In this course, the students continue the work with their chosen subject area within the arts, individually and/or in groups, in arenas of educational work related to the expression of the respective chosen arts subject area for, with and of children.

The student may take the initiative to find his or her own arena for carrying out the project in child culture and arts education. QMUC also collaborates with several Early Childhood Education and Care institutions in which the arts are strongly emphasised. For interdisciplinary group work, one of the collaborating ECEC institutions may also be allocated as an arena. The QMUC academic staff are responsible for the teaching and supervision of the students.

The QMUC academic staff have a formal and informal network including ECEC institutions, schools, cultural schools, museums, theatres and concert venues, which can be used to develop arts educational practices with, for and of children. The students may also use QMUC’s workshops, art rooms and showing arenas for this purpose. The semester will end with a presentation of this work. The course will make it possible for the students to try out, in practical-educational and creative manners, both orally and written, research questions that they can explore further in their master’s thesis.

As part of the teaching, the students shall work on an interdisciplinary project in groups, in which exploring the concepts of child culture, play, aesthetics and multimodality is central. The project in child culture and arts education shall focus on children and the exploration of interaction. Observation of children’s expression of art is emphasised. The course provides knowledge about discourses in the respective subjects in arts education that affect children.

The topics of leadership, multimodal expression and play are central in this course.

As part of the course, the students will write a term paper in which arts education is the point of departure for reflection. The reflection shall consider one or more of the subject areas music, drama, children’s literature or art and crafts facilitated for and with children.

Knowledge:

A candidate who has completed the education has:

• thorough knowledge about planning, organising, carrying out and assessing projects in child culture and arts education, and about development projects and research projects with children in Early Childhood Education and Care institutions and/or in other arenas of arts for, with and of children
• knowledge about the field of arts and culture and its potential contribution in a multicultural, ecological, gender and equality perspective
• thorough knowledge about ethical guidelines for work amongst children

Skills:

A candidate who has completed the education:

• has advanced insight in the educational and cultural opportunities of aesthetic forms of expression
• has skills in working with cultural phenomena and in analysing and reflecting on their use

General competence:

A candidate who has completed the education has:

• developed the ability for academic communication, mutual respect, good collaboration skills and action competence through collective, creative processes
• thorough knowledge about the art forms’ and the art subjects’ role and function in ECEC institutions, cultural schools and schools, and in society’s cultural life

Pensumlista gjelder for studieåret 2018-2019.

Bae, B.(2018). Barns deltakelse og rett til å uttrykke seg. I B. Bae, Politikk, lek og læring. Bergen: Fagbokforlaget. (kap. 2. s. 45-65, 20 s).

Bae, B. (2018). Samspill mellom barnehagelærer og barn-tidsmessige, innholdsmessige og sosiale aspekter. I B. Bae, Politikk, lek og læring. Bergen: Fagbokforlaget. (Kap 5. s107-124, 16s.)

Bolman, Lee G. & Deal, Terrence E. ([2013] 2014). Nytt perspektiv på organisasjon og ledelse. Struktur, sosiale relasjoner, politikk og symboler. Oslo: Gyldendal Akademisk. (s. 277 – 306, 321 – 338, 48 s)

Blomgren, H. (2018). Plastikhytter, musik og sommerfugle – om samskabende æstetiske processer i børnehaven, Journal Of Nordic Early Childhood Education Research, Årg 17, Nr 1. (19.s) https://journals.hioa.no/index.php/nbf/article/view/1787

Elstad, B. & Donatella De Paoli. (2014, 2. utg.). Organisering og ledelse av kunst og kultur. Oslo: J.W. Cappelen forlag. Kapittel 3.4.4. (300s.)

Gulpinar, T. & Hernes, L. (2016). Estetisk læring i barnehagen. I T. Gulpinar, L. Hernes & N. Winger (Red.), Blikk fra barnehagen. Bergen: Fagbokforlaget. (s.147-160, 13s.)

Halland, S. J. A. & Vist, T. (2016). Estetiske opplevingar: Toddlaren i møte med material. I L. Hernes, T. Gulpinar & N. Winger (Red.), Blikk fra barnehagen. Bergen: Fagbokforlaget (s.119-146, 27s.)

Hernes, L. (2014). Pedagogen og den kunstneriske prosessen. I E. Angelo & S. Kalsnes (Red.), Kunstner eller lærer. Oslo: Cappelen Damm Akademisk. (s.195-204, 9s.)

Irgens, E. J. (2006). Nødvendig eller uansvarlig? Improvisasjonens dilemmaer og muligheter i arbeidsorganisasjoner. I K. Steinsholt &  H. Sommero (Red.), Improvisasjon. Kunsten å sette seg selv på spill. Oslo: Damm &Sønn (s.23-43, 20.s)

Jonstoij, T. & Tolgraven, Å. (2003). Hundre måter å tenke på. Om Reggio Emilias pedagogiske filosofi. Oslo: Damm &Sønn. (80s.)

Kaufmann, G. (2011). Hva er Kreativitet. Olso: Universitetsforlaget. (140s.)

Kristoffersen, B. & Bjørkøy, I. (2017). Mye på spill - å skape ny virkelighet. En konflikthåndteringsmodell ut fra dramaturgiske og kunstpedagogiske perspektiv. Trondheim: Dronning Mauds Minne, Høgskolen (ISBN 978-82-7332-094-0) (12s.)

Kristoffersen, B. (2013). Playbackteater i barneskolen. I A. L. Øster, E. Angelo % G. Karlsen (Red.), Kunstpedagogikk og kunnskapsutvikling. Oslo: Universitetsforlaget. ISBN 978-82-15-02167-6. s. 150-161 - (11s).

Lindstrand, F. & Selander S. (2010).  Estetiska lärprocesser. Lund: Studentlitteratur AB (kap. 5-12, 170s.)

Moe, J. (2014). Kunstdidaktikk i barnehagen. I S. Brostrøm, T. Lafton & M-A. Letnes (Red.), Barnehagedidaktikk. En dynamisk og flerfaglig tilnærming. Bergen: Fagbokforlaget (s.227-245, 18s.)

Rasmussen, B. K. & Kristoffersen, B. (2014). Mye På Spill Teater som danningspraksis i skolen. Bergen: Fagbokforlaget 2014 (ISBN 978-82-321-0162-7) 206 s. (s 5 – 54, 49s.)

Steinsholt, K. (2006). På den andre siden av ingensteds- Improvisasjon, kreativitet og ansvar for den Andre. I K. Steinsholt & H. Sommero (Red.), Improvisasjon. Kunsten å sette seg selv på spill Oslo: Damm &Sønn (s.23-43, 20s.)

Østern, A-L. (2014). Dramaturgi i didaktisk kontekst. Bergen: Fagbokforlaget. (kap. 1-5. 80s.) 

I tillegg kommer artikler delt ut i undervisningen.

Individuelt selvvalgt pensum (ca.500s.)

The students will work practically with project work in groups and individually, in different arenas of child culture. They will be given supervision and lectures related to this work. The students will give and receive response on their own and other’s work, both theoretically and practically.

Coursework requirements that must be approved in order to be permitted to take the examinations:

• PEK1: OBLTS
• OPG1: None