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Andre fortellerkveld på Josefines verthus

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Onsdag 15. Oktober arrangerte jeg andre fortellerkveld på Josefines vertshus. Denne gangen var det Øystein Vestre som var hovedfortelleren og jeg tonet min egen rolle ned. Jeg er ikke god på å kombinere vertsrolle med å fortelle. Øystein Vestre er en dyktig forteller og med det mener jeg at en god forteller kjenner sitt materiale, den gode fortelleren vet hva slags materiale de skal fortelle og på en måte kan man si at det tradisjonelle materialet har en autobiografisk forbindelse. Når Øystein forteller høres det ut som om han forteller om personer han har møtt hjemme på Sjøholt, selv om fortellingen i utgangspunktet kan være hentet fra et helt annet sted. Det holder ikke for en forteller å like fortellingen, det må forbindes med noe reelt i fortellerens liv, enten det er landskap, karakterer, hendelser eller drømmer. Dette skal selvfølgelig ikke overtolkes eller ende i en psykoanalytisk utgreiing, men det er fortellerens og lytterens inngang til opplevelsen.

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Det var en fin, varm og lun stemning under fortellerkvelden, og med mye latter. Øysteins fortellinger bar preg av møter mellom karakterer, det Marit Jerstad vil kalle horisontale fortellinger. Språket i fortellingene er tydelig markert som kulturbærer og karakterne er gjenkjenbare og skaper forventning til fortellingen.

Neste fortellerkveld er med Helga Samset og det er bare å glede seg.

Fortellersirkel

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Fortellersirkel

Som forteller er jeg fascinert av den konsentrasjon som oppstår når man forteller en fortelling. Brian Sturm kaller den sterke lyttekonsentrasjonen for ”lyttetranse” (). Under en fortellersituasjon, gjerne innenfor pedagogiske rammer, sitter vi ofte i en sirkel. Roger Hamilton skriver i boken ”The last storyteller:

«The audience sits around the storyteller forming a circle known as the halka. The significance of the halka cannot be overstated, according to Abdessalam el Hakouni: Halka means circle, ring or link. The halka is the universe because that was imagined to be circular. The earth is circular and all the stars and planets gravitating around it form a circle. The halka is a circle of people. At the centre of that circle is the performer. There is not just one ring because a halka is one piece of a chain. The storytellers are links in a chain that had been unbroken for almost1,000 years. The concept of this circle has its roots in the nomadic life of the country’s peasants who lived in a duwar (another word for circle). In medieval Moroccan society, a duwar was a circle of tents erected by nomads, inside of which they kept their cattle to ensure their safety.» ()

Men hva er egentlig en fortellersirkel? I et forsøk på å forstå hva en fortellersirkel er har vi (en masterstudent og jeg) lest en rekke tilgjengelig lærebøker i muntlig fortellerkunst utgitt i perioden 1917 – 2012. Lærebøkene innenfor denne undersøkelsen har vært utgitt på engelsk, dansk og norsk og vi mener at med vårt utvalg dekker vi godt dette fagområdet. Flere av bøkene er sentrale innenfor studiene i fortellerkunst og muntlig fortelling ved HiOA. I denne analysen har vi hatt en abduktiv tilnærming. Vi har sett på lærebøkene som en topologi hvor vi ikke vet helt hva vi ser etter eller hva vi finner utover at vi har lett ord som ”ring” og ”sirkel” for å finne mønstre som danner grunnlag for videre arbeid. Et overordnet ønske er blant annet å begrepsliggjøre fagområdet.

Gjennom lærebøkene oppdager vi en relativt uoversiktlig bruk av ”fortellersirkel”, vi finner ord som ringfortelling, klassering og beskrivelser som å ”sitte i sirkel”. Vi kan forsøksvis sortere funnene under følgende:

  • Som en formasjon av en gruppe under ulike øvelser

Hos A. Gersie (1992) brukes det å sitte i en sirkel gjennomgående under utførelse av ulike øvelser innenfor den metodikken hun kaller «storymaking». Hos Børresen m.fl. (2012) beskrives sirkelen som den beste formasjon fordi da kan alle se og høre hverandre.

  • Som en egen fortellertype

Hambro m.fl. () og Jerstad (2007) bruker fortellersirkel og ringfortelling om en egen type fortelling hvor en gruppe skaper en fortelling sammen.

  • Som en metode

Hos Flarup (2004) brukes «storycircles» som en egen metode innenfor organisasjonslivet. Metoden går kort ut på å samle fortellinger fra ansatte i en organisasjon, gi fortellingene en form og så sende de tilbake til organisasjonen.

  • Som gjenfortelling

Hos Karsrud (2010) og Grainger (1997) anbefales det å sitte i sirkel under gjenfortelling av en fortelling deltakerne (elevene) har hørt.

  • Som markering av et fortellerrom

Thonsgaard (2004) bruker fortellersirkelen beskrevet i Dekameronen som et eksempel på hvordan man kan differensiere fortellerrom fra fortellersted. Karsrud (2010) snakker om «klassering» for å tydeliggjøre et kodeskifte i et klasserom. Og det er her min interesse ligger. For å markere dette rommet bruker Hambro m.fl.(), Karsrud (2010), Grainger (1997) og Børresen m.fl. (2012) en (forteller)stol og eller en gjenstand (fortellerstav) som fokus i en fortellersituasjon. Jeg tolker det dithen at i dette ligger det en uuttalt estetikk tilstede i dannelsen av dette fortellerrommet.

Aesthetics and children with special needs

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Aesthetics and children with special needs

An interdisciplinary approach

Time: 15th of April 2015

Place: Oslo and Akershus University College of Applied Sciences in Oslo

The conference has three objects in mind:

  • to stimulate interdisciplinary practices and research with children with special needs
  • to endorse aesthetic awareness in all approaches to children with special needs
  • to enhance the wellbeing of children with special needs

The conference acknowledges a wide concept of literature and other aesthetic expressions including digital media, and we understand aesthetics as a reciprocal process that takes place in the meeting between people, regardless of their differences. Through literature and aesthetic expressions we perceive our world, express and share grief and happiness, develop our identity and relations. By means of aesthetics our potential for empathy may increase and we develop tools to express ourselves and process our experiences. This is important for children and youth with special needs, whether we are talking about a physical or mental disability, a demanding social situation, different cultural backgrounds, learning disabilities, disease in different phases or language difficulties.

Aesthetics include all art forms. Through music, motion, drama, play with puppets, arts and crafts, literature, pictures, videos, games and social media one may communicate issues that are otherwise difficult to bring up in verbal communication or surpasses the reach of language. Use of aesthetical experience is also important in diverse therapeutic practices such as Music Therapy and Multi-sensory integration (MSE). Aesthetical expressions represent some of the most valuable possibilities and resources in a human life that children with special needs have the right to take part in and share.

Welcome to Oslo in April 2015!

Important dates

Preliminary registration for the conference 15th of November 2014

Deadline for registration to the conference 15th of February 2015

Deadline for abstracts 15th of December 2014

Deadline for suggestions to sessions/workshops 15th of December 2014

Approval of papers/sessions 15th of February 2015

Registration link will be published on the conference website within late October: http://www.hioa.no/aesthetics-Conference

Guidelines for papers/academic papers/artistic presentation/performance/installation

The abstract must not exceed 375 words (included references) and shall contain following:

  • research questions
  • methodological approach
  • a selection of references that demonstrates knowledge to the fieldThe abstract must contain title (optional subtitle), name and institution. It is expected that the presentation of the paper/academic paper/artistic presentation/performance/installation lasts maximum 20 minutes, followed by a discussion in ten minutes. The abstract shall be sent on email to Torgeir.Haugen@hioa.no as attached Word or PDF-file. The submitted abstracts will be evaluated by the program committee.

Guidelines for sessions/workshops

We invite you to propose suggestions to sessions. The suggestions must be related to aesthetics and children with special needs. In addition it is also positive if interdisciplinary approaches are included. Suggestions to sessions shall contain:

  • A title and a description of the content (maximum 250 word)
  • Name and institution to the person who would like to lead the session
  • It would also be good if a person could write a short summary of the discussions in the session.Suggestions to sessions shall be sent on email to Torgeir.Haugen@hioa.no as attached Word or PDF-file. The selection of sessions will be taken by the program committee.

Preliminary sessions/workshops

Folk tales and story telling

Literature for/by/about children with special needs

Bilingualism

Kindergarten, aesthetics and children with special needs

Severe sick children and songwriting

Aesthetics in Multisensory Computer Based Media

Hospitalized children and aesthetics

The smallest children

Aesthetic expressions as means to verbalize transitions

Practical information

The conference takes place at the campus of Oslo and Akershus University College of Applied Sciences, In Pilestredet 46, 0167 Oslo

 

  • Conference fee: 500 Norwegian kroner, includes coffee and lunch
  • Conference dinner: 650 NKrRecommended Hotels/bed & breakfast nearby:
  •  
  •  
  • cochspensjonat.no
  • ellingsenpensjonat.no
  • sagahoteloslo.no
  • smarthotel.no

 

Steering committee for Aesthetics and children with special needs

Anders-Petter Andersson, Sweden (Kristianstad University Sweden)

Birgitta Cappelen, Norway (The Oslo School of Architecture and Design)

Heidi Dahlsveen, Norway (Department of Art, Sign and Drama, Oslo and Akershus University College of Applied Sciences)

Svein Fuglestad, Norway (Department of Social Work and Social Policy, Oslo and Akershus University College of Applied Sciences)

Elisabeth Grønning, Norway (Department of Social Work and Social Policy, Oslo and Akershus University College of Applied Sciences)

Torgeir Haugen (chairman), Norway (Department of Early Childhood Education, Oslo and Akershus University College of Applied Sciences)

Eivind Karlsson, Norway (Department of Early Childhood Education, Oslo and Akershus University College of Applied Sciences)

Inger Marie Lindboe, Norway (Department of Early Childhood Education, Oslo and Akershus University College of Applied Sciences)

Åse Marie Ommundsen, Norway (Department of Primary and Secondary Teacher Education, Oslo and Akershus University College of Applied Sciences)

Kjell Ivar Skjerdingstad, Norway (Department of Archivistics, Library and Information Science, Oslo and Akershus University College of Applied Sciences)

Trygve Aasgaard, Norway (Department of Nursery, Oslo and Akershus University College of Applied Sciences; Norwegian Academy of Music)

An informational website about the congress is planned to be published at Oslo and Akershus University College of Applied Sciences medio October.

One intention of the conference is to publish a scientific anthology about Aesthetics and Children with Special Needs. An Interdisciplinary Approach.