Vi ønsker med dette temanummere Estetiske læreprosesser i pedagogisk praksis å synliggjøre, artikulere, nyansere og presentere artikler som kan bidra med nye perspektiver og være med på å utvikle nye undervisningspraksiser.

This article analyses different discursive positionings related to the body that emerged during the process of renewing the curriculum for the subject Dance Techniques, an in-depth study module in year one of the Programme Area for Dance in upper secondary education in Norway. The hearing process of renewing Dance Techniques uncovered deep tensions in how the body is understood and what position it is given within Norwegian dance education. The aim of this article is to locate different discursive positionings related to the concept of body to better understand these tensions. Through a critical discourse analysis, three rounds of consultation drafts and hearing comments are analysed. Theoretical perspectives connected to the bodily turn and the desired body in dance emerge inductively from the analysis. From the analysis it appears that there is a desire to disembody, disengage and desensitize the dancing body in the curriculum renewal process.

The intention of this article is from a phenomenological perspective to “unpack” the role of emotions when teaching practice-based subjects in higher education. When teaching practice-based subjects, educators’ embodied expressions and personal understanding affect both teachers’ and students’ knowledge production. The academic and the political worlds have a vested interest in understanding and improving methods of teaching and learning in higher education, and concepts such as accountability and performativity are used to indicate quality in education, whereas the affective and embodied knowledge tend to be unterminated. In this article, the authors investigate the teacher’s body as a knowledge producing and productive resource in teaching practice-based subjects. Analysis of the dialogue between two teachers shows how expressing the intersubjective and subjective dialogues in- and between them illuminates qualities such as daring to be a bodily perceptive and emotional being, listening within and the experience of teaching and learning simultaneously, trusting bodily sensations, and letting the students be who they are. By applying theoretical concepts to teachers’ descriptions of classroom experiences, this article contributes perspectives and sheds light upon human knowledge in professional relations.

This article explores how a kindergarten teacher educator (Ida) and a somatic dance teacher (Live) collaboratively and bodily planned dance workshops for kindergarten teachers with the aim of developing the kindergarten teachers’ bodily professional knowledge. The focus is on the kindergarten teacher educator’s and somatic dance teacher’s bodily planning process. Methodologically, the article is positioned within arts-based and collaborative research, which is defined under an umbrella of performative research, with the researchers positioned on the inside of the research. The research material is analysed in two layers. The first layer, through Barad’s agential realism, results in the creation of four entanglements: to body – to space, to listen – to respond, to rest – to move, to play – to create. These are suggested as design principles. In the second layer, the workshop design is theory infused with Winther’s concepts for embodied professional competence. As a result, the authors argue that bodily planning is of high value to really sense what is at stake when aiming at developing workshop design for bodily professional knowledge.

This article explores the challenges and opportunities in trying to capture students’ experience of bodily learning based on own teaching practice in teacher education. Applying a sensory autoethnographic approach, I study my bodily and emotional experience during the analytical process investigating my students’ experience of bodily learning as part of their education in becoming teachers of physical education. I ask the following research questions: What was my bodily and emotional perception of analysing the students’ experience of bodily learning? How can these bodily and emotional experiences illuminate the challenges and opportunities in researching students’ experience of bodily learning in own teaching practice? In analysing the reflection notes through the concepts of embodied affectivity, embodied interaffectivity and body memory, this study shows that analysing students’ experience of bodily learning from own teaching practice illuminates various dilemmas. First, my body memories of being in the same situation the students referred to, reactivated my memories of being the teacher educator in the same situation. Second, conducting a thematic analysis excluded dimensions of the students’ experience of bodily learning. Third, a shared emotional approach enabled me to capture the students’ experience of bodily learning in my own teaching practice.

In this study, the use of the term movement in the Framework Plan for the Content and Tasks of Kindergartens (hereinafter, the “framework plan”) was investigated. Movement is understood as crucial for the core values in the framework plan, as it creates the base for children’s play, exploration, learning, care, and formative development. Through a document analysis, this enquiry examined whether the use of the term movement in the framework plan supports the steering document’s focus on the intrinsic value of childhood. This enquiry was guided by the research question, “How is the term movement outlined and used in the Framework Plan for the Content and Tasks of Kindergartens?” The analysis consisted of a word search, identifying how often, when, and in relation to what the term was used. Furthermore, this article discusses the implications of the use of the term for the underlying understanding of movement in children’s lives. We postulated that providing a clearer rationale for meeting, celebrating, and working with different approaches to movement in the framework plan could create a more substantial base for didactic designs and further research focusing on movement not only as motor skills but also as exploration, participation, communication, and a kinesthetic way of understanding oneself and one’s surroundings.

The context of this article is a science teacher educator’s interest in experience-based learning. This led her to an exploration of the experience-based knowledge of five elderly professional fishermen in the small fishing community of Mausund in Norway. The research question guiding the article is: How can professional fishermen’s experience-based knowledge be explored through narrative inquiry? As a conclusion, embodied culture or a lived community of practice with a clear social dimension is highlighted as a way of becoming a fisherman that the use of narrative inquiry methodology helps to become articulated and thereby visible as knowledge. This embodied culture and lived community of practice with a clear social dimension has not only shaped the fishermen’s knowledge about fishing, but also their attitude to narration, to storytelling. They are brought up in a culture in which talking and telling is neither expected nor encouraged, which influences the interviews. The fishermen are not unwilling to tell, but they are not used to thinking about their own knowledge as fishermen, as knowledge. Little by little, through the interviews, their experience-based knowledge is narrated and articulated. In other words, the narrative inquiry methodology opens for embodied culture being articulated, visible as knowledge, and thereby possible to discuss as valuable within science education.

This special issue explores how post-approaches to education and the arts emphasize learning, teaching, and knowledge-production in the arts as performative processes of becoming in-between humans and other materialities in a more-than-human world. Moreover, the articles included in the special issue reveal that such an endeavor calls for new ways of doing research through post-qualitative and practice-led research methodologies.

Arts-based research has been proposed to be a new paradigm in teacher education, but research on supervising arts-based educational research in master’s theses in education remains scarce. Recently, researchers have begun re-thinking supervision with relational, more-than-human ontologies, acknowledging that it encompasses doings and relational becomings produced by a multiplicity of human and non-human bodies. However, little attention has been given to the becoming for both student and supervisor, and this research has been limited to doctoral supervision. Originating through a student–supervisor relationship, the study explored the entangled supervision/thesis writing processes to produce an understanding of arts-based educational master’s thesis supervision in teacher education. The analytical questions were: (1) What doings make a difference when supervising and writing an arts-based educational master’s thesis, and (2) what are their opportunities and challenges for teacher education? A diffractive analysis produced doings of thinking-together with/in theory and arts-based educational research practice, be(com)ing-teacher and be(com)ing-supervisor, and be(com)ing-with-the-thesis. The doings focused on the master’s thesis project but extended its boundaries. The doings drew on the past concerning previous experiences and knowledges, were fueled by present mutual interests, and affected future teaching practices. The study holds implications by providing valuable insights into arts-based educational research supervision in teacher education.