Browsing by Subject "monimateriaalinen käsityö"
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(2017)Goals. The aim of this research is to discuss the thoughts 5th grade schoolchildren have produced about the Eura ancient costume and reflect upon their way of conveying its meanings. The study approaches the costume from a semiotic viewpoint as a cultural text, which carries the memory of the culture, conveys certain meanings via its details and produces new meanings in communication. The study emphasizes the idea that a cultural text, such as the ancient costume opens its signification in a thorough discussion with multiple angles. The literature related with ancient costumes bases on scholarly works by specialists in the field. In this study the schoolchildren attain a role of experts while producing material for the analysis in their assignments. The object for the children's reflection is the semiotic entity of the costume: the textile and the necklace, set of ornaments, bronze-plated knife sheath, broad spiral bracelets, rings and bronze spiral ornamented apron. The scholarly information and the children's reading appear in a dialogue within the study. The research questions were as follows: what kinds of meanings do the children produce for the Eura costume? In what ways do they interpret the costume and its details, especially the necklace and the bronze spiral ornamented apron? How do the children's reflections relate with the existing scholarly information about the costume? Methods. The study included 25 children from the 5th grade at a grammar school in Helsinki. The research questions were tackled in individual interviews, as well as writing and drawing assignments. The theoretical part of the study discusses semiotic literature, mainly semiotics of culture, as well as scholarly studies dedicated to the Eura costume. Results and conclusions. In the light of the semiotic approach applied in this research, the Eura ancient costume represents a cultural text, which carries certain cultural memory, conveys existing meanings and generates new meanings and even new texts. Based on the interview done in this research and the assignments given to the schoolchildren, it is possible to follow these processes in the ways the children read and signify the originally complex and strange cultural text. In the way they produce own interpretations of the details and symbols within the costume, we can find the emergence of new meanings. The stories the children produced are examples of generating new texts and of the costume functioning as the carrier of the cultural memory.
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(2023)Objectives. The task of this research is to describe, analyze and interpret how school crafts is represented on the image sharing and social network service Instagram. The representation of crafts is studied from two perspectives. In the first part of the study, the representation of crafts is investigated from a constructive point of view, i.e. what kind of reality Instagram posts build about crafts. In the second part of the study, the representation of crafts is investigated from an intentional point of view, i.e. what the publishers want to tell about crafts through their publishing activities. In addition to this, the study examines how Instagram is used to represent the multi-materiality of school crafts and the holistic craft process. Methods. The research materials are 266 Instagram posts about the school crafts and the theme interview materials of six publishers. Publication materials are analyzed using the methods of data-driven quantitative content analysis, and theme interview materials are analyzed using the methods of data-driven qualitative content analysis. Results and Conclusions. School subject crafts is communicated through Instagram accounts that are mainly focused on either textile or technical work taught in school. Crafts is represented on Instagram, as in its history, as two separate contents. The multi-materiality of crafts is commonly taught in basic education by focusing on teaching various techniques separately, meaning that students usually learn technical and textile work contents periodically, according to the materials studied. Only a little attention is given to craft activities that combines techniques of technical and textile work. Based on the Instagram content, versatile handicrafts are created at schools using the methods of holistic craft process. Despite this, the holistic craft process, including ideation, designing, production, and evaluation, are mainly visible through finished products. Instagram has been given the role as a virtual exhibition space for crafts, where a diverse production is presented to different target groups. Publishers named current students, prospective students, parents, the teacher itself, and other handicraft teachers across the country as their target groups. Publishers wanted to present school crafts to the target groups from slightly different perspectives, but the ways of communicating about crafts varied very little. More than 70% of Instagram posts about school crafts focus on finished products. Some publishers had made a decision to communicate about crafts through finished products only, especially for students' privacy reasons. Some publishers wanted to show more of the functional nature of crafts and the intermediate stages of the craft process, but these goals were often not achieved due to the hectic nature of teaching. Therefore, also they often ended up present-ing crafts through finished products. Regardless of the publisher's target group and purpose for Instagram communication, the functional nature of crafts on Instagram was generally reduced to merely showcasing products.
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(2019)Aims. On account of the curriculum reform (POPS, 2014) the subject of craft has become more coherent. The reform introduces the term multi-material crafts, which however, is not precisely defined. As research data on the teaching applying multi-material crafts does not excist at large yet, this research concentrates on defining the term based on official commandments and texts addressing them. This model of multi-material crafts is composed of those texts and commandments. The degree of motivation, in turn, is studied by means of various models specialized on teachers’ and students’ motivation. This research aims to examine what multi-material craft is by experiences and how motivational it is considered. The experiences are compared to the composed models. Methods. The data of the reserch was collected via online questionnaires. There were separate ones for teachers and students. The indicators were built for the research. There were teachers participating on the research from five cities (n=13) And students from four cities (n=88). The research data was collected both in quantitative and qualitative method. The quantitative data was analysed based on standard deviation and arithmetical mean. The differencies between the urban and rural area schools were studied with U-test. The qualitative data was analysed with the analysis of the content. Results and conclusions. It was perceived in the results that the experiences of multi-material crafts were distinct between teachers and students as well as different school districts. The main differences between urban and rural area schools were in the increase of self-direction. Teachers’ experiences were more positive than the ones of students’ in nearly all of the sections. The only exceptions were combining the methods of technical and textile crafts and utilising multiple workspaces. The main feature affecting students’ motivation on multi material crafts was atmosphere. The teachers were motivated by their work but the uncertainty of the continuance of the work and the challenges caused by changes possibly diluted their motivation. On ground of the results it can be said that multi-material crafts are taking shape in the schools. The change on its behalf is affecting the motivation.
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(2016)The aim of this study is to examine embodied learning in school craft, and describe how the results are connected to the dilemmas of multi-material craft. Earlier studies emphazise that it's no longer relevant to make a separation the body from the mind. Actually the brain, the nervous system and the body are in interactively related. Also learning can be seen as embodied, especially in crafts. Embodied learning is a way to make thinking- and problem solving processes visible. The upcoming curriculum plan will construct handcraft's teaching in a multi-material level, where the distinction between hard and soft material will be obsolete. The future will show how the multi-material craft teaching affects to handling and development of basic skills and problem solving skills in crafts. The research methods in this study are qualitative. The material for this study was gathered in spring 2016 by personally interviewing six craft teachers from southern Finland. The material was analyzed by using theoretically orientated content analysis. The material was reflected to the framework and the themes, which were found from the transcribed material. The framework was illustrated with the fourfold-space. Embodied learning can be seen as holistic functions between the mind and the body. The results describe the mental and the physical dimensions of embodied learning. The physical side focused on physical elements of learning, such as motor skills, body control, physical feelings and experiences. The mental side whereas concentrated on real-time problem solving, thinking and skill mastering. Both sides were seen interactively related. The results showed that handicraft skills developed through time, practice and repetition, as thinking and problem solving skills evolved in handicraft grow. From the perspective of multimaterial craft dilemmas the focus of learning process shifts from technique and material based learning to problem solving focused learning.
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