Followership and leadership in different sorts of sloyd practices

This study examined the extent to which students fully embrace sloyd activities. Sloyd is a form of adventurous education in Sweden where school students take more control of the content and methods of learning as part of their weekly education. Hands on activities are often part of the adventure and it sometimes takes place outdoors. The study focused on two sloyd groups, one led by their school teacher in school time and one group who volunteered for sloyd out of school hours. Students in the school context were expected to follow the sloyd teacher's instructions and they were supposed to choose between an individual task or a group assignment at the beginning of the semester. The youngsters in the sloyd club context were expected to manage the sloyd activities themselves as and when they attended the voluntary sessions. That children and young people embrace sloyd is more or less taken for granted, whether it is part of students' school activities or youngsters' spare time activities. However, we found there was a variation in the extent to which students embraced sloyd from both the class based and voluntary groups. The class-based students' willingness to embrace sloyd depended on whether their activity assigned to them by the teacher was interesting to them. Although the out of school students voluntarily chose their activity, some of them still declined to embrace fully the sloyd approach due to a general lack of interest in the activities. Our conclusion is that sloyd leaders or facilitators need to consider individual differences to ensure sloyd is fully embraced.     

Questions,Instructions, and Modes of Listening in the Joint Production of Guided Action: A Study of Student–Teacher Collaboration in Handicraft Education

This article concerns a central issue in education as an institutional activity: instructions and their role in guiding student activities and understanding. In the study, we investigate the tensions between specifics and generalities in the joint production of guided action. This issue is explored in the context of handicraft education—or more specifically, a teacher education program in sloyd. Handicraft is particularly interesting when analysing instructions, since the purposes of instructions are often dual: (1) to bring about a broad, instructionally relevant mode of understanding artefacts (including their origin, aesthetics, etc.), and (2) to guide manual action in the production of such artefacts. In the article, a detailed analysis of an instructional sequence, which includes the production of two distinct types of embroideries, is reported. The analysis sheds light on the role of educational examples in sloyd as well as on the related issue concerning the distinctive difference between the activities of listening to instructions as part of a lecture, on the one hand, and, on the other, listening to instructions in order to be able to accomplish a task.     

Aesthetic Learning About,In, With and Through the Arts: A Curriculum Study

Aesthetic learning is a major issue in arts education. The ‘method of art’ is often expected to facilitate in‐depth learning not only in the arts but across the curriculum. This article defines aesthetic learning in terms of a conceptual framework based on two dimensions, one representing the goal and the other the means of aesthetic learning. The goal is described as convergent or divergent. Convergent learning is goal‐directed, focused and rational, while divergent learning is explorative, open‐ended and intuitive. The means are described as medium‐specific or medium‐neutral. Medium‐specific learning emphasises the forms of representation, for example words, pictures, algebra, dance. Medium‐neutral learning emphasises instrumental aspects of learning, such as academic achievement or personal development. Combining these dimensions two‐by‐two, the author arrives at a suggested definition of what is meant by learning about, learning in, learning with and learning through the arts. The rest of the article investigates the potential utility of this framework in various contexts and for different purposes. First, the author presents two temporary ‘Culture‐in‐School’ projects. Secondly, the framework is used to study aesthetic learning processes in sloyd (art & craft), based on student teachers’ portfolios in metalwork. Thirdly, the four modes of learning are compared to equivalent modes of teaching: the instructor, the facilitator, the advisor and the educator. Fourthly, there is a discussion on the role of aesthetics in a ‘balanced’ curriculum. Finally, there is an argument on the need for a variety of assessment tools based on the four modes of learning and teaching, such as copying, portfolios, projects and the repertory grid technique.