RESEARCH AREA

THE PROJECT

THE NOVEL

1.  Research area

This research project uses the potential of contemporary Norwegian Nynorsk drama/literature and Devised Theatre as methods in the development of a scenic production in The Cultural Schoolbag. The target group is upper secondary education. The production has purposes within the Norwegian language, aesthetic learning processes and intercultural pedagogy.

This exhibition is an exploration of methodological and ethical issues connected to the performative project “Eit anna blikk på eit anna blikk” (“Another look at another look”), which is linked to the research project. Personal impressions and intentions (anecdotal evidence) are also a part of the exhibition.

I orient myself within a performative research paradigm (T. P. Østern, Jusslin, et al., 2021) along with traditional academic structures. I see connections between different artistic expressions and subject areas, and work interdisciplinary.

Artistic research (Diku, 2023) is a type of research where the final product is an artistic work. This final product must be publicly available, for example as an exhibition, concert or performance. Reflection on the development and presentation of the art product is a central part of the research work. This reflection can take different forms, but must be relevant to the development of knowledge within the field. Artistic development work is carried out at universities and colleges with arts education such as music conservatories, art academies, theater colleges, and the like.

This exhibition is a part of the course “Doing Research with the Arts as Methodological Practice” at the Norwegian University of Science and Technology (NTNU).  

Background image: Hamza, an Afghan-Norwegian refugee. 

2. The project

"Eit anna blikk på eit anna blikk" ("Another look at another look"). 

An intercultural Devised Theatre-production for The Cultural Schoolbag by The Centre for Norwegian Language and Literature and the county of Møre og Romsdal, in collaboration with The National Centre for Norwegian Nynorsk In Education, Volda University College, and the performing artists Mine Nilay Yalcin, Samir Mahad and Jahanger Ali. The target group is upper secondary school. 

The production is based on the award-winning novel “Eit anna blikk” (“Another look”) by Erlend Skjetne. The work is in progress with start-up (brainstorming and planning) in June 2022 and completion for touring in November 2023. 

The story of “Eit anna blikk” (“Another look”) by Erlend Skjetne (2021) begins in the darkest winter. We are introduced to Anwar, a boy from Afghanistan. He has just arrived at a refugee reception in a small village in northern Norway, and he is in poor physical shape due to illness. One day, Walid arrives. The two boys share a room, and many young men from Afghanistan live at the reception. It will be challenging for Anwar and Walid to share such a tiny room. Although the two boys come from the same country, they are very different, but gradually, a friendship develops between the two. They spend far too much time sitting in the room with nothing to do. The novel depicts the standstill and the condition of the reception; time passes infinitely slowly. There will be a lot of waiting for something to happen, but most of all for the letter from UDI (The Norwegian Directorate of Immigration) with the refusal of residence. The boys are awaiting the arrival of spring.

The novel also contains #romance #jealousy #humour #life and death #abuse of power #existential health #Norwegian as a second language #Norwegian Nynorsk #refugee policy #Norwegian culture and unculture. 

Erlend Skjetne is the winner of the Brage Prize 2021 in the category for best children’s and youth literature, Norway.  

According to Brad Haseman (2006), performative research stands as an alternative to the qualitative paradigms by insisting on different approaches to designing, conducting, and reporting research. The performative research paradigm has applications beyond the arts and across the creative and cultural industries in general. The background for the paradigm shift is that researchers in the arts, media, and design often struggle to find serviceable methodologies within the orthodox research paradigms of quantitative and qualitative research. In response to this, practice-led research has emerged as a powerful strategy within a new research paradigm: performative research. According to T. P. Østern, Jusslin, et al. (2021) a paradigm of research stretches the perception of how research is understood as creation producing new insight and situated knowledge.

Bolt (2016) argues that the performative research paradigm needs to be understood in terms of the performative force of the research and its capacity to affect «movement» in thought, words, and deeds in the individual and social sensorium. The performative paradigm is characterised by a productive performativity, where art is both productive in its own right and as data that can be analysed. Bolt says that performativity has invited new ways of analysis mode that focus on process, participation, events, expressive actions, and experience. She concludes that all art is ontologically performative. Art practice is performative in that it enacts or produces art as an effect.

We live within posthumanism (Grue, 2019) as a guiding principle in the present. It is a key term for understanding ideological and cultural trends. Posthumanism has an updated definition of both “human being” (man) and “human science”. This makes us better equipped to understand human diversity and man’s place in nature, and not least the relationship of the human sciences. Posthumanism is current within questions related to life and death, transhumanism (of which I am critical) and visions of the future, the dream of perfecting man, and how this dream always fails. It is difficult to come up with a short definition of posthumanism, but it draws alternately on other post-directions—post-structuralism, post-colonialism and so on—in order to understand the construction of man. Posthumanism is linked to posthumanism—an academic direction which, among other things, seeks a rethinking of the relationship between culture and nature. The direction can challenge man’s status as superior, and shakes the dividing lines between epistemology, ontology, ethics, and politics, by undermining clear dividing lines between material and discursive phenomena. Perhaps it relates to man as an almost fluid, indefinable mass. I wonder: who and what will help define the time we live in? I place my research within this performative research paradigm and contemporary world. 

6. Research methods and inspirations 

The project is a hermeneutic interpretation of an artistic and art educational practice, to which theory and method are linked. Hermeneutics (Gilje, 2019) is the doctrine of the interpretation of texts and characterises the particular method of the humanities (especially with Wilhelm Dilthey) or a philosophical theory of all understanding (especially with Martin Heidegger, Hans-Georg Gadamer and Paul Ricoeur).

I also place the art method in the project within a modern, phenomenological scientific tradition. Phenomenology (Zahavi, 2012) is a term that is most often referred to in a philosophical tradition, based on Edmund Husserl’s philosophy and method. In some contexts, phenomenology is used to refer to the qualitative or phenomenal aspects of our general experiences. As a subject area in philosophy, the tradition stands at the intersection between philosophy of consciousness, philosophy of language and meaning, epistemology, and metaphysics. The tradition also has an influence in virtually all areas of modern philosophy, such as philosophy of science, philosophy of history and aesthetics, mathematical philosophy, and philosophy of religion and ethics.

Norwegian Nynorsk as a phenomenon, woven together in this project

Historically speaking, and referred to author and playwright Camara Lundestad Joof, Norwegian Nynorsk is a democratic project with a critique of power (Sørhusbakken, 2020). The intention was and is to give the people—regardless of whether as a main target, a secondary target, or as immigrants—a written language that is built on the spoken language in Norway, and in which everyone can find their voice and expression. Traditionally, the Norwegian Nynorsk written culture has captured a great diversity of different voices and currents in the Norwegian society. How can we make the Norwegian Nynorsk written culture relevant to the entire population, including those without a residence permit? How can we create a richer writing and art culture? With this project, we will give young people inspiration to an expanded linguistic and cultural toolbox, which in turn can help expand the space of expression they can use.

Institutions for Norwegian Nynorsk literary culture, such as Samlaget (Samlaget, n.d.) and Det Norske Teatret (Framsida, n.d.), pave the way for minorities and the diverse society (Nystøyl, 2022). The Norwegian Nynorsk culture wins by including and has the courage to utilise new thinking and break boundaries. There are good reasons to highlight several different voices that provide more diverse artistic expressions and reflect the society in which we actually live. We can imagine what the diverse society can give to the Norwegian Nynorsk writing culture and art, and vice versa. The theatre will create spaces and human meeting places where we can practise empathy. We do that when we encounter something that is different from ourselves. Where different voices and cultures meet and interact, the core lies in how to strengthen and develop art. I believe in being fundamentally curious about diversity and giving it a natural place. These institutions work to expand the diverse interaction and actively seek out and connect with us the voices that have not found their place in society.

Den mangfaldige scenen (Den mangfaldige scenen, n.d.) is a children’s and youth theatre In Oslo, Norway, where young people can express themselves, learn, and create theatre. The theatre uses Norwegian Nynorsk as their working and stage languages. They also use, among other contemporary theatre methods, Devised Theatre as a method in their work. I am inspired by, and collaborate with, this theatre in my work with this production. The theatre is based on the large and varied cultural richness that young people bring with them and gives them a simple opportunity to use and develop their creative abilities in collaboration with artists. They bring out new expressions in the meeting between the young people’s interests and cultural heritage. The theatre is a platform for future artists. It is a theatre where everyone is easily seen and respected for “I am who I am”, which opens, releases, and receives, where a tone, a step, a movement, or a word creates a meeting. The members (annually 300 young people) come from all cultural and social environments in Oslo, and participate in courses and workshops. All courses lead to smaller or larger performances in Nynorskens hus and other stages, for example Det Norske Teatret. 

The Centre for Norwegian Language and Literature (The Ivar Aasen Centre, The Olav H. Hauge Centre and The Vinje Centre) (Sandsmark, 2020) work with dissemination of literature to young people through touring productions in The Cultural Schoolbag. They aim to simplify literature into patterns, ideas, and emotions, and link it to current cultural phenomena. The centres want to make dissemination an intangible literary-linguistic approach. They claim that dissemination can be both a cultural experience and a learning resource. I support this in my work within the defined theme.

More Norwegian Nynorsk in The Cultural Schoolbag

The Cultural Schoolbag (TCS) (The Cultural Schoolbag, n.d.) gives children and young people the opportunity to cultivate their own taste and find out what they like and dislike. The arrangement gives children and young people the opportunity to be exposed to art and culture, regardless of where they live, what class background they have, and who their parents are. It is one of the most democratising projects in Norway. TCS exposes children and young people to language and culture that they might not have chosen themselves. More Norwegian Nynorsk in TCS can help children and young people familiarise themselves with the opportunity to become familiar with something that can become part of the national identity of the young people. Norwegian Nynorsk is a folk movement and a folk phenomenon in how it sounds, how it is constructed, and the fact that people from different parts of Norway—and the world—can find aspects of themselves in the language. There are many opportunities for children and young people to feel at home in the Norwegian Nynorsk language. 

In my work at the National Centre for Norwegian Nynorsk in Education, I am involved in the initiative “More Norwegian Nynorsk in The Cultural Schoolbag”. The Norwegian language contains two equal language forms, and Kulturtanken Norway (Kulturtanken, n.d.), wants this to be reflected in the TCS programme. The aim of the scheme is to increase the number of projects where Norwegian Nynorsk is viewed as relevant, representative, and for all students, both those who have Norwegian Nynorsk as their main written language and those who have it as a side written language or as an immigrant. The project is a collaboration between Kulturtanken Norway, Vestland County Council, Vestfold and Telemark County Council, Møre and Romsdal County Council, and the National Centre for Norwegian Nynorsk in Education.

Devised Theatre 

The Devised Theatre method is used in the development of the project. Devised Theatre (Stene, 2015, pp. 316–319) is a method where the whole creative team develops a production collaboratively. From actors to technicians, everyone is involved in the creative process. It is theatre that begins without a script. The “script” gets written as the rehearsal process takes place through a series of improvisations and collaborations. A devised process often begins with rehearsal space and a group of eager, committed theatre practitioners. Through a series of improvisatory theatre games or conceptual icebreakers, they start to tease out the kinds of stories they’d like to tell and the way they’d like to tell them. Over time, a text emerges, covered with the fingerprints of each participant. This method, in addition to other contemporary theatre methods, can be effective in working on this topic.

Like me, the author Skjetne has long experience as a teacher for refugees, and practiced in the north of Norway at a time when many underage Afghan refugees came to the country. I also have experience of working with students at the drama/theatre education and minor refugees with great success both for language, artistic/aesthetic development, integration and health.

We ask the questions in the process: how is the story told in the novel? Who tells it? What happens when a Norwegian man (teacher and writer) writes the story? Who has the defining power? What if Skjetne had not told the story? Would we have heard the story then? Is he, or anyone else, obliged to tell the stories that do not come forward?

What happens when two young Norwegian-Afghan actors tackle the novel and make contemporary theatre out of it? Who defines history? How is it written? How would history turn out if two Afghan boys wrote it. 

With simple and exciting moves, we want to challenge with our production. We are developing a polyvocal production where the actors play both Anwar and Walid, Jahanger and Samir. By going in and out of the characters, acting out scenes, and then discussing the scenes, we will bring out the important story and at the same time bring out the question of what the novel would be like if there were two Afghan boys who wrote it? What glances, thoughts, and visions has the novel failed to capture? 

It is a strength of the production that the team behind it has such diverse skills. Here, disagreement, different views, different experiences, and ways of seeing production are the product's strength.

Yalcin, Ali, and Madad develop text and preparations. I am responsible for Nynorsk translation and Nynorsk as a stage language. These are tasks from which texts will be developed in May 2023 (regardless of genre. Rhythmic text, poems, short stories, and associative texts. Everything is possible):

1. We read the whole book. We make notes, cross out, underline, ask questions.

2. We select three chapters that have some exciting elements in them, and which we think can be played as scenes. We make notes about why.

3. We select three chapters that we find unexciting, annoying, "bad", and/or implausible. We wonder why.

4. We read book reviews. What does "voiceless" mean? Who is voiceless? How do you become "voiceless"? Write a text based on the "voiceless" concept.

5. Write a text about the power of definition. Who has the power? Who writes the story (preferably rhythmically. Rap within the hip-hop genre).

6. Experiences related to the theme in the novel? Write about it!

7. Write a text about yourself. Who you are. What you like. What kind of music you listen to. Favourite movies. Hobbies. What you are good at. What you are bad at. What your favourite dish is. What you love. What you hate.

8. Write three texts in the following way: Pick up the novel and look up page 17, line 6; page 22, line 13; page 79, line 1. Use the three lines as a starting point for three short texts.

9. Write about the book. What did you experience when you read it? What did you think? What other associations did you get? And similar ones you are inspired by. Free interpretation for commitment.

Until the middle of May, the director and actors work individually and together with text and form. In the script, it becomes a play that moves in and out of character. It requires a lot of time for writing, exploring the text on the floor, and processing. 

The project is challenging. The author has written a text that deals with many dramatic events, a lot of critisism of the Norwegian asylum system, while at the same time toning down the language. The reader has to guess what happens. We can't do that on stage. In addition, there are only two actors who will drive the entire story forward. 

We work with the topic of defining power. Who defines the story? How, and why? We work with representation. The project weaves several issues together. We will continue working with the script after the second trial period, which will be finished on 2 June. There will be intensive work in November. We hope for an artist residency in the meantime. 

Pedagogy 

Several forms of pedagogy inspire me. Art pedagogy, intercultural pedagogy, and critical pedagogy are central to me in this work. In a fragmented multicultural world, pedagogy has a special purpose. Pedagogy can help people see what is meaningful in life and how they participate constructively in the community (Børhaug & Helleve, 2016). The authors argue for intercultural pedagogy as a counterforce to monocultural practice in education. The intention is to help change undemocratic practices such as assimilation, segregation, and radicalisation. Equality, subjectivation, intersubjectivity, dialogue, and inclusion are fundamental values in educational activities. Intercultural pedagogy can help put a critical spotlight on human possibilities for existence and help young people see themselves as unique people who can contribute to constructive change in the world.

Paulo Freire’s life and writing were largely about the prerequisites for being able to have a dialogue between parties that are far apart (Freire, 1999). He was a Brazilian educator, theorist, and socialist engaged in the work against poverty, hunger, and illiteracy. He has had a major influence on educational movements around the world. I am inspired by Freire’s critical pedagogy and thinking in my profession and in the work on this topic. Methods from Augusto Boal’s “Theatre of the Oppressed” (Engelstad, 2001) are also inspiring.

PRODUCTION DEVELOPMENT

WHO WILL BENEFIT FROM MY RESEARCH?

THE TEACHING MATERIAL IN A THEATRE CONTEXT

7. Production development 

Current issues in the process from spring 2022 to preparation for touring in autumn 2023: 

• cooperation agreements and clarification of interests
• the aims and principles of the scheme are defined in Meld. St. 18 (2020-2021) Experience, create, share – Art and culture for, with and by children and young people (Kulturdepartementet, 2021)
• dissemination of high artistic quality to children and young people in the county
• making the programming/touring predictable
• mutual use of expertise
• dialogue about logistics
• artistic skills and communication skills
• clarifying rights
• budget. Applications for financial project support in addition to the funds from The Centre for Norwegian Language and Literature and the county
• a cross-aesthetic production with an emphasis on theatre
• the question; what do all young refugees have in common, regardless of which country they come from? (Idea: Bring in voices, stories and languages from real life. Book tip: "Fortellinger om flukt"
• voices from refugees/those who work with/are involved with refugees?
• obtaining some information from for example IMDI, in order to get a real picture of the situation today and with some pointers for the future (to the extent possible)
• universal design
• a timeless production that can tour for an extended period before revision
• the target group: upper secondary education 
• establishing an agreement with scriptwriter and director Mine Nilay Yalcin
• a collaboration between the scriptwriter and the project team in selecting the script and methods
• framework for the production: 2 performers/actors (one of whom is a sound and/or lighting artist?): Samir Mahad and Jahanger Ali
• 3 to 20 May 2023: Preparation of project/script/form
• 22 May to 2 June 2023: Development of the project on the floor
• June to November 2023: Further development of text
• November 2023: tests and trial performances. Completion of project for touring
• develop pre- and post-work for the schools based on the production (the National Centre for Norwegian Nynorsk in Education). Here we will emphasise tolerance, equality, and critical thinking.

HOW TO CONDUCT THE ETIHICAL ISSUES CONNECTED TO THIS RESEARCH PROJECT?

A CURRENTLY CONCLUSION  

10. How to conduct the ethical issues connected to this research project?

In the research project that is outlined, the partners set up a context which set the premise. This should take place in dialogue and interaction between those involved. Who should be involved in the project? What criteria should be used as basis? Who will I become or be in the project? An assistant director and pedagogue, who also researches the process? My background and area of interest as an artist, researcher, and teacher (ART/ograph) will be a resource. As a white, ethnic Norwegian woman (42 years old) with a competence, do I have enough information and influence? How can a partner's role, audience role, and societal role be influenced and affected? How can it be defined around who one wants to be or become through the project, and what the motivation and purpose are in the project? I find it interesting to pay attention to and immerse myself and the partners in this through dialogue. Ethical dilemmas and issues must be professionally anchored and dealt with in advance. I must be awake and present as a researcher. As I see it, morals, ethics, and practice will regulate the relationship I have with the partners and recipients in the project. 

Knud Ejler Løgstrup’s ethical framework and problem within discourse ethics (Løgstrup, 2010) and the ethics of proximity are relevant in relation to the project and discourse ethics. Løgstrup’s thinking revolves around the Jewish-Christian concept of creation, and he links this to phenomenology. Løgstrup starts with the phenomena of human life which are so fundamental that they cannot be dismissed. Example of “spontaneous and sovereign expressions of life” are trust, the merciful, the open, and hope. These phenomena are prerequisites for a human coexistence to be possible. As a creature, man belongs with other human beings in an interdependence, that is to say, a mutual dependence. Out of this situation, an ethical demand emerges. Zygmunt Bauman (Nielsen, 2020) was inspired, among others, by Løgstrup in his work on fixed and liquid modernity, globalisation and the consumption, the Holocaust, ethics, and morality. Løgstrup and Bauman’s theories will be included in the ethical basis in the research of the project.

As an ART/ograph, I will also try to understand and handle the balance between power and energy and exhaustion in artistic work processes and in private life. This applies to me and all involved partners in the project (T. P. Østern, 2017, p. 18). This is also an ethical responsibility in the profession.

11. A current conclusion

A performative opportunity space between contemporary Norwegian Nynorsk drama/literature, theatre, and intercultural pedagogy. 

I share many values with the new curriculum Fagfornyinga LK20 (Udir, n.d.). There, I find affective (T. P. Østern, Bjerke, et al., 2021) and in-depth (T. P. Østern et al., 2019), aesthetic experiences and learning (A.-L. Østern et al., 2013), emphasised together with intercultural pedagogy (Børhaug & Helleve, 2016). In my personal and professional life, I have reflected and experienced something that gives me wishes and manifestation for what I want to prioritise now and in the future. The time and life are precious (A.-L. Østern, 2021). I wish healthy roots and wings for us all. This may be perceived as naïve, but I want to see my life in a larger context. I believe in the spirit and power of art and love to contribute to the work of the world and for the well-being of souls. I want to turn challenges upside down (A.-L. Østern et al., 2013), and with patience and confidence turn them into resources.

The research question is based on an ambition for a promotion to associate professor, and to work practically, theoretically, and performatively as an artist, researcher, and teacher (Irwin, 2013; LeBlanc & Irwin, 2019). Working for tolerance and equality in a globalised world makes sense and is important to me.  

I have an imminent research question in my work: What can contemporary Norwegian Nynorsk drama/literature do in an aesthetic and intercultural perspective to contribute to tolerance and equality among young people?

Working with this question has led me into several project collaborations, which also infiltrate each other. In Kulturtanken Norway (Forside, n.d.) assignment from the Ministry of Culture and Equality (Equality, 2013) for 2022 and also in Stortingsmelding 18 (Kulturdepartementet, 2021), it is stated that the activities shall strengthen the knowledge of what significance The Cultural Schoolbag has for children and young people with different backgrounds (Kulturdepartementet, 2021, p. 146). The responsibility for following this up lies with Kulturtanken Norway, and will be carried out in collaboration with the higher education sector. Here is where my work is integrated. In the first round, the knowledge base for how The Cultural Schoolbag experience affects/is affected by the social interaction in the classroom will be strenghtened, with emphasis on relationships and The Cultural Schoolbag as an arena for diversity and social communities. 

I wish to seek practical and theoretical competence to strengthen my methodological, ethical, and scientific knowledge for this type of work. I also want be able to argue for performative research and the profession and entanglement as an artist, researcher, and teacher. This is and will be a process. I want such projects to give voice, expression, and interaction to promote social, economic, and political equality on intersections of ethnicity, gender, age, and social status. The study this text and exhibition is part of helps me define who I am in the profession, about what and how I want to work now and in the future.

In the exhibition, I refer to theoretical models that are also ethical. Letting everyone speak and give voice to the voiceless is a central ethical principle in the research project I am outlining. The exhibition provides a basis through the dialogic models of Habermas and Skjervheim, through the ethics of proximity of Løgstrup and Bauman, cultural philosophy through Bakhtin, and language and theatre theory in a performative research paradigm.

Norwegian Nynorsk as a main language, secondary language, for immigrants, and as a language within art and culture, is a central aspect of the production. Is this a good way to build sympathetic attitudes towards Norwegian Nynorsk as an equal part of the Norwegian language? A revelation of the language can show Norwegian Nynorsk as a language full of struggle, power, and rebellion. Perhaps this is a tool many might need? I am passionate about modern and up-to-date Norwegian Nynorsk, which is a written language filled with identity and criticism of power. The field of culture and education has an attitude and dissemination responsibility in relation to Norwegian Nynorsk. The language is a folk phenomenon in how it sounds, how it is constructed, and that even people from different parts of Norway and the world can find aspects of themselves in the language. I want to pass this on to those involved in the project and in the ripple effects of it.

How can I use the theories in the project? The diversity perspective and challenges linked to a categorisation into a “we” and “them” subject and object, are and have been relevant both locally, nationally, and globally.

This arouses emotions in me, and I want to contribute to gender equality. We have a law in Norway on equality and prohibition of discrimination (Likestillings- og diskrimineringsloven, 2018). It has zero tolerance for discrimination. Nevertheless, we learn that there is still a lot to work on, especially when it comes to prejudices. Discrimination prevents the unfolding of life. It does not provide equal opportunities in work and leisure. There are many of us who want equal opportunities and rights for everyone. One might think that it is reasonable, natural, practical, and sensible. And we may be on our way. At the same time, it is not an easy matter to solve. Many know that discrimination goes deep into who they are, and many feel a great responsibility in proving that they are good and worthy.

What can we do? I think we have to acknowledge that racism and discrimination exists. By being awake, see, and speak out, we can create change. I want us to clean up our own attitudes that keep discrimination and racism alive. Having prejudices is normal. We all have them. Can this be discussed openly? What does it feel like to have prejudices in your body? How are they expressed? I want increased attention to prejudices from daycare through adult society. I want to be part of a space that can create positive attitudes. I believe that art, language, dialogue, and meeting points are keys to success. I collect these intentions as ART/ograph in the TCS production "Eit anna blikk på eit anna blikk" ("Another look at another look").

REFERENCES  

14. References

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