating communities, especially in remote northern areas, increases (Hiltunen, 2010;Jokela et al., 2015aJokela et al., , 2015bJokela, 2017). As a result, our interdisciplinary analysis is value mediated and aims at social transformation and social justice. ...
... As social work researchers do not necessarily engage with art and participatory theatre, cooperation with art education professionals provided advanced art methods to the research (Foster et al., 2018), which expanded the methodological scope. The interdisciplinary dialogue allowed transformation from one language into another and even more comprehensively, the transformation of one form of knowledge into another (Jokela et al., 2015a). ...
This article discusses how art-based research can function as a decolonizing research method. Its analysis is based on the collaboration of social work and art education disciplines for advancing social justice and deconstructing power dominances. Empirically, the research builds on a participatory theatre project, “My Stage,” with immigrant women. The project was established as part of a larger interdisciplinary project, “Art Gear,” in Northern Finland, which promoted the bidirectional integration of the local population and people with immigrant backgrounds. The research data were collected through participatory observation and reflective discussions by the social work researcher in the theatre workshops. By the analysis of an interdisciplinary team of social work and art education researchers, we develop a context-sensitive framework of art-based research to advance decolonizing research methods, which contribute to supporting the agency and inclusion of marginalized populations in research and in their integration processes at times of complex and rapid demographic and societal changes.
... Art-based action research has been developed at the University of Lapland's Faculty of Arts, primarily in development projects, where the challenges of peripheral villages, such as population ageing, the isolation of young people, and undeveloped creative-industries and cultural services have been in the background (Hiltunen, 2009;Jokela, Hiltunen, & Härkönen, 2015a, 2015bJokela, Huhmarniemi, & Hiltunen, upcoming). Long term art-based action research projects are also being conducted on winter art in collaboration with cold climate engineering and tourism (Jokela, 2014) and on cultural sustainability (Härkönen, Huhmarniemi, & Jokela, 2018). ...
... A/r/tography which artist-designers aim to solve the problems of communities and environments by means of communal and interactive methods (Jokela, Hiltunen, & Härkönen, 2015a, 2015b. ...
... In artistic work, the process is partly intuitive, confusing, and based on experience and tacit knowledge. In artistic work, the objective and chosen method are usually not very clear at the beginning of the process (Jokela, 2008;Jokela, Hiltunen, & Härkönen, 2015a). Artistic research proceeds intuitively, through trial and error, and leads to unexpected results and surprising insights. ...
Art-based action research is a research strategy which guides the progress of research in the cycles of action research and uses art as a catalyst for development work-for example, empowerment or the better design of environments. Art-based action research is usually used in the development projects of art education, applied visual art, and contemporary art. Art serves many purposes in these development processes. Art may be the intervention for problem solving or gaining new knowledge and understanding. Art can also be the subject of development or the tool for the research's data collection and analysis. Art-based refers to the utilisation of art in research in such a way that stakeholders and members of the organisation or community can be included in the research, and tacit knowledge and experiences can be obtained from them, which are not conveyed through traditional qualitative research methods based on verbal or written language. In this article, we describe the context of art-based action research: the project-based development work of contemporary art and art education. In addition, we provide guidance for using the art-based research strategy. In the background of art-based research, there is a need and objective to develop research to the extent that it produces practical change as well as valid and justified knowledge and understanding related to the production of this change. There is also the need to include the tacit knowledge of stakeholders and local communities in the research process and research data, as well as utilise art-based research methods in which experience and knowledge are expressed by means of art, i.e., other than by means of verbally spoken or written language (Leavy, 2009, 2017, 2018). The disciplines of applied visual arts and art education have been found to have the need for an art-based research strategy. These disciplines are still relatively new, and previous research has generally borrowed research methods from other disciplines, such as from educational studies and social sciences. The need for knowledge in arts and art education is transformational: the aim of research is typically to develop increasingly more functional practical working methods or practical productions. Also, the promotion of sustainable development by means of research is usually closely linked to art-based action research strategy. Researchers aim to develop operational methods that allow stakeholders and local communities, or the society in general, to become increasingly more sustainable.
... At the beginning, thematic summer schools were an ideal tool for this, and particularly the different forms of environmental art were welcomed with interest in the region. Interaction was not created just between individuals, but different organisations and cultural representatives were referred to the state of creative dialogue, as the operations expanded to the entire Northern European region with European Union funding (Jokela, Hiltunen & Härkönen, 2015a). Support for efforts to reform art education was found as the international networks strengthened. ...
... The expansion of the profession of an art educator opened financing possibilities for field work, both domestically as well as in international forums. Art education demonstrated its ability as the executor of projects funded by the European Union in the entire Northern region (see Jokela et al. 2015a). The forum for development was created by establishing Art, Community and Environment (ACE) project studies at the beginning of the 2000s in the curriculum reforms at the University of Lapland. ...
... The method is an action research and the action tool is art. (Jokela et al. 2015a). ...
Museums of contemporary art find themselves faced with a broad range
of pedagogical challenges and opportunities. The art museum has to find
its place in this new ubiquitous network society and, despite the trends
to the contrary, ensure people space, as well as and a time and place, to
be present where art is. Where this succeeds, one finds fertile ground
enabling rich multisensory learning experiences. The degree program in
art education at the University of Lapland has an intense cooperation
with Rovaniemi Art Museum. Students complete some of their studies in
the art museum, working as exhibition guides or running workshops for
school and day care groups. The workshops seek to lower the threshold
for engaging with art by encouraging observations, discussion and
hands-on activities. At their best, exhibitions and workshops help participants
to build a bridge connecting everyday life and art, enabling them
to understand some phenomenon from a novel perspective. In 2016,
workshops titled “Eyes in your Fingers” were held in connection with an
exhibition of Tapio Wirkkala’s work. The experimental design activities
drove home the importance of design in our everyday lives and encouraged
the participants to try out creative processes. Personal engagement
with the design process gave the museum-goers an opportunity to discover
new sides of themselves, as well as new aspects of the surrounding culture and of their place in the world. The article is based on the museum
pedagogy course essay by Karoliina Salo.
... Diagramming is a creative and generative way of gathering data through a variety of media, applications, sensations and situations, that all intermingle to provide an enriched understanding. The intersection of creative techniques, art practice and documentation has recently grown in prominence across the fields of tourism, mobilities and geography research (for recent examples, see Barry, 2015;Jokela et al., 2015;Smith, 2014;Vigurs and Kara, 2016;Witzgall et al., 2013). It is about finding new or generative relationships 'between the artist [or researcher], the complex of practical knowledges, the materials of practice and the novel situation' (Bolt, 2004: 6). ...
... There is a long history and growing recognition that creative research methods generate co-productive benefits for researchers and their research subjects (Chilton and Leavy, 2014;Jokela et al., 2015;Kara, 2015;Leavy, 2015;Smith, 2014;Witzgall et al., 2013). Practice-led research is increasingly accepted in the social sciences throughout qualitative and quantitative approaches (Chilton and Leavy, 2014;Kara, 2015;Law and Singleton, 2013). ...
... Practice-led research is increasingly accepted in the social sciences throughout qualitative and quantitative approaches (Chilton and Leavy, 2014;Kara, 2015;Law and Singleton, 2013). Creative techniques provide alternative modes of expression, generate new ways to acquire research data and encourage participation, as well as increase the number of ways to distribute research findings to broader communities (Jokela et al., 2015;Leavy, 2015;Smith and Dean, 2009). In tourism research, there have been few explorations of creative arts practices as a research method. ...
Tourists experience a range of everyday practices that are subtle, momentary and mundane, which can be difficult to document. Finding documentation techniques that encourage hands-on and collaborative experiences can assist in gathering and producing a variety of perspectives from researchers and tourists. Using the Deleuzian concept of the ‘diagram’, this article examines how creative documentation methods can be used to explore everyday practices of tourists. From a creative arts and philosophical perspective, a diagram is a methodological tool that allows the tracing of relations through a range of techniques. Tracing the development of participatory artwork that uses a diagrammatic approach demonstrates how the experiences of both tourists and researchers can be fused. This encourages a wider perspective of how tourist practices are generated through interactive and affective registers. Diagramming is a creative methodological approach that can assist in tracing experiences and relationships that emerge in tourist studies.
... Art education at the University of Lapland has used the ABAR strategy since 1995 to develop participatory working methods in visual art that enable the participants to express themselves and make their own opinions visible . The ABAR approach has increased the interest in using art as a multidisciplinary research method and is currently a strong and long-term part of education for visual art scholars at the University of Lapland (Jokela et al., 2015). In addition, aspects of how contemporary arts-based methods may contribute to decolonising participatory research in the Arctic have generated great interest (Jokela et al., 2015;Seppälä et al., 2021). ...
... The ABAR approach has increased the interest in using art as a multidisciplinary research method and is currently a strong and long-term part of education for visual art scholars at the University of Lapland (Jokela et al., 2015). In addition, aspects of how contemporary arts-based methods may contribute to decolonising participatory research in the Arctic have generated great interest (Jokela et al., 2015;Seppälä et al., 2021). ...
... Arctic art education has followed the principles of art-based action research (ABAR) (Jokela, 2019;Jokela and Huhmarniemi, 2018;Jokela, Hiltunen and Härkönen, 2015;Jokela, Huhmarniemi and Hiltunen, 2019) to develop its general approach guided by a vision for the future. This approach commonly consists of cycles of aim setting, conducting art-based educational interventions and analysing and presenting results via research publications and artistic productions. ...
... Arctic art education at UoL, along with its renowned winter art pedagogy, was developed in Northern Finland via the following projects: the Snow Show Winter Art Education Project, 2003(Huhmarniemi et al., 2003; the international ArctiChildren project, 2006(Jokela, 2008Hiltunen, 2008), ArctiChildren InNet, 2011(Jokela, 2015, Finnish Cultural Foundation's nationwide project Myrsky (Storm) (2008)(2009)(2010)(2011) and the Lapland Snow Design project, 2011. These experimental projects have been analysed from the Education in the North 29(2) (2022) http://www.abdn.ac.uk/eitn 11 perspectives of youth well-being and tourism development, but in this article, we expand the reflection to foster dialogue regarding Arctic art education pedagogy in relation to ecoculture and new genre Arctic art. ...
The interconnection between the ecological and the cultural is evident in the Arctic. Thus, we propose the term ecoculture to highlight the connection of communities to places. Ecological knowledge, Indigenous knowledge, tacit knowledge and local knowledge are some of the concepts that highlight diverse ways of knowing in rural communities living close to nature. We use the terms northern knowledge, Arctic art education and new genre Arctic art, to discuss how art in North and the Arctic can foster education for sustainability and revitalisation of ecoculture. The long-term art-based action research to develop Arctic art education at winter circumstances is presented in this article. The research has included a number of winter art projects in Northern Scandinavia and North-West Russia. Three winter art projects, carried out in remote villages together with communities and schools, are reflected and theorized in this article. Artists, teachers and participants of winter art projects have transformed northern knowledge to respond to needs of contemporary society. As a result of the action research, wintery ecoculture has been revitalized and knowing with nature has been fostered as response to decolonisation needs. Research shows that new genre Arctic art and Arctic art education can revitalise ecoculture and northern knowledge.
... This article focuses on a participatory study where we implemented art-based methods of community-based participatory research, which is often used for research that discusses community-identified problems or issues (Leavy, 2017). According to Jokela, Hiltunen and Härkönen (2015), art-based action research (ABAR) is a community process by nature, with research questions becoming more precise during the activity. In ABAR, development work and research are related (Jokela, Hiltunen, & Härkönen, 2015). ...
... According to Jokela, Hiltunen and Härkönen (2015), art-based action research (ABAR) is a community process by nature, with research questions becoming more precise during the activity. In ABAR, development work and research are related (Jokela, Hiltunen, & Härkönen, 2015). Art-based research (ABR) generally expands qualitative research methods. ...
Bringing artists together has a long tradition of developing artists and disseminating information globally. This study focuses on power relations and
educational places in the field of art, specifically at international art symposia.
The study highlights the significance of these encounters for the cultural exchange of artists on the basis of participation in several art symposia by two
artist-researchers. Opening up the power relations of these encounters to artistic expression is also explored, with power relations related to gender, culture
and vocation discussed. Art-based research methods included various forms
of dialogue art, such as discussions, interviews, doing art together and video
documentation, which led to a broader understanding. The aim of the article
is to explore the power relations in art symposia and problematise the kind of
educational space that they offer artists with different cultural backgrounds.
... Tällöin tähdätään tutkimukseen, joka tuottaa käytännön muutosta sekä pätevää ja perusteltua tietoa, ymmärrystä ja uutta osaamista, jota tämän muutoksen tuottamiseen liittyy. Taideperustaista toimintatutkimusta on kehitetty Lapin yliopiston taiteiden tiedekunnassa esisijaisesti aluekehittämishankkeissa ja niihin liittyvässä tutkimuksessa (Hiltunen, 2009;Jokela, 2013Jokela, , 2018Jokela, , 2019Jokela, Hiltunen & Härkönen, 2015a, 2015bJokela & Huhmarniemi, 2018). Taidekasvatuksen ja yhteisötaiteen työtapoja on sovellettu näissä tutkimuksissa aluekehityksen ja hyvinvointityön menetelmiksi. ...
... Toimintatutkimuksellinen kehittämis-ja designtutkimus on suunniteltuihin interventioihin perustuva syklinen tutkimusprosessi, jossa pyritään ratkaisemaan käytännön ongelmia ja kehittämään toimivaa teoriaa (Heikkinen, Konttinen & Häkkinen, 2006). Taideperustaisella toimintatutkimuksella on yhteneväisyyksiä myös palvelumuotoilun prosesseihin, joissa taiteilija-muotoilijat pyrkivät ratkaisemaan yhteisöjen ja ympäristöjen ongelmia yhteisöllisten ja vuorovaikutteisen menetelmien avulla (Jokela, Hiltunen & Härkönen, 2015a, 2015b. Kasvatusalan tutkijat Rauno Huttunen, Hannu L. T. Heikkinen ja Leena Syrjälä (2007) ehdottavat toimintatutkimukselle hyvin samankaltaisia tulosten havahduttavuuteen ja vaikuttavuuteen liittyviä validointiperusteita kuin Jokela (2012Jokela ( , 2019 taideperustaiselle toimintatutkimukselle. ...
Tarve taideperustaiselle tutkimusstrategialle on noussut esiin soveltavan kuvataiteen ja kuvataidekasvatuksen tieteenaloilla 1990-luvulta alkaen (ks. Jokela, 2019). Nämä tieteenalat ovat vielä verrattain nuoria, ja aiemmassa tutkimuksessa on ollut yleistä lainata tutkimusmenetelmiä muilta tieteenaloilta kuten kasvatus-, yhteiskuntatieteiden tutkimuksesta tai humanisti-silta aloilta. Soveltavan kuvataiteen ja kuvataidekasvatuksen tiedontarve on muutoshakuista: tutkimuksen tyypillisenä tavoitteena on kehittää entistä toimivampia käytännön työ-ja koulutusmenetelmiä tai vastata tutkimuksen keinoin tunnis-tettuihin yhteiskunnallisiin haasteisiin. Esimerkiksi voi nostaa vaikkapa kestävän kehityksen edistämisen tutkimuksen keinoin, eli tavoitteen, joka on tiiviisti sidoksissa niin soveltavan taiteen kuin kuvataidekasvatuksen tutkimusintresseihin. Tällöin tutkijat pyrkivät kehittämään käytäntöön sovellettavia toimintatapoja ja osallistumaan ymmärrystä lisääviin kriittisiin keskusteluihin, joiden myötä toimijoista, kuten työ-, koulutus-ja paikallisyhteisöistä ja yhteiskunnasta laajemmin tulee entistä kykenevämpiä kestävän kehityksen edistämiseen. Ratkaisukes-keisyys luonnehtii taideperustaista toimintatutkimusta sen muillakin sovellutusaloil
... Methodologically, my artistic research through knitting follows the research approach of art-based action research (ABAR), which has been developed at the University of Lapland to combine artistic work with educational practices and community empowerment (Jokela, 2019;Jokela et al., 2015). ABAR aims to develop the professional methods and working approaches of the community artist and artist-teacher-researcher. The strategy shares some common features with artistic research in general, as well as action research and arts-based research. ...
... Art-Based Action Research (ABAR) (Jokela, 2017;Jokela, Hiltunen, & Härkönen, 2015)-especially the art education practices in Finnish Lapland (Härkönen, Huhmarniemi, & Jokela, 2018;Härkönen, 2018;Härkönen & Vuontisjärvi, 2017). Cultural sustainability and ABAR bring important tools to building culturally sensitive community art approaches aiming at com-munity empowerment and social change. ...
... Even though one of the aims was to create a piece of artan emotional map combining all the obtained images to be shown as artistic work by the author later on this was not the driving force of the process. And as Jokela, Hiltunen. and Härkönen (2015) state, in art-based action research creating art does not exclude research, and vice versa. In art-based action research, the focus is not on developing one's own personal artistic expression but on the interaction between coartists, coresearchers and participants, and on having a sharing and empowering process for everyone involved. Ho ...
... Another layer of this study is our collective effort to add to the already existing conversations on action research and the arts (Jokela, 2019;Jokela et al., 2015) through our co-living inquiry, which is woven into our ongoing co-practice of walking and artmaking together but apart. At its core, our work places emphasis on how "collaborative action research is an important site for learning, not just for learning something, but learning about the complex relations [emphasis added]" (Sumara & Davis, 1997, p. 405) between our bodies, the places we walk in, and the kind of art we make while walking together but apart. ...
This paper unfolds the artful and pedagogical potentials of engaging in a simultaneous practice of walking and artmaking in different locations, along bodies of water, and together-apart. Through introducing the term co-living inquiry as a thread between action research and a/r/tography, we suggest how the notion of walking with as both action and metaphor has provided conditions for us to explore ways of (re)making relations among our walking bodies, the places we walk in, and our works of art as a collective effort to create a learning community of artists and art educators together apart.
... The methodological choice for this study was art-based action research (ABAR). More a research strategy than a complete method, ABAR has been developed at the University of Lapland to combine artistic practices with regional development and community empowerment (Jokela, 2019;Jokela et al., 2015;Jokela et al., 2019). ABAR aims to develop the professional methods and working approaches of the artist-teacher-researcher and the artist-researcher. ...
‘Handmade’, place-making, revitalisation and regional development are topical themes in the research of art and culture in the Arctic. The revitalisation of traditions through contemporary crafting has become a featuring approach in the Arctic, corresponding to global interest in materiality. The concept of Arctic art is used in this article to describe art, crafts, design and cultural productions that transmit the material and cultural heritage of Arctic nature and the northern knowledge system related to tactile situated knowing in the northernmost Europe. Long-term art-based action research has been carried out in collaboration with the Arctic Sustainable Art and Design (ASAD) network of the University of the Arctic to promote art, culture and education for Arctic sustainability. A few case studies presented in this article were art exhibitions, and the art productions that were shown in the 2019 Arctic Arts Summit (AAS) in Rovaniemi, Finland. In the present work, we discuss the knowledge studied, illustrated and debated in contemporary art productions in the AAS 2019. We conclude that the northern knowledge system is formed in situated learning in relation to local ecocultures, traditions and diverse indigenous and non-indigenous cultures. Northern knowledge can be adopted by newcomers and even guests when participating in ecocultures. Artists inform, educate and transform their global audiences by sharing and presenting northern knowledge and different ways of knowing. Research on the ‘handmade’, place-making, revitalisation and knowledge themes has relevance for policy making, contemporary art, arts research and art education on many levels.
... These paradigm changes have led to a re-evaluation of how art and design should be taught in schools and universities and have highlighted the aims of culturally sensitive approaches in art education and artists training. Art education researchers have presented arts-based methods for strengthening cultural identity, revitalisation and decolonisation of small communities through place-specific approaches [33,68,71,118,128]. Some of the main goals are the survival of regional cultures combined with the inhabitants' cultural self-determination and securing social and economic stability for communities and their place-specific and culturally sensitive approaches [33]. ...
There has been growing interest in Arctic arts and culture as well as in sustainability among artists, researchers, and policy makers. However, until recently, the comprehension of Arctic arts and culture within the framework of sustainable development has remained vague. In this study, by analysing diverse debates from the Arctic Arts Summit 2019 in Rovaniemi, we investigate how the arts and culture sector promotes Arctic sustainability. An analysis of abstracts, conclusions, blogs and newspaper articles reflecting the presentations, art events, exhibitions and dialogues showed that the discourse on sustainability is organised around five themes: (1) global politics and ecological crises as part of the cultural politics of the Arctic; (2) indigenous and non-indigenous Arctic arts and culture; (3) ‘handmade’ and the material culture of the Arctic; (4) place-making, revitalisation and regional development; and (5) economy and sustainability. These partly interlinked themes have relevance for policy making, defining principles for arts and culture funding, artistic practice and research on the Arctic. In addition, education and artistic training are important for all of the five themes; therefore, resources for educational institutions are crucial for the sustainable future of the Arctic. Arts, culture and education have the potential to empower people in the Arctic, increase cultural pride, educate and inform global audiences and create connectedness between the past, present and future. Arts, culture and education contribute to Arctic sustainability.
... Taideperustaisen toimintatutkimuksen menetelmää on kehitetty Lapin yliopiston kuvataidekasvatuksen ja soveltavan kuvataiteen koulutusaloilla 1990-luvulta lähtien. (Huhmarniemi, 2016;Jokela, Hiltunen & Härkönen, 2015;Jokela, Huhmarniemi & Hiltunen, 2018.) Taideperustaisen toimintatutkimuksen kehittämisessä lähtökohtana on ollut nykytaide, joka on luonteeltaan kontekstisidonnaista, prosessikeskeistä, vuorovaikutteista ja dialogista. ...
Toimin yliopistonlehtorin työni ohella kuvataidekasvattajana ja yhteisö-taiteilijana Muodoslompolon kylässä Pohjois-Ruotsissa lähellä Suomen ja Ruotsin rajaa. Tämän alueen meänkieltä puhuvilla ihmisillä on omalei-mainen kulttuuri ja kulttuuri-identiteetti. Alueella on monia haasteita ja mahdollisuuksia, kuten kaivosteollisuuden ja luontomatkailun ristiriidat, kansainvälistyminen, joka liittyy pakolaistaustaiseen maahanmuuttoon ja toisaalta turismiin elinkeinona, sekä väestön ikääntyminen. Olen käyn-nistänyt vuonna 2014 taideperustaisen toimintatutkimuksen tavoitteenani kulttuurisen kestävän kehityksen tukeminen taidekasvatuksella ja yhteisö-taiteella. Tässä artikkelissa esittelen käynnissä olevan tutkimukseni taustaa, tutkimuksellista lähestymistapaa ja toteutuneita taidetyöpajoja. Reflektoin tutkimusta suhteessa teorioihin, jotka liittyvät kasvatukseen kestävään kehi-tykseen ja kulttuurienväliseen taidekasvatukseen. Aineiston analysointi ja teoreettinen tarkastelu suuntaavat tutkimuksen seuraavia syklejä, joiden suuntaviivoja summaan artikkelin lopuksi. Kun muutin mieheni perässä osa-aikaisesti Muodoslompoloon Pohjois-Ruotsiin, olimme kylän ainoa lapsiperhe. Edellisen kerran kylään oli synty-nyt lapsi 17 vuotta sitten. Pohjoisen alueen väestön ikääntyminen onkin yksi haasteista, joista voidaan mainita myös vähenevät palvelut sekä perinteisten elinkeinojen, kaivosteollisuuden ja matkailun konfliktit. Muodoslompolon kylä ei kuitenkaan näyttäytynyt minulle ongelmakimppuna vaan mahdolli-suuksien ja uusien avausten paikkana. Alueen rikas kulttuuriperintö, jossa olennaista on ollut muun muassa Suomen ja Ruotsin välinen vuorovaikutus, maalaismaisemat ja luonto erämaineen, antavat vahvan perustan nykykult
... The methods and processes adopted for this inquiry involved a blend of Practice-Based Research (Leavy, 2015) and Action Research (Jokela, Hiltunen & Härkönen, 2015). It involved a combination of researching the theoretical underpinnings and specific historical contexts that fed into the topic. ...
This article interrogates colonial representations of landscape in Tasmania from a perspective of practice-based research and reflective action-research. Adopting an entwined process of art-inquiry and critical examination of historical examples of colonial Tasmanian landscape art, the role of the artist in relation to what is included or omitted in depictions of landscape is examined to ascertain implications for meaning making. The choices an artist makes in relation to how they construct a particular aesthetic of the land is likened to a process of sanitisation; a process laden with discreet yet significant decision making to appeal to a particular sensibility or agenda. In exploring the notion of sanitised landscape in Tasmania, an acknowledgment of constructed realities begins to emerge through an evolving experimentation across media. In the context of the formative inquiry underpinning this article, insight into how constructions are reflective of artists’ use of media in relation to interaction with and interpretation of history, culture, society and experience at a given time, becomes apparent.
... Tutkimustehtävänämme pohdimme, miten nykytaiteen toimintavoilla voidaan edistää lasten oppimista, toimijuutta ja osallisuutta heidän oman elämismaailmansa luomiseen. Tarkastelu liittyy Lapin yliopiston taiteiden tiedekunnan pitkäaikaiseen kuvataidekasvatuksen ja soveltavan taiteen parissa toteutettuun taideperustaisen toimintatutkimuksen kehittämistyöhön (Jokela, Hiltunen & Härkönen 2015.) Tarkastelemme metatasolla, minkälaisia toimintamalleja YTY-projekteissa toteutettu kehittämistyö ja nykytaiteen paikkasidonnaiset menetelmät tarjoavat esi-ja alkuopetukseen, ilmiöperustaiseen oppimiseen, kestävän kehityksen taidekasvatukseen ja taideperustaiseen ympäristökasvatukseen. ...
... ADW has also provided a channel to employ project pedagogy emphasizing the cooperation and interest group skills of the faculty of art and design (Jokela, 2013;Jokela, Hiltunen & Härkönen, 2015a, 2015b). A Design Show event has become a central learning environment, and every year it brings together expertise from the various disciplines in the faculty, combining studies of design, media, applied visual arts, and art education as a visible part of the Arctic Design Week. ...
Drawing on projects and studies from Canada, Finland, Iceland, Norway and the United States, Relate North: Art, Heritage and Identity explores contemporary practices in arts-based research and knowledge exchange in the fields of arts and design. The essays and reports in the book interpret the terms 'arts' and 'design' broadly to include, for example, crafts, indigenous making, media and product design. By focusing on Northern and Arctic perspectives of contemporary arts and design, links are made with issues of sustainability and context-sensitive research. The contributing authors provide thought -provoking accounts of current practice in these regions.
Relate North: Art, Heritage & Identity brings together the work of leading scholars to explore issues in the field of contemporary art, design and arts-based research. The book will be of interest to a wide audience including, for example, anthropologists, geographers, sociologists, artists, designers and practice-based researchers in addition to those with a general interest in Northern and Arctic issues.
This article draws on our continuous artistic engagement with Tonga youth in Zimbabwe over the last four years and offers a critical analysis of their transformation. We use the intersecting concepts of political and cultural capabilities to argue how arts-based participation in civic spaces has enabled them to shift the power balances, fostering them as epistemic agents and change-makers. Their journey across three arts and heritage workshops showcases that the longitudinal collaborations and social networks developed and built on one another, creating a thick interrelational embodied process of initiating political advocacy and recreating different and multiple reinterpretations of their cultural heritage. The paper demonstrates the possibilities of envisaging and realising alternative livelihoods amidst the struggles exacerbated by horizontal and vertical inequalities, precarity, political apathy and poverty and highlights the importance of identifying relevant, context-sensitive, and engaging approaches for transformative development and legacy. ARTICLE HISTORY
Háttér és célkitűzések: A Nyitott Kör által szervezett magyar kutatás egy 29 hónapos,
nemzetközi színházi nevelési projekt részeként valósult meg 2019 szeptembere és 2020
novembere között. A vizsgálat célja az volt, hogy feltárjuk a színházi nevelés hatását
a pedagógusok jóllétére, hiszen korábbi kutatások igazolták a dráma egészségre és jóllétre gyakorolt pozitív hatását.
Módszer: Feltáró jellegű esettanulmányunk művészetalapú, részvételi akciókutatás
volt. A mintában egy budapesti általános iskola dolgozói szerepeltek. A szervezetet felmérő kérdőívet a 36 fős közösségből 33-an töltötték ki. A foglalkozásokon már kizárólag az intézmény pedagógusai vettek részt. A workshopokról megfigyeléseket készítettünk, a foglalkozásokon alkalmanként 6-15 pedagógus vett részt. Az elemzéshez
kvalitatív tartalomelemzést alkalmaztunk. A foglalkozások során SWOT analízist is
felvettünk. Mindezt a Covid első hulláma alatt 6 félig strukturált interjú felvételével
egészítettük ki, melyeket interpretatív fenomenológiai analízissel (IPA) elemeztünk.
A foglalkozássorozat végén a résztvevők Flow kérdőívet töltöttek ki.
Eredmények: A kérdőív eredményei szerint a szervezeti bizalom és a közösség jól működik, a további vizsgálatok eredményei azonban rávilágítottak arra, hogy a csoporttagok közötti kommunikáció nem kielégítő. A vezetővel kapcsolatos bizalom hiánya és a nem megfelelő szervezeti kommunikáció miatt a bizalom kiépítése kulcsfontosságúvá vált. A jó kollegiális viszonyok és közösség mellett a foglalkozások hatására a résztvevők reflektáltak a tantestület kettéosztottságára is. A kiégés meghatározó téma volt a foglalkozások során, mert a tanárok úgy érezték, ez valós fenyegetést jelent számukra, és erősebb motivációra, több továbbképzésre lenne szükségük. A foglalkozássorozat végére azonosították, hogy a problémáik megfogalmazásához, a közös fellépéshez, valamint a közös célok kijelöléséhez szorosabb együttműködésre lenne szükségük, és fontos lenne, hogy az igazgató partneribb, demokratikusabb és átláthatóbb működésre álljon át. A foglalkozássorozat hatással volt a résztvevők közösségének együttműködésére, és a foglalkozásokon részt vevő pedagógusok a színházi nevelés, a dráma módszerével kapcsolatban új ismeretekre tettek szert. A foglalkozássorozat végére a résztvevők azonosították a nehézségeket és a szakmai kihívásokat, továbbá közös megoldási javaslatokat és célokat fogalmaztak meg.
Következtetések: A foglalkozássorozat végén a résztvevők képesek voltak felismerni
a kihívást jelentő pedagógiai helyzeteket, és reflektáltak is azokra. A rendszerszintű
problémákat azok összetettségében látták, nehézségeiket és problémáikat artikulálták,
arról komplex képet alkottak, és a közösség erejét a problémamegoldáshoz szükséges
összetevőként azonosították. A foglalkozássorozat végére – annak hatására – már érzelmileg is képesek voltak egymás felé fordulni, megfogalmazni nehézségeiket, és érzelmi támogatást nyújtani az azt igénylőknek.
Background and objectives: The Hungarian research conducted by
Nyitott Kör was realized as part of a 29-month international Theatre
in Education project. The aim of the research was to examine the
impact of Drama and Theatre in Education on teachers’ well-being,
since there had been previous studies underlining the positive
influence of drama on health and well-being.
Methods: Our exploratory case study was art-based and can be
categorised as participatory action research (PAR). The sample
consisted of a teachers’ collective working in a primary school in
Budapest, Hungary. The survey about the organisation had 33
respondents from the 36 employees working there. Our sessions,
which were held for 6-15 people per occasion, were observed and
recorded. The information gained from these observations was
processed via qualitative content analysis. During the sessions, we also
prepared a SWOT-PEST analysis. These were then complemented
with six semi-structured in-depth interviews, which were processed
with the help of IPA (interpretative phenomenological analysis). At the
end of the sequence of workshops, participants also responded to a
Flow Questionnaire.
Results: According to the results of the survey, organisational trust and
the community seemed to be functioning well; however, the results of
further analysis revealed that communication between members of
the group is not satisfactory. Due to the lack of trust towards the leader
and the low level of organisational communication, building trust
became a key element. As a result of the Encounters, in addition to the
good relations between colleagues and the sense of community,
participants also reflected on the dividedness of the teaching staff.
Burnout was also a defining theme during the sessions, as teachers felt
that it had been threatening them and that they needed stronger
motivation and more training and education. By the end of the series
of sessions, they identified that in order to conceive the problems, step
up together, and set their common goals they need closer cooperation, and it would also be important that the headmaster should shift to a
more cooperative, democratic, and transparent way of working. The
series of encounters influenced teamwork in the community, and
participants gained new knowledge related to Drama and Theatre. By
the end of the series, participants were able to identify main difficulties
and professional challenges and came up with common suggestions
for solutions and common goals.
Conclusion: By the end of the sequence of workshops, participants
were able to recognise challenging pedagogical situations and reflect
on them. They saw systemic-level problems in their complexity, were
able to articulate their own difficulties and problems and form a
compound picture of them, and identified the strength of the group as
a component to resolve these issues. As an outcome of the series, by the
end, they were emotionally capable of turning to one another, speaking
out on their difficulties and providing emotional support for those in
need.
Key words: teachers’ well-being, drama, Theatre in Education,
burnout, organisation
The theme of 2021, Defining and Mapping the Arctic: Sovereignties, Policies and Perceptions contains relevant topics that are much discussed, examined, reported and speculated in policy circles, academia, and the media. Perhaps because it is distant from major political, business and media centres, the Arctic seems especially prone to external interpretations of its essential character. How the Arctic is defined and perceived, or redefined, as well as how non-Arctic actors remap their geographical position and (re)identify their relationship with the Arctic region has real implications for how it is governed, as the 2020 IIASA analysis on Arctic policies reveals. Yet dominant narratives about the region are often based on superficial, ideological or arbitrary understandings. There is a need for better-informed discussions about the essential nature of the Arctic, and its people, its economy, its geography and its environment, as well as the examination of dominant perceptions.
This 10th edition of the Arctic Yearbook has provided such a space for this endeavour. This volume contains 33 scholarly articles that explore, analyze, critique, and further discuss how the globalized Arctic is (re)defined and (re)mapped. The diverse collection of articles in this volume engage with a variety of unique but also overlapping topics that include 'traditional' Arctic security and sovereignty issues; geographical factors that are influencing regional geopolitics; Russian development interests and activities; economic considerations related to Arctic geography; and the diverse roles of identity, art, and culture in articulating alternative notions of sovereignty in the region.
The article presents the concept of new genre Arctic art and examples of contemporary art, performances and media productions covering Arctic themes such as resource politics, nature conservation and sustainability. Examples are selected from Norway, Finland, Canada and Russia. The term new genre Arctic art is based on concept of new genre public art introduced by the artist-writer Suzanne Lacy in 1900s to define socially engaged and socio-political public art that involved participatory aesthetics. To some extent, new genre Arctic art follows the strategies of socially and environmentally engaged art in line with international contemporary art. Anyhow, in this article we focus on explaining how new genre Arctic art promotes cultural continuity and pride and possess the agency to hold and revitalise Indigenous and northern knowledge. The selected cases show how artists can empower community members and participants of performances in participation in discussion on resource politics and nature conversation.
Sustainable development in all its forms is a key global challenge in the early years of the twenty-first century. What contribution can art and design education make? How can contemporary art and design methods and innovative approaches to art education meld to promote education for sustainable development? What kind of theoretical foundations might such an approach be built on and what might such approaches look like in practice? These are just some of the questions that we hope to address in sharing our experiences. In the chapter, we outline our thinking about art, art education and their potential for sustainable development in the Northern and Arctic context. We do this by presenting the chapter in three broad sections; first, we discuss the rapid changes taking place in the region and the idea of the Arctic as a ‘laboratory’ for sustainable development through art education. Second, we report on our theoretical frameworks of art education for sustainable development. Third, we present an example of a project, an example of joint course undertaken by Arctic Sustainable Art and Design network (ASAD) partners and an overview of a degree programme that foregrounds art education for sustainability. We conclude with a reflection on progress to date and offer some thoughts for future research in the areas of art education for sustainable development.
In Northern Finland, where this study takes place, nature is a typical setting for recreational activities and employment. At the University of Lapland, attention has been given to art teacher education that supports the continuation of the Northern ecoculture and enhances human–nature connectedness. In this article, we discuss art, community and environmental (ACE) studies developed through international collaborations and joint, long-term action research based on the arts. These studies are part of art teacher training and an international master's degree programme in Arctic art and design. This article explains the paradigm changes that have impacted the aims and methods employed in ACE studies since the 1990s. The discussion is framed by a Western theoretical shift from environmental aesthetics to new materialism, post-humanism and decolonisation. We conclude that ACE projects can enhance revitalisation and increase capacities to retain cultural pride and local ecocultures. Art education that is carried out in a place-specific manner, in cooperation with local communities, is one way to keep traditions alive and foster environmentalism in the North. The article has international relevance for developing art teacher training in Arctic communities but also in other remote locations in which strong bonds between nature and culture are maintained.
The purpose of the present study is to show how undergraduate art students developed a three-semester research project using art practice research as methodology during the years 2011‐12. They answered individual research questions through their artistic practices, presenting their results within an art exhibition and academic document. The research data shared in this article comprise observations of their research development, artistic diaries, art exhibitions, written research documents and post-project interviews. Findings indicate that such research experience allowed students to generate new knowledge through artistic practice, which often cannot be foreseen as it involves incontrollable material and people that cannot be accessed through other disciplines. It also gave them trans-cognitive research skills helping them to better understand themselves as artists and to develop complex works difficult to create otherwise.
This article describes the role of an arts-based research project in the lives of young people participating in a youth workshop. The participants shared stories about their past, present and future with words and pictures. We sought to answer the question: What is the meaning of looking at one's own life story in the context of a communal art project? We familiarized ourselves with a youth workshop via staff interviews, observation and through documents. The goal of the project was to produce a work of art in eight weeks. During the two months, the young people in the project described their lives in written assignments, made paintings of their lives so far, wrote working diaries and were interviewed. The paintings together formed a larger whole, which was on display at a shopping mall. The study opens new points of view by analyzing the meanings produced by those who participated in the project.
This article introduces an international and interdisciplinary summer school, ‘Living in the Landscape’ (LiLa) in 2018. LiLa's practices focused on creating dialogue among art education, anthropology and nature science and developing culturally sustainable methods for investigating cultural heritage in the Komi Republic of Russia. The article's research interest is how dialogue and cultural heritage appear in the artistic processes, artworks and final exhibition of the summer school. These are examined through art‐based action research in order to develop international, multidisciplinary and culturally sustainable art education. The four‐field model utilised in the research highlights the multidimensional role of dialogue in both individual and collaborative artistic endeavours.
This article introduces the art‐based action research (ABAR) methodology as part of the international discussion of art‐based educational research (ABER). The participatory and dialogical approach of ABAR was inspired by a consideration of the pressure for change in art education stemming from the practices of relational and dialogical contemporary art. The need for ABAR as a tool of culturally decolonising, sustainable art education research was identified in multidisciplinary collaboration with the University of Lapland's (UoL) northern and circumpolar network. The methodology was developed collaboratively by a group of art educators and researchers at UoL to support the artist/teacher/researcher with professional skills for seeking solutions to recognised problems and to promote future actions and aspirations in the changing North and Arctic. This article describes how ABAR has been used in school projects, in doctoral theses and finally in a development project with an impact on regional development in the North. These examples show how art education developed through the ABAR method has supported decolonisation, revitalisation and cultural sustainability in schools, communities and businesses.
In a society that strives for sustainability it is important to observe and value different forms of knowledge. Creating art is not a meaningless exercise. Instead, one might say that works of art serve as a window that interprets the world. In the article it is argued that artistic actions can offer a combination of critical and creative thinking reflecting on the types of knowledge and experience that count as valuable for sustainable communities. The article reflects on the participatory installation Colours of Rovaniemi and how ABER was used in the creation process. The methodology focused on the transformative power of community engagement when creating artistic actions that engage with sustainability. The installation provoked critical thinking and encouraged the participants to take a stand on the issues discussed. Artworks of this kind are well suited to help us understand the issues we face regarding sustainability. The work raised questions of who we are, what we prioritise in our lives. It initiated discussion of the connection between man and nature, attitudes, values and national self‐identity, challenging the participants’ perspectives.
This article examines the potential of environmental art for sustainable tourism in the Arctic. Environmental art is a form of contemporary art that is usually created outdoors; it increases the attractiveness of a built-up environment and leads to sensitive bodily experiences in the natural environment. The environment and economy of the Arctic region are at a turning point. Tourism seems an alternative livelihood to the industrial use of natural resources. The foundations for increasing the use of environmental art in the Arctic region’s nature tourism concern both the employment needs of artists and the need to improve the quality of tourism environments and services. Nature tourism and tourism services that utilise nature form a significant and growing economy in the Arctic region. Tourism services are currently produced at ski resorts, cities and villages as rural and cultural tourism. Tourism keeps the peripheries inhabited and provides jobs for people who wish to work in nature and live near the wilderness. Tourism is expected to further grow as an industry, particularly in cooperation with the cultural sector and creative industries (OKM, 2018; also see Sandell & Skarveli, 2016).
In this chapter we discuss the conceptualisation of cultural diversity in arts education research in three Finnish universities Aalto University, University of Lapland and University of the Arts, Helsinki. We articulate how the changing societal and environmental conditions need to be taken into account in both the research and practice of arts education in Finland. We present three different approaches to arts education research aiming to reflect the different frameworks and contexts of researching in each institution. In the Department of Art at Aalto, selected ongoing work of professors, researching lecturers, postdoctoral researchers and doctoral students of arts education is analysed, categorised and reflected. The perspective of the Faculty of Art and Design at UoL focuses on selected research group work (NACER) and on three multidisciplinary research projects, which introduces the research method developed in the North: arts-based action research (ABAR). The Uniarts section introduces the work of the Centre for Educational Research and Academic Development (CERADA), and more specifically the research initiative ArtsEqual, in the context of research-based arts pedagogy.
This chapter traces the development of applied visual arts (AVA), specifically in a program at the University of Lapland in Finland. It examines context‐driven model of art and arts‐infused education as it is practiced in Northern Europe. The title of the program – Applied Visual Arts – is indicative of its aims. Visual arts are applied in a context‐sensitive, ethical, and sustainable way. The core values of AVA include participation, engagement, collaboration, and innovation. In this model of arts education, training focuses on developing the ability to work with a wide range of collaborators, normally in community‐based situations. The chapter includes two examples of projects to show how AVA principles work in practice. It describes the background to AVA and discusses how it operates in a space of practice somewhere between art, design, education, and social work to consider how the operational methods developed by AVA may provide innovative tools for learning. It concludes with some thoughts about future directions.
ARTISTS IN THE LANDSCAPE OF BERRY WARS AND REINDEER HUSBANDRY:
CONTEMPORARY ART AS A FORUM FOR ENVIRONMENTAL POLITICS
There have been many discussions about the intensive use of natural resources in Lapland. For
example, several new mining projects have been planned and the exploration of minerals has
increased. Consequently, critical voices have been raised and some activists and artists have
pointed out the need for natural resource protection. At the same time, sustainable development,
reduction of biodiversity, continuously growing energy consumption and pollution have been
the subjects of eco-conscious artists for decades. The motive of my doctoral research, ‘Artists in
the Landscape of Berry Wars and Reindeer Husbandry’, is to identify how contemporary artists
contribute to the environmental debate through art. The study focuses on conflicts in Lapland.
This research produces new knowledge about collaborative research between contemporary
art and multidisciplinary environmental research as well as research on northern culture in Lapland.
The study mainly serves art education and applied visual arts. In art education it is topical
to develop art integration, in which environmental conflicts are themes studied through art in
schools. In applied visual arts the collaboration of artists and other researchers are to be developed.
In addition to art education and applied visual arts the present research can also benefit
the art world, art-based environmental research and science communication.
The present research is part of the expanding field of art-based research. The approach of
art-based research has become more common in various disciplines, such as education and
the social sciences. Art-based action research (ABAR) is a research approach developed in the
Department of Art Education at the University of Lapland. It is used mainly to develop methods
for community art, environmental art and applied visual arts. The cyclic research process includes
making drafts and development plans, conducting literature reviews, creating artistic work and
engaging in evaluation, conceptualization and reflection. In the present research the artistic
components included in the dissertation form a structure for the cycles.
Exploring ways that our movements are mediated, imagined and performed necessitates transdisciplinary and creative research techniques. This paper examines the collaborative interactive artwork PAN & ZOOM to explore how performative and embodied experiences of spatiality and mobility can be induced and produced. The artwork amplifies mobilities instilled in the global languages of cinema, photography and mobile media to open up spatial affects and alternative experiences of movement. Audiences become participants in constructing movement experiences, where spatial and perceptive movements operate across actors, scales and sites. Using a variety of literature from mobilities, philosophy, creative arts, Actor-network theory and geography, the paper contributes to emerging discussions in mobilities on creative research and the capacity for arts to engage audiences through applied and practice-led techniques. We explore how media and art practices can induce new affective movement practices and perceptions of mobility. Through the examination of an interactive artwork, we argue that new capacities to move within mobilities emerge from creative technics which, in turn, make it possible to extract affective resonances that inform and transform our daily lived experiences of movement.
What is the difference between research that uses art, research about art, and research through art? Is arts-based educational research (ABER) a method or medium? What does arts-based research look like? How is it used and evaluated? Editors Cahnmann-Taylor and Siegesmund recruited an arresting array of contributors: paradigmatic pioneers, noted artistscholars, as well as newcomers to the field. This volume condenses the history, unique features, social contributions, and controversy into a readable, scholarly, and practical text. Each artist-researcher develops a chapter comprised of multiple elements: biography, explanation of intent, critique, photos and open-ended questions. True to ABER epistemology, these contributors cultivate more questions than answers.
The Department of Art Education at the University of Lapland has developed a programme of Art, Community and Environmental Studies that integrates art education and the work of artists and art institutions with the activities of local inhabitants and culture in the North. New Web- based learning methods support these studies. The purpose of this article is to describe and explain a place-specific and community based art project that set out to support local livelihoods and strengthen communities in the Barents region. It reports on the aims, methods and results of the Trans Barents Highway Art Project carried out in 2003-2004 and explains the structure and benefits of the Web-aided learning.
The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community-based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know-how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter-oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment-based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project.