The initiative to this special issue has emerged slowly between the four guest editors through conversations about the 22 July 2011 terror attack, which is a Norwegian national trauma. We have talked about memories, grief and other feelings, art, and how artistic and arts educational processes can contribute to different educational contexts like museums, informal educational relational and interactive arts contexts, or formal contexts like school or teacher education. The national trauma has been elaborated by artists in visual arts, film, the performing arts, and literature. The different artistic expressions have reactivated memories, influenced grief processes for better or worse, and produced resistance in the public. Simultaneously, art has contributed to relevant discussions and taken part in meaningful ways in the public conversation about the terror attacks in the Norwegian Government Quarter and on the island of Utøya in 2011. In 2015, the 22 July Centre, a national memory and learning centre about 22 July 2011, was established. Art has played an important role in the centre’s activities. In the renewal of the Norwegian National Curriculum in 2020, the 22 July terror attack is explicitly mentioned as part of the curriculum.
In our conversations, we have noticed that we lack knowledge about how artistic or arts educational processes are used to process and learn about the terror attack and national trauma in different educational contexts. At the same time, we have a strong belief that art can contribute and that it does indeed have an important part to play. Now, more than ten years after the attack, we wonder what knowledge and insights artists, art institutions, educational institutions, survivors and bereaved families, pupils, students, teachers, and researchers have developed about how the arts, artistic and/or arts educational processes might be utilized in different teaching programs and learning contexts about 22 July. Our starting point is the belief that art, artistic and arts educational processes in different contexts as schools, informal arts educational contexts, art in public spaces, museums, and different film, literature, visual or performing arts outreach projects have the possibility to create artful spaces to experience, feel, share, reflect and learn about the terror attack. This challenges more traditional ways of teaching and learning.
But how to work with such artistic or arts educational processes? How to work with art that creates space for such different kinds of learning experiences and reflection in artistic and arts educational processes? And how to do research with arts educational or artistic processes in schools, informal educational contexts, teacher education, museums, and different artistic outreach projects? How to work ethically in these processes, as artists and as teachers? What do research ethics demand in such contexts, and what considerations are needed? What theoretical frameworks can be used to generate insights from such processes and research? How might for example art theories, theories on research with art educational theories, and social science theories contribute?
With this Call for Articles, we wish to stimulate research with artistic and arts educational processes around the topic of 22 July in a variety of formal and informal educational, teaching and learning contexts. We hope the Call might either create space to write about already accomplished projects, or that it might lead to the creation of new constellations of researchers, teachers, and artists that wish to collaboratively create, carry out, research, express, and write about their own project(s). We welcome especially initiatives that focus on how to do research with the arts in artistic and arts educational projects about the 22 July terror attack in formal and informal educational contexts, preferably with the inclusion of the experiences of the participants.
The guest editors welcome the exploration of arts-based and poetic writing within the frames of academic publication. Images and links to video material with explicit consent given are welcome.
With the comprehensive topic of the 22 July terror attack and artistic processes in educational contexts, we invite submissions of abstracts for articles elaborating on topics such as:
- How to initiate and organize collaborative teams on the topic of 22 July and artistic processes in educational contexts?
- How to create educational designs / educational programs to work with the topic of 22 July and artistic processes?
- How to do research with the arts in work with the topic of 22 July and artistic processes and relational arts education processes?
- How might artists research the topic of 22 July through artistic research, relational arts, and art education processes?
- How do artists and teachers navigate the ethical aspects of working with the topic of 22 July and artistic processes in educational contexts?
- How to approach a terror attack/trauma like 22 July artistically and how does the approach influence the arts process and the creation and communication of the artwork?
- What theories from the arts, education, the social science, or from doing research with the arts are relevant in research on 22 July and artistic processes in educational contexts?
- How are the arts, teaching, and learning of artistic processes on the topic of 22 July understood in different educational contexts like preschool, school, or teacher education?
- How does teaching connected to artistic process around the topic of 22 July take part in formal education and what learning processes emerge in pupils, students, and teachers?
- How is the school environment influenced by artistic processes on the topic of 22 July?
- How is teaching as artistic processes on the topic of 22 July designed and what learning processes emerge in teacher candidates and teacher educators?
The suggested topics are non-exclusionary and other topics within the comprehensive theme of the special issue are welcome.
- September 8, 2023 – a Webinar in Norwegian and English parallel languages about the special issue at the 22 July Centre in Oslo and on a digital platform. The webinar will take the shape of a conversation with the guest editors. Registration is necessary and can be made until 6 september here: https://forms.gle/fxz3WTkdW2vUzrzK8
- January 30, 2024 – submission of an extended abstract of 500 words to JASED: https://jased.net/index.php/jased/about/submissions. Use the prefix 22JULI_Title for your submission. Submitting an abstract follow the same routine as for an article. The abstract should include the context for the project, the research focus, methods in use, and theoretical perspectives.
- February 15, 2024 – response from the guest editors, with accept or dismissal to develop the abstract to a full article.
- August 15, 2024 – submission of the first full article draft through JASEd’s digital portal.
The author guidelines of JASEd must be carefully followed https://jased.net/index.php/jased/guidelines
JASEd is an open access publication with an article publishing charge, please read carefully https://jased.net/index.php/jased/publicationFees
About the guest editors
Camilla Stabel Jørgensen (PhD) is professor of didactics of religion and worldview education at the Department of Teacher Education, NTNU. She has written about pupils’ and student teachers' writing in religion and worldview education, and is particularly interested in how aesthetic expressions related to religious and worldview traditions can be used in academic learning, e.g. during field trips. She has been academic editor of Nordidactica. Journal of Humanities and Social Science Education and guest editor of a special issue of Prismet on "Exploring Religions and Worldviews with Different Methods". She was not personally affected by 22 July, but has collaborated with colleagues at NTNU about teaching student teachers how to handle 22 July, and with the Wergeland Centre on Learning and reflection material on 22 July - 22juli-ressurser.no
Camilla Dahl is an artist and a social scientist and a master`s degree in Art in Society from Oslo Met and Political Science from the University of Oslo. Together with her partner in the artist group Kadha project, she has worked artistically with the theme 22. July 2011 for a period of time. Through her artistic practice she explores how art can be applied in society through an activistic, relational and participatory artistic practice. In 2017 she published the book Kunsten å flykte (Art of fleeing) and has written about user involvement in art for Nordic Journal of Artistic Research (Dahl 2022). In addition to her artistic practice she works with service innovation for the Norwegian Welfare administration, and has explored open, participating, and experimental processes as part of her service innovation work. Camilla worked in the government quarters in Oslo on July 22.nd. 2011.
Ana Rita Ferreira (PhD) is the Head of Art Projects at the 22 July Centre, where she has worked since 2015. Ferreira holds a Doctorate degree in Philosophy from the University of Lisbon (2012), a Master’s degree in Curatorial Studies (2006) and a Licentiate degree in Painting (2003) by the same university. Ferreira was the project manager for the 22 July Centre’s new website, launched in 2022, and for the art exhibitions Minnering and Scar, hosted by the Centre in 2022. From 2015 to 2018, she was the editor of the peer-reviewed journal Philosophica, published by the Centre of Philosophy of the University of Lisbon (CFUL). Ferreira has co-edited several academic books on art and aesthetics, including Creative Processes in Art from 2014. She was not personally affected by the 22 July terror attack.
Tone Pernille Østern (Dr. of Arts) has a Doctor of Arts in dance from the Theatre Academy at the University of the Arts Helsinki. She is a dance artist, Professor in Arts Education at NTNU and Visiting Professor in Dance Education at Stockholm University of the Arts. She has worked especially in the entanglement of artistic and educational processes as opening, relational, change-oriented and inclusive spaces, and she has developed and strengthened the performativity of research through postqualitative and artographic (artist/researcher/teacher) research methodologies. She was not personally affected by 22 July, but she has other personal experiences of grief and grief processes.