Browsing by study line "Lärare i slöjd, design och teknologi"

Tiivistelmä - Referat – Abstract The aim of this study was to develop and test a survey instrument based on systemic motivational thinking. The 16-dimensional instrument was operationalized on the basis of Lindfors’s holistic system theory (Lindfors, 1995) and theoretical integration of motivation (Ford & Smith 2009). In addition, the goal of this study was to understand the motivation of the Finnish craft hobbyists and the differences between groups(!) The participants of the study were reached through craft-oriented Facebook groups and members were asked about different aspects of motivation. The quantitative data (N=3409) was collected from Facebook groups in January 2020. First, the data was tested for validity and suitability for the further tests. An overview of the motivation was carried out with descriptive tests. For further testing the theory-based sum variables were created and operationalization was verified from correlation and Cronbach’s Alpha values. The dimensional differences between group means were examined through variance analysis. The conclusion was that the most important motivational factors for all craft hobby groups were pleasure, coping and pride for choices. The result of variance analysis revealed several statistically significant differences. Electric and metal hobbyists regarded skillfulness as an important factor. For woodcraft hobbyists, self-development had a high significance. For ceramic and jewelry hobbyists the creative experience was emphasized. Among knitters the significance of the craft hobby in life generally was rated high as well as the importance of material resources. Sewists rated highly ecological sustainability and social factors as well as the meaning of the craft products itself. Crochet or weaving and embroidery hobbyists did not have any specific motivational factor to stand out.

The purpose of this thesis was to study and analyze teachers` experiences of distance teach- ing in crafts and their views of its future. It is important to acknowledge the unique nature of crafts also in distance teaching, and by sharing experiences and thoughts, the maintenance of quality and equality in teaching and learning can be enhanced. This study examines and analyzes craft teachers` and craft teacher students` groupdiscus- sion notes from “Kässää etänä” webinar, which was organized by craft teacher educators from the University of Helsinki in spring 2020. The data was collected with semi-structured group conversation applying the methods of the- matic interview. In total, 49 persons participated in the group conversations, in groups of 4-7. The groups` notes were analyzed with qualitative content analysis. The results of this study show that the participants` experiences of distance teaching in crafts and views of its future included both positive and negative attributes. Teachers experienced that distance teaching increased students` inequality and teachers` workload. The flexibility of time and place of teaching and learning was considered positive, as well as the new devel- opment possibilities for students. The participants experienced that in the future, technology has a significant role in distance teaching of crafts. Technology, digital tools and apps offer various possibilities for teaching and learning, but they also include features that might in- crease inequality. Craft teachers saw that distance teaching has its place in schools, although the unique features of craft were considered challenging to transfer into distance teaching.

The development of the internet launched digitalization. Digitalisation is a process in which digital inventions flow more and more to different areas of society. Digitalization substantially involves transfer and storage of information that has been converted into digital form. Through internet, it can be done cost-efficiently, easily and quickly. Advanced societies with digitalization have turned into information societies, where information has become an important object of trade. It is easy to search information online and share it with others. The purpose of this study was to analyze the digitalization in handicrafts. The aim of the study was to investigate how digitalization affects handicrafts. The subject of interest was to find out what kind of digital applications and devices are used in handicrafts. The goal was to increase understanding on how and where these devices and applications are used in the field of handicrafts. The research material consisted of five volumes of magazine Taito, published by Taitoliitto, from 2018 to 2022. Total of 30 magazines were analyzed. Concepts related to digitalization was extracted from the magazines. Through the information found from the magazines, the intent was to form an overall view of the digital applications and devices used in the field of handicrafts, as well as their purposes in handicrafts. The study showed that digitalization has also progressed into the field of handicrafts. Nowadays, handicrafts uses and benefits from many kind of digital applications and devices. Many of these applications are ones that are commonly used in our society for other purposes as well. They are not just applications developed for handicrafts. Such applications were, for example, e-mail or various social media channels. The digital devices used in handicrafts divided into devices that were developed only for handicrafts and devices that, in addition to their other purposes, also served handicrafts. An example of the former were digital clothing design programs and an example of the latter were laser cutters. The study showed that handicrafts is not detached from the digitalization. Instead, handicrafts actively utilizes the benefits digitalization produces.

Objectives. The purpose of the study was to find out the emotional fluctuations experienced in the master’s course in craft education. Based on previous research, it is known that emotions are strongly associated with each stage of the craft process. Better learning outcomes are achieved when both positive and negative emotions are experienced. The theoretical background of this study was constructed from studies examined of both academic emotions and emotions related to the craft process. The study examined how strongly different epistemic emotions, i.e. learning and study-related emotions, students experienced within the framework of the Advanced Course in the master’s degree in Craft Science in University of Helsinki, and how those emotions varied. The research was inspired by my own experience and interest. Methods. The material was collected from the University of Helsinki's Master's degree course in Materialization in Craft Science in the autumn semester 2020 (September 2 – December 1, 2020). Craft teacher students (N=35) completed the emotional scale survey at the end of each teaching session (9 times). The survey was based on the Epistemic Emotions Scales (Short Form) emotion meter created by Pekrun et al. Emotional variations and emotional relationships were examined by correlation coefficients, patterns formed from descriptive data, regression analysis, and t-test. IBM SPSS Statistics software was used for the analyzes. Patterns were created from the averages of each emotion separately, and emotional profiles of a few individual students were added to supplement the results. Results and conclusions. All epistemic feelings occurred throughout the course. The course participants generally experienced mostly enjoyment and curiosity and least frustration and boredom. However, the individual emotional profiles of the students varied a lot from each other, i.e. the emotional variations of the students were different and individual. Enjoyment explained the statistically significant effect of the emotional variation on progression in course assignments. Statistical significance was also evident in the occurrence of confusion; in the first lesson, more confusion was experienced than in the fifth or ninth (the last lesson), confusion related to the assignment decreased from assignment during task completion. Based on this, the assignment of the course can be considered confusing, but as the process progresses, the confusion decreases significantly. An emotion survey can be utilized, for example, in a course, in which case course participants must reflect on their feelings.

Tiivistelmä - Referat - Abstract Objectives. The research task of this study is to describe, analyse and interpret what kind of craft teaching assignments occur in the field and how they correspond to the goals set by the National core curriculum for basic education (OPH, 2014). The purpose of the research is to give the reader a picture of the structure of the assignments and how the stages of the holistic crafting process are realized in the assignments. in addition, the object of examination is the implementation of design teaching and how the assignments enabled the realization of multimateriality. The structure of the assignments is examined according to the learning categories of the didactic model of investigative production. I research the realization of the holistic craft process in accordance with the contents (S1-5) of the goal (T2) of the national core curriculum for basic education (OPH, 2014). I analyse the teaching of design according to the design stages of the schools' design path. Methods. The research material was the assignments given by craft teachers to 7th-9th graders found on the internet and in the literature. There were 55 assignments in the material, and they had been implemented after 2016. The material was found on the website of Tekstiliopettaja TOL ry, on the website Punomo - handiwork online, on the website of technical subject teachers - TAO ry, on the website of educational institutes Pedanet and in the book "Kirja käsityöstä". In addition to these, I used three survey answers. I processed the material using the Atlas.ti 22 program. For the content analysis, I built three theory-based classification frameworks that answered my research questions. Results and conclusions. Most of the assignments were fairly closed (58.2%) or completely closed (27.3%). One assignment can be interpreted as quite open, but it was implemented as a collaboration between two teachers. The rest of the assignments were placed between open and closed assignments. In less than half (38%/55) of the assignments, students were instructed to use different materials in their work. Assignments can be used to aim for practice in a specific area, and by limiting them, the teaching can be differentiated. In the assignments included in this study, the holistic craft process or designing stages from start to finish were not realized. The assignments mostly consisted of the planning part and the implementation phase. In several assignments (78%/55), students were instructed to plan their work and then moved on to the doing phase (70%/55). The design was mainly limited to aesthetic details and searching for a ready-made guide or modifying an old one. Experiments in the sense of testing ideas took place only in a few tasks (7%/55). Instead of the design process, the analysed assignments showed the importance of doing.

The aim of this study was to interpret the significance of crafts in late 19th century Finland through Juhani Aho’s novels. Three novels were selected as the research material: The railroad, Papin tytär and Papin rouva. The theoretical background consists of an overview of the late 19th century societal history, defining crafts within the framework of the late 19th century, a brief literary historical review, and the role of gender in this thesis. The study is situated within the field of craft sciences and contains elements of historical research and literature research. The aim was to interpret the meanings attributed to craft and what they reveal about their own society. The study was conducted as discourse analysis. Excerpts that include craft were selected from the material and were then grouped into classes by using data-based content analysis. These classes were brought together and formed three categories. These categories were craft as a process, craft objects and craft skills. From these categories themes were derived and, by combining and reconstructing them, discourses around the crafts were formed. While forming these discourses, the material was reflected against the sociohistorical framework established in the theoretical background. Six discourses were formed around the theme of craft. These discourses were Craft as a part of daily life, The concentrated symbols and meanings in craft objects, Self-made clothing as an indicator of status, Craft as a voice of emotions, Craftmanship as a cursor of value, and Craft as a symbol of a virtuous woman. The importance of craft was proven through these discourses. The discourses show that crafts have been a major part of everyday life in the late 19th century Finland, regardless of a social class, age, gender, or any other societal position a person may have. However, craft objects also constructed and kept up societal differences. Nevertheless, the value of craft was evident not only in daily life but also in aesthetics, and craftmanship was taken for granted but still valued. Crafting was a necessity of everyday life, performed routinely, but it also carried meanings in conveying messages, building hierarchy, and processing and expressing emotions.

This thesis examines the influence of the welfare effect of crafts and craft-communities in the lives of people with depression. The well-being effects of crafts has been studied extensively and from several different perspectives in recent decades. Some of these studies have been handled at a general level the meanings of crafts for the mental health, but little is known about the benefits of crafts specially for depression or depression self-treatment. Therefore, the aim of this thesis is to find out if the crafts can be used as a self-treatment method in depression, based on the meanings told by the depressed. The research questions were that what role craft plays in the story of the interviewee´s depression and what well-being effects the interviewees feel they get from crafts and craft-communities. The thesis pursues a narrative approach. Research material collected by narrative interview from five craft-amateurs who has experienced depression. Material from the interviews were analysed with two approaches. As a result of the narrative analysis, the study created personal stories of the interviewees about the depression and the role of crafts in it. The analysis of narratives examined in more detailed way the similarities and differences between the interviewees´ narratives. These narratives were compared with recommendations on self-treatment for depression and the studies about the well-being effects of craft. In their stories, the interviewees described how crafts and craft-communities improve their well-being. This was very consistent with previous studies of the subject. Because of the de-pression, it was significant for the interviewees that the crafts increased their experiences of pleasure, usefulness and success. They also felt that the crafts gave them more strength and improved life management. For the interviewees´ crafts and craft-communities pro-duced similar welfare effects. Although they felt that from craft communities, they received also social relationships with peers. Interviewees didn´t use the term of self-treatment for de-pression when they described the well-being effects of crafts. Even though the interviewees express that the crafts help them manage and live with depression. Based on such results the crafts could be considered a suitable method as self-treatment for depression.

The aim of the study is to provide an overall picture of how students use interior textiles to decorate their homes and what these textiles look like. What kinds of decorators and users of interior textiles are students? Where are interior textiles acquired, received, or do students fabricate those themselves? What kinds of meanings do students attach to interior textiles? The study has both a qualitative and a quantitative perspective. The research material was collected as an open online survey from self-selected students. 388 students answered the survey. Most of them lived alone in a block of flats. Answers were analysed by the means of theory-driven content analysis and by decomposing the content with the help of Word, Excel and ATLAS.ti 9. The research showed that students own a comprehensive range of interior textiles, women slightly more than men. Students’ favourite textiles include snooze blankets, curtains and rugs. Most of the interior textiles are selected by students themselves or received as gifts. Textiles are acquired both new and used, by oneself and as a gift. When choosing an interior textile, the research found that usability and colour has the greatest impact on students’ decision. In addition, the study discovered that there are many different emotions and memories associated with interior textiles. They can remind you of your family roots, people close to you and a day that is important to you. The most loved and meaningful textiles were found to be handcrafted, thus also considered unique. In the field of craft science, this research provides an updated information package of interior textiles for 2020s students. The content can be utilized in the study modules for interior design students. The results can have a positive effect on the planning of student housing, student services and events, and it might also increase the debate on student well-being.

Aims. All choices, decisions, and actions in our daily lives, including educational practices, are decisions for the future and affect how sustainable future we will create. Understanding the consequences of our choices and recognising our limits is essential for our future. Eco social civilization has been suggested as a solution to maintain the boundaries and preventing human inequality. Craft and visual arts are based on experiences, emotions and actions which support student’s personal and cultural development and help to understand broad contexts. The aim of this Masters’ Thesis was to study how sustainable craft and visual arts education in primary school can contribute to transformation towards eco-social civilisation. Methods. The data for this study was collected by an online survey from primary school craft and visual arts teachers. The survey was collected between March and April 2022 from four different groups in social media and was answered by total of 31 teachers. The data was analysed by using quantitative methods and qualitive content analysis. Results and conclusions. The results indicated that this subject is important, and its dimensions were considered in teaching. The contents most often considered in teaching were saving energy, water and resource, using recycled materials, reducing consumption, teaching traditional techniques, well-being effects, compassion and empathy, and interaction and learning skills. Only some respondents made use of services provided by networks outside the school, mainly for information and brainstorming. The use of these services was perceived as burdensome. In addition to the lack of time, the amount of content to be taught was identified as a challenge. Teaching materials should be subject- and age-specific and collected in one place. Responses indicated that teachers should be given more information and resources on how to teach the subject. The school culture should be developed, and the content and objectives of local curricula should be refined to support sustainable development. Teacher training opportunities should also be improved.

The goal for this study was to examine the meaning of dog ownership identity when picking dog clothing. Dog clothing as a phenomenon is quite new and has only a little research on it. Theoretical frame of reference of the research was based on study of clothing, narrative research, identity research and consumer behavior research. Dog ownership identity is a partial identity same as ex. a Working identity or a parenthood identity. Dog ownership identity was approached by narrative sense of identity and dog clothing selection on behalf of consumer research. This research is linked to other researches of dog clothing by diving deeper on previous researches of dog clothing themes. Four people were interviewed. Interviewees had previous experience on dog clothing. Biography based theme interview methods was applied in an interview. Data was analyzed by applying qualitative analyzed model by Miles and Huberman(1994). A story following of biograpy research was formed on dog ownership development in relation to dog clothing selection in the analyze. In the summary, stories were reviewed as a whole together with theoretical background information. The research provided references that when dog clothes became part of dog ownership, in time clothing became a norm and attitude towards fun apparrel category clothing changed to more positive. Utility and fun apparrel categories are based on Falcks(2001) classification of dog clothing that if its needed or are dogs dressed for cosmetical purpose.Generalizing the Observation can be used in the future to review for ex. Wider inquiry. In addition an interesting phenomenon was found in the research. It was found that people who didn’t do any crafts were interested in making dog clothing. I was able to think some reasons for this with the theoretical background data but to understand it wider I would need to require more research based data.