Monimateriaalisuus perusopetuksen käsityössä

Peruskoulun käsityö on monimateriaalinen oppiaine, jonka sisältöjä ja toimintaa tukevat sekä teknisen työn että tekstiilityön työtavat. Perusopetuksen opetussuunnitelman perusteiden mukaan käsityön tehtävänä on ohjata oppilaita kokonaisen käsityöprosessin hallintaan. Kokonaista käsityöprosessia ja monimateriaalisuutta toteuttava käsityö on kuitenkin koettu epäselväksi ja vaikeaksi toteuttaa. Ongelmalliseksi on koettu resurssien rajallisuus sekä se, että teknisen työn ja tekstiilityön työtapojen oppimisympäristöt sijaitsevat usein erillään toisistaan. Lisäksi käsityötä opettavien koulutustausta ja perehtyneisyys eri käsityön työtapoihin on vaihteleva riippuen opintojen sisällöistä ja harrastuneisuudesta. Tämän kuvailevan kirjallisuuskatsauksen tavoitteena on konkretisoida esimerkein pedagogisia lähtökohtia käsityön monimateriaalisuuteen. Näiden lähtökohtien taustoittamiseksi kuvataan myös käsityöoppiaineen opetuksen organisoinnissa tapahtuneita muutoksia ja avataan monimateriaalisuuden käsitettä sekä siihen liittyviä reunaehtoja. Monimateriaalisuutta kuvaavissa pedagogisissa esimerkeissä on nostettu esiin, miten monimateriaalisuus näyttäytyy opiskeltavana sisältönä ja miten se välittyy oppilaille yksin tai yhdessä työskenneltäessä. Multi-materiality in Basic education Craft education Abstract Craft education is a multi-material-based school subject in basic education, the contents, and activities of which are supported by the working methods of both technical work and textiles. According to the National Core Curriculum, the role of craft teaching is to guide students in mastering the entire holistic craft process. However, the concept of multi-material-based holistic craft has been found to be unclear and difficult to implement. Furthermore, the different learning environments for teaching technical work and textiles have caused problems. Craft has generally been taught by two different teachers, who have studied either technical work or textiles. The aim of this literature review is to describe different pedagogical solutions that can be utilized in the implementation of multi-material handicraft. To illustrate these examples, changes in the teaching of craft subject are also described and the concept of multi-materiality and the related boundary conditions are opened. The description of each pedagogical orientation illustrates how multi-materiality is seen as a learning content and how it is conveyed to pupils when working alone or together. Keywords: Multi-material, holistic craft process, craft education, basic education

Kestävä kädenjälki käsityössä

Käsitepari kestävä käsityö on syntynyt käsityön vastaukseksi kestävän kehityksen haasteisiin. Tässä teoreettisessa kirjallisuuskatsauksessa tarkastelemme käsityötä mahdollisuutena kestävään kädenjälkeen. Ensin pohjustamme keskustelua kirjallisuuden avulla, minkä jälkeen syvennymme kestävän käsityön käsitteeseen sekä avaamme näkökulmia kestävään käsityöhön perusopetuksen käsityössä. Kestävän käsityön teoreettisessa mallissa kuvataan käsityötä toimintana, tuotteena ja aineettomana käsityönä. Kestävää käsityötä toimintana kuvataan käsityötietoa syventävänä sekä arvoja ja asenteita muokkaavana taitona. Kestävä käsityötuote puolestaan huomioi materiaalien, elinkaaren, tekniikan, designin, laadun, esteettisyyden, tarpeen ja tuotesuhteen. Aineeton käsityö nivoo kestävyyden ympäristön lisäksi kulttuuriin sekä sosiaaliseen, taloudelliseen, psykologiseen, yhteiskunnalliseen, filosofiseen ja kommunikatiiviseen näkökulmaan. Nämä elementit toimivat lomittain yhdessä muotoillen ympäristöä, konkreettisia tuotteita sekä tekoja kestäväksi ekologiseksi kädenjäljeksi, mikä tulisi olla lähtökohtana myös käsityönopetuksessa kaikilla koulutusasteilla. Ecological handprint in craft Abstract The concept of sustainable craft is crafts’ response to sustainability. This theoretical article views the craft's potential to be an ecological handprint. We first view discussion through literature, followed by opening the concept of sustainable craft and viewpoint to sustainable craft education. The theoretical model concretizes the systemic nature of sustainable craft as practice, product, and immaterial craft. Sustainable craft as practice is described as deepening craft knowledge and as a skill shaping the values and attitudes of craft. Sustainable craft products consider the materials, life cycle, technique, design, quality, aesthetics, need, and product relationship. Immaterial craft combines sustainability to the environment, cultural, social, economic, psychologic, societal, philosophical, and communicational aspects. These elements work together shaping the environment, concrete product, and actions towards sustainability with an ecological handprint that could be utilized in craft education. Keywords: Immaterial craft, sustainable development, craft product, craft skill, ecological handprint

From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training

In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.

Materiaaliosaamisen ydintä etsimässä: Opettajien käsityksiä alakoulun käsityönopetuksen materiaaliosaamisen ydinaineksesta

Perusopetuksen opetussuunnitelman perusteissa tuodaan esille yleisellä tasolla materiaaliosaamisen tärkeys käsityössä, muttei eritellä materiaaliosaamisen sisältöjä tarkasti, joten opettajille jää tilaa itse määritellä ja tarkentaa, mitä sisältöjä he pitävät keskeisinä, ydinaineksena. Tässä tutkimuksessa selvitetään opettajien käsityksiä alakoulun käsityönopetuksen materiaaliosaamisen ydinaineksesta. Aineisto koostuu käsityönopetuksen parissa työskennelleille tehdystä verkkokyselystä. Kyselyyn haluttiin vastaajiksi käsityötä opettavia tai opettaneita, jotka ovat kiinnostuneita alakoulun materiaaliosaamisen sisällöistä. Kyselyyn saivat vastata siis muutkin opettajat kuin vain alakoulussa käsityötä opettavat. Vastaajista 56 % oli tekstiilityön työtapoja opettavia, 22 % teknisen työn työtapoja opettavia ja 13 % opetti molempia. Tärkeimmiksi ydinsisällöiksi nousivat materiaalien käsityöllinen työstäminen, materiaalien tunnistaminen ja nimeäminen sekä materiaalien ominaisuuksiin tutustuminen ja tutkiminen. Avoimissa vastauksissa tuli esille ajanpuute käsitellä materiaaliasioita sekä oppilaiden halu mieluummin tehdä kuin tarkastella teoreettisia materiaaliasioita. Lopuksi pohditaan materiaalilähtöisen käsityön pedagogiikan mahdollisuuksia materiaaliosaamisen kehittämiseksi. In Search of Core of Material Competence: Teachers’ Perceptions of the Core Material Competence in Primary School Crafts Abstract This article delves into the core of material competence in primary school craft education. The Basic Education Curriculum 2014 states that one of the goals of craft education in grades 3–6 is to “guide the student to identify concepts and to know many different materials and work on them appropriately”. The text of the curriculum leaves room for teachers to define and specify what they consider important. This study examines teachers’ perceptions of the core material competence in primary school crafts. The data consists of an online survey of those who work or have worked in craft education. Thus, other teachers than those who actually teach crafts in primary school were also allowed to answer the survey. 56 % of the respondents taught textile work methods, 22 % taught technical work methods and 13 % taught both. The results reveal that the most important core contents were crafting of materials, identification and naming of materials, and familiarization and research into the properties of materials. The answers to open-ended questions reveal a lack of time to deal with material issues and the students' desire to do crafts rather than deal with theoretical material issues. Finally, the possibilities of material-driven craft pedagogy for the development of material competence are considered. Keywords: crafts, materials, material competence, core content

The Effects of Remote Pandemic Education on Crafts Pedagogy: Opportunities, Challenges, and Interaction

The Covid-19 pandemic caused many sudden social changes, including a shift to remote education in many countries. In Finland, remote education also concerns crafts as a standard school subject, combining aspects of art, design, textile, and technology in basic education. Accordingly, Finnish craft teachers faced the unprecedented situation of teaching remotely a subject, which often involves hands-on activities with tangible tools and materials. The present study explores how craft pedagogy has been adapted to remote education by looking at the opportunities and challenges it faces and the effects on classroom interaction. The data consist of the output of two webinars (i.e. 27 group assignments from 123 participants) organised in the autumn of 2020 and targeted at craft teachers and student craft teachers at various levels of the education system. The qualitative, data-driven content analysis reveals that remote teaching provides beneficial opportunities for involving students’ everyday lives and families in craft education. However, challenges exist relating to the unequal distribution of materials, as well as technical and social resources at different levels of education and in various contexts. Our study also finds that remote teaching is more teacher-centred and task-oriented than classroom interaction. Online teaching facilities allow teachers to provide students with more individual feedback but make maintaining students’ peer interaction difficult. Although remote craft education was considered very challenging at first, teachers have managed to create useful pedagogical practices to be utilised in and beyond the era of the Covid-19 pandemic.

Metal Craft Studio Development: An Idea to Prepare a Teaching Factory Education Concept Model in the Craft Education Study Program, Yogyakarta State University

This study aims to prepare a model for the development of a metal craft practice studio which includes space, equipment, maintenance and occupational safety and health. This study uses a qualitative method with research locations in the metal craft studio at P4TK, Vocational High School 5 Yogyakarta, BRTPD Bantul, and the Indonesian Institute of the Arts Surakarta. Research time March-July 2018. Research instruments are interview, observation, and documentation guidelines. The validity of the data used the validity of interview data, observation, and documentation. Data analysis of data collection, data display, data reduction, and drawing conclusions. The expected result of the research is the realization of a Craft Education studio that is representative and relevant to the world of vocational education and the world of the craft industry. The development of Kriya educational studios refers to existing studios in training institutions and vocational schools. The expected product is the formulation of the Craft Education studio as a studio learning guide. The realization of a studio arrangement that makes it easy for users to produce and manage craft studios. The results of this studio research are expected to be used for the development of the Craft Education studio, Faculty of Language and Arts, Yogyakarta State University.

Craft education as a perspective direction of development of modern professional education

The article considers the main aspects of craft activity in modern society and reviews the literature on craft education as one of the directions of development and improvement of professional education. The main organizational, technological and psychological characteristics of handicraft activity are highlighted. The analysis of trends in the development of professional work in the context of providing professional training for handicraft business is carried out. The main problematic areas of handicraft activity are noted: the lack of legislative and regulatory documents regulating the field of handicraft; federal state educational standards in the field of training of handicraft personnel have not been developed in vocational education; professional standards have not yet been developed for existing handicraft professions and craft activities; the lack of educational and scientific literature on handicraft activities and craft professions, which limits the opportunity to master craft education. Currently, the development of handicrafts is on the path of complicating the performance of professional activities. Modern craft education requires significant intellectual investment associated with the idea and design of future products, the presence of imagination and creativity in their work, an important role is played by the ability to build and maintain interpersonal relationships with various groups of people involved in the structure of the organization of a craft enterprise. Today, the organization of handicraft work requires a certain professional training with the need to form professional competencies of various directions (technological, legal, economic, pedagogical, aesthetic, etc.), which, in turn, will be able to stimulate professional improvement and professional development in handicraft activities.

Exploring a critical research approach in fibre art studies in the United States

The purpose of the study was to reveal the central elements of combining a critical research approach with hands-on activities in fibre art studies. The article is based on ethnographic data gathered in two fibre art courses at a US university in the autumn of 2018. Intersectionality and interconnectedness, the material context and the process, emerged as the most important concepts of the critical research approach under study. These ideas were combined with hands-on activities so that the students learned both the basic skills and the broader social, cultural and material meanings related to their activities. The students appreciated the critical research approach which broadened their perspectives on fibre art. The low status of fibre art at the academy was revealed and associated with the gendered tradition. Study findings recommend the development of pedagogies that implement a critical research approach in art and craft education.