Course Description

The programme has 4 major course units:

Historical Subjects – will provide an overview of the diversity to be found within the field of folk art and place material objects within cultural, social and cultural-historical contexts.

Subject Didactics – considers questions related to the practice and dissemination of folk art.

Art Subjects – will provide students with experience in working with artistic tools. The subject includes amongst other things colour theory, drawing and the study of form.

Workshop Subjects – aims at providing students with practical skills regarding production processes within the field of traditional folk art. Basic knowledge of materials, tools, working methods and techniques will be emphasised. Students may choose between working with wood, metal or textiles.

The programme includes a general part for all students, and a specialisation part. The general part includes Historical Subjects, Subject Didactics and parts of the Art Subjects. Students may choose to work with wood, metal or textiles in the Workshop Subjects.

The various components are weighted as follows:

Historical Subjects	12 ECTS
Subject Didactics	6 ECTS
Art Subjects	12 ECTS
Workshop Subjects	30 ECTS

3.1 GENERAL PART

Major course unit: HISTORICAL SUBJECTS

Aim

To acquire knowledge of the nature of folk art and how it is represented through, for instance, buildings and written texts.

Content

“Historical Subjects” will provide a cultural-historical overview of material folk art in Norway, in this context limited to work involving painting, wood, metal and textiles. A special emphasis will be placed on examining folk art from three perspectives: geographical, period and social environment.

The development of folk art in various parts of the country will be considered from a geographical perspective. Using the period perspective, the so-called Golden Age of Folk Art will be examined, i.e. the flowering of folk art from the middle to the end of the eighteenth century, after which it weakened. Finally, the relationship between folk art and social environment will be examined. Folk art will be considered in light of the past and the period in which it emerged. Important questions in this context are: What happened in the meeting between the domestic traditions and impulses from abroad? Why is one type of folk art concentrated in one area and separated from another area? Have old customs and beliefs formed folk art? An introduction will also be given to the history of European style so as to place Norwegian folk art in an art-historical context.

Course units

Theory and Methodology

• Development – dispersion - cultural area
• Sources of inspiration - folk art’s forms of expression

Historical – Cultural-Historical Background

• Rural Norway, economic conditions and working life
• Social conditions, the crofters’ (husmenn) system
• Old and new times – ‘change in the system’ (hamskiftet)

Building Traditions

• Wooden stave buildings and lafting (building with logs - cog joints)
• Cottage types and country courtyards

Guilds – Rural Handicrafts – Home Crafts

• Town craftsmen - rural craftsmen
• Crafts villages - rural craftsmen – home crafts

Folk Art: Various Materials and Techniques

• Textiles - woven covers and tapestries; national dress and costumes
• Metals, blacksmiths/silver smiths, costume silver, bondejern (“peasant’s iron”), copper and brass
• Wood carving - Furniture and furnishings, wood carving
• Painting - freehand decoration in rose painting and paintings

Everyday Life and Festive Occasions

• Annual festive occasions and festive occasions during an individual’s life
• Pictorial world in folk art
• Symbols/magic symbols

History of Styles

• From early periods up until the period of historicism

Major course unit: SUBJECT DIDACTICS

Aims

The aim of this course is to enable students to plan, validate and evaluate the consequences of folk art dissemination in various contexts.

In order to achieve this aim the following questions will be discussed:

• What is folk art?
• Why study folk art?
• How should folk art be practised and disseminated?

Content

In order to consider these questions (what, why and how), students must acquire knowledge of how the concept of ‘folk art’ has developed historically. They must also gain knowledge of some basic social science concepts and theories in order to understand the relationship between folk culture and society, and the position of the practising folk-artist within various social contexts and historical epochs. The Norwegian and the Nordic cultures will be interpreted within a European/global context.

On the basis of this, students will be able to independently discuss the content of the Folk Art study programme, and the position the programme and folk art have in modern society.

Students will be able to disseminate experiences from practical work within the field of folk art by acquiring knowledge of project work and report writing related to this. They will also learn basic aspects of communication theory.

Students will practice the practical dissemination of folk art by arranging exhibitions during the academic year. Subject Didactics will also be integrated with other aspects of the teaching, for instance, in workshop activities, project work or through other subject theoretical/practical teaching.

Course units

What is Folk Art?

• Definitions of culture - society
• Status / role / function

The Local, National and Global Aspects

• Identity, ethnicity and nation
• Folk culture’s capacity to transmit knowledge

Folk Culture and Nation Building

• Aspects of Norwegian nation-building since the end of the eighteenth century
• Old and new times - the ‘change of system’ ( ‘Hamskiftet’)

Project Work

• Completion of the project and development of the problem approach
• Project report

Dissemination Assignments

• Exhibitions
• Arts and handicrafts days

Major course unit: ART SUBJECTS

Aims

The aim of the Art Subjects is to develop students’ sense of aesthetic qualities and make them aware of how they may work with form, colour, decoration and materials. A good deal of the teaching in Art Subjects serves as preparation for work done in the workshops. An attempt will also be made to make students aware of aesthetic practices in folk art.

Content

In Art Subjects, students carry out work that involves visualising their own thoughts and ideas. By practising visual awareness, students will become more skilled at expressing their ideas.

By studying form, students will gain experience in using various artistic tools, in both two and three dimensions. An important aspect concerns the interaction between form and materials.

Students will gain knowledge of colour as an artistic tool, and how it is possible to use colour in artistic expression.

Students will gain experience of how decoration may be used to enhance objects, and how decoration comprises an important aspect of folk art and artistic expression.

The course units Decoration and Colour are specially aimed at the major course unit Decoration in the Workshop Subjects and form a part of programme assignment III. The assignments for Drawing and Form/Function must be submitted and included in the student portfolio and will form the basis for the final grade.

Course units

Drawing

• Freehand drawing
• Croquis drawing
• Sketching/registration
• Technical drawing

Decoration

• Ornament
• Surface pattern
• Decoration/form
• Formal aesthetics

Colour

• Colour theory
• Harmony theory

Form/Function

• Perspective drawing
• Composition
• Two dimensionality/three dimensionality

3.2 SPECIALISATION PART

WORKSHOP SUBJECTS - WOOD · METAL · TEXTILES

Aims

This subject area concerns the practical acquisition of production processes within the field of traditional folk art, and work with the renewal of folk art traditions in relation to current forms and functions.

Students will, through their own work, learn about the culture of utility objects and gain experience of a variety of practical production processes. They will gain knowledge of the work processes involved producing objects from raw material to the finished product. In the Workshop Subjects, students will, for practical and professional reasons, utilise relatively processed and modern materials. Students should be capable of viewing design culture in a historical context, become aware of the basis of design and through this gain an understanding of their own culture and that of others.

Furthermore, the study programme will equip students with skills so they will be able to register and analyse traditional materials and plan and produce their own products with roots in local or traditional design culture.

Workshop Subjects will provide students with the basic knowledge of materials, the knowledge of the use of various tools and the working methods which will enable them to carry on the traditions of folk art.

The teaching of the foundation programme must be viewed in connection with the specialisation programme, because it is not possible to provide sufficient teaching of techniques and various other aspects in a 1-year foundation programme.

Content

The teaching in the Workshop Subjects structures the academic year into 4 parts. The first three parts are concerned with three different major course units. Each major course unit includes assignments with defined goals and content which must be completed. These assignments are programme requirements which must be completed and included in the students’ portfolios for assessment. The Workshop Subjects includes a written assignment related to the syllabus reading list. Within the various major course units the teaching is divided into various topics. This teaching may sometimes be organised so that it runs over complete weeks (course weeks). The last part concerns work on the year-assignment, an exhibition including a written description. The year-assignment also has a clear formulation regarding aim and content. The student, in consultation with the supervisor, selects a topic for this period.

The Workshop Subjects includes the following 3 major course units:

• Materials and Techniques
• Decoration
• Form/Function/Construction

In addition to the three major course units, work in the workshop also includes aesthetic questions in connection with product design.

Major course units

Materials and Techniques

This major course unit is taught at the beginning of the academic year and will provide the student with an introduction to the materials, wood, metals or textiles and their use in Norwegian folk art.

Emphasis is placed on knowledge in relation to development and changes in the use of techniques and materials. Further, there will be a focus on which areas of use the various objects have, and how the material is used in relation to the area of use. An introduction will also be given to the various production and processing methods which have been used in the various folk art processes. Use and choice of materials and techniques is viewed in connection with variations in nature, economic and social conditions in the various cultural areas where the products are made.

An important part is also the methods for processing and the finishing treatment of the various materials.

Decoration

The major course unit Decoration will provide students with knowledge about, and an introduction to, various decoration traditions within Norwegian folk art, which use wood, metals and textiles. The course will examine variation in different parts of the country, and how forms of expression have developed and changed throughout history. Further, it is a goal that the students themselves will be capable of continuing and renewing decoration traditions on the basis of decoration forms and methods.

Form / Function / Construction

This course will focus on a thorough registration and critical analysis of historical object material within an area of function. The function of objects, and the context within which they are used, will also be considered.

An analysis of function will form the basis for an assessment of the students’ own choices in relation to function, use of materials and methods in connection with the students’ processing of their own products.

Year-assignment, exhibition including a written description

The year-assignment holds an important place in the programme. For the assignment the student should acquire the material from the various subject components of the programme, such as Historical Subjects, Subject Didactics, Workshop Subjects and Art Subjects.

The work should include both a written part and one or several practical pieces of work carried out on the basis of a problem approach chosen by the student. In addition, there is a requirement that the local traditional material should be used in a new form-creative work. The problem approach/topic must be approved by the supervisor before the student may start the work on the year-assignment.

3.2.1 Workshop Subjects TEXTILES

MATERIALS AND TECHNIQUES

Course units

• Textiles - tools
• Spinning
• Weaving theory
• Weaving using flat loom
• Ribbon loom weaving
• Finishing treatment of textiles

The student will gain knowledge of using various natural fibres and spinning methods used in traditional Norwegian textile production and he/she will be given an introduction to, and develop skills in, the production of thread using a spinning wheel / drop spindle. Further, an important aspect of the knowledge of wool will occur through an introduction to processes such as felting and matting of fibres and the final treatment of the finished woven material. In this specialisation course students will go through the process from calculation, warp and the setting up of various types of looms such as an Oppstad loom and a flat loom. The students themselves will set up and weave a frieze loom and provide the finishing treatment of the material by using a traditional water-driven frieze stamp.

Parallel with an introduction to practical weaving, the student will receive an introduction to weaving theory and binding analysis.

In addition, the student will receive a basic introduction in, and through their own work, gain knowledge of variations in traditional local ribbon techniques. In this period the student will both be working with exercises in various techniques and materials and making finished products.

DECORATION

Course units

• Knitting traditions and introduction to local knitting techniques
• Embroidery, local variations
• Dyeing, plants and chemical dyes
• Block printing
• Weaving, composition binding and binding analysis

Using textiles there are many various types of decoration. Decoration on textiles used for interior decoration and clothing employ a large number of techniques and great variation in use of materials and combinations of these. Some of the decoration techniques are utilised in several so-called cultural areas, while other are mainly restricted to limited areas.

Some of the groups of objects with decoration have been used in certain cultural activities, and in which decoration / decorative elements have had a certain symbolic significance, while in recent times this function has changed to a decorative function only; this is a topic for discussion in connection with students’ own development of a product in connection with their course assignment.

Students will complete exercises in various decoration techniques both within the area of weaving, embroidery, prints and knitting. In addition, they will make a product decorated with a technique which they select themselves.

FORM / FUNCTION

Course units

• History of Costumes
• Registration of textiles
• Pattern construction on the basis of folk costumes/national costumes
• Traditional weaving and sewing techniques
• Functional analysis of textiles

In connection with form/function students will gain insight into the development and variation in the design of clothing textiles; this will be done by visits to museums. Most emphasis is given to knowledge of design variation, use of materials and techniques that are used in the Norwegian folk costumes. Regarding knowledge of the local costume traditions, students will become acquainted with how European trends have influenced Norwegian folk costumes in the various ‘costume regions’.

Students will also gain knowledge of the practical design of textiles used in Norwegian interiors from the end of the eighteenth century up until the present day. In addition, textile techniques and processing methods which are used in connection with the coast culture will be presented to the students during this period. In this work period the student will receive an introduction of how to give a description and compare the design/construction/function of a group of historical textile objects; the aim of this exercise is that students will utilise the knowledge acquired in their own work. A critical analysis of material, design and possibly decoration in relation to function in the present day will be conducted.

3.2.2 Workshop METAL

MATERIALS AND TECHNIQUES

Course units

• Machines and tools
• Material knowledge
• Plate and construction
• Surface treatment
• Decoration techniques
• Forging
• Joining techniques, clasps, buckles, chest locks and fittings
• Environment and safety

In “Metal” the student will receive an introduction of how this material has been used in Norwegian traditions.

Students will receive an introduction to the knowledge of tools and materials, and the methods of processing, so that they will be able to use this knowledge in the design of their own products for various areas of use.

Students will acquire a significant part of this knowledge through using processes such as adapting and preparing tools for various purposes, forging and using decoration techniques, bending and fracturing plate, mechanical and chemical surface treatment and hard soldering.

In this period some products will be made, as well as tests.

DECORATION

Course units

• History with an emphasis on the peasant silversmith, decoration techniques and costume silver
• Filigree – introduction to the technique
• Engraving – introduction to the technique

Norway has long rich metalworking traditions, especially regarding costume silver, with a rich diversity of buttons, filigree brooches, and clasps. Some of the decoration techniques are used in several traditional areas, while others are restricted to local areas with distinctive design and decoration. Some of the objects incorporating decorative elements have had a clear functional use, while others have been used in connection with cultural activities in which decoration and decorative elements have had a specific symbolic significance. In recent times, much of this has changed where the function has been purely decorative; this is a topic for discussion in connection with students’ own development of a product in connection with their assignments.

FORM / FUNCTION

Course units

• History, style epochs, types of objects and establishing dates of production
• Function form and corpus
• Function analysis

In connection with form and function the teaching will be arranged so that students will gain insight into development and variation in form and functional solutions of various metal work from various parts of the country.

In this connection there will be a focus on corpus and joining methods. Students will be encouraged to thoroughly examine a cultural area and a specific historical period and carry out an analysis that will form the basis for their own work in connection with the assignment for the period. The assignment should include a critical analysis of materials, design and possibly decoration in relation to function.

3.2.3 Workshop Subjects WOOD

MATERIALS AND TECHNIQUES

Course units

• Working with new work, raw material, collection of material, working with organic forms
• Using tools for processing raw materials
• Setting up tools and learning to use machines
• Techniques: hollow, sweep
• Theory of materials

The student will receive an introduction to the use of raw materials in various groups of objects from a barter economy up until the present day.

Students will receive an introduction in the use of raw wood and themselves be able to produce objects using this material. By gathering materials in nature and through lectures, students will gain experience of which parts of a tree are appropriate to use in the production of various objects. Through practical work in the workshop, and by using various types of tools, students will acquire skills and experience of the production processes.

DECORATION

Course units

• Various decoration techniques such as
• Singeing and stamping decoration, barkskurd/kolrosing (fine line decoration), wood carving, and line-decoration
• Surface treatment
• Form / decoration
• Local variations within decoration techniques

Using wood as a material, there are many various types of decoration of furnishings and objects, due to a large number of techniques, great variation in the use of materials and a combination of these. Some of the decoration techniques are utilised in several so-called cultural areas, while others are mainly restricted to limited areas.

Some of the groups of objects with decoration have been used in certain cultural activities, and in which decoration / decorative elements have had a certain symbolic significance, while in recent times this function has changed to a decorative function only; this is a topic for discussion in connection with students’ own development of a product in connection with the assignment.

FORM / FUNCTION

Course units

• Theory of materials – anatomy of trees
• Surface treatment
• Technical drawing
• Traditional joining techniques
• Object analysis in wood
• Technical instruction
• Function analysis
• Form / function

In connection with the form/function period, the teaching will provide students with insight into development and variation in form and functional solutions in various types of woodwork from various parts of the country. This will involve focusing on variations in relation to what is constant in the object groups from various traditions.

The theory of materials from the materials period will be further considered, but with an emphasis on the choice of materials and the qualities of materials of objects in which the joining techniques are important. Introduction to dovetailing and gluing.

A further introduction to the use of tools and machines.

Students will be encouraged to thoroughly examine a cultural area and a specific historical period and carry out an analysis that will form the basis for the students’ own work in connection with the assignment for the period. The assignment should include a critical analysis of materials, form and possibly decoration in relation to function.

Assessment Methods

There should be some agreement between aims, content and assessment in the programme. The ongoing assessment will provide students with feedback on how assignments have been completed, and what they need to focus on further in the programme. The assessment of assignments, examinations, and programme requirements, which must be completed in order to be allowed to take the examination, will be collected in the students’ portfolios and be assessed by the subject teacher in consultation with the programme team. The majority of these pieces of work will be formally assessed.

Programme requirements / assessment of the individual major course units

Content of the student portfolio:

• Art Subjects

Seven programme assignments in course units Form/Function and Drawing will form the basis for a grade in Art Subjects. The students will select a piece of work within each of the various topics in these two course units (in total 7 pieces of work) for assessment and allocation of a grade. The course units Decoration and Colour will be assessed as a part of programme assignment III.

• Workshop Subjects

Three programme assignments within the three course units will be included in the student portfolio. Each programme assignment includes a description of aims, content and assessment. All the programme assignments in the Workshop Subjects have a practical and a theoretical part.

In addition to the three programme assignments students should submit logs which document that they have acquired knowledge in the techniques and themes which have been taught. These reports will be assessed as approved as pass /fail.

1. The course unit Materials/Techniques: The student will complete exercises which must be submitted together with written documentation of the working process. The student will receive a grade for the practical work, while the log will be assessed as pass/fail.

2. The course unit Form / Function: The assignment should include a report with a problem approach and a finished product. The work concerning form and functional solutions will be emphasised in the assessment. The student will be given a grade for the practical work, while the written part will be assessed as pass/fail.

3. The course unit Decoration: The assignment will include a minimum of three exercises from the course unit in addition to a finished product and colour / decoration exercises from the teaching in Art Subjects. The grade will be given on the basis of work with colour / decoration exercises and how the student has solved the assignment by designing a product including decoration.

Examination in workshop theory

Written examination in Historical Subjects and Subject Didactics, 5 hours

Historical Subjects count for 2/3 and Subject Didactics 1/3 of the grade.

Multipart year-assignment (roughly 10 weeks)

In order to receive a diploma the following requirements must be fulfilled:

• Approved quality of the programme assignments submitted before specified deadline
• Approved reports from the course weeks/theme teaching
• Approved participation in the obligatory parts of the programme
• Approved participation in the study trip

In the obligatory parts of the programme, students who have more than 20% absence will have to send an application to the department before they can receive a diploma. Applications will be individually assessed.

Assessment

Assessment includes both programme assignments completed throughout the year, examinations in Workshop Subjects, written examinations in subject theory, a year-assignment, an exhibition including a written description.

The various parts of the programme are weighted in relation to the final grade for the programme:

• Assessment of year-assignment, exhibition including a written description: 2
• Written examination in Historical Subjects and Subject Didactics: 1
• From the student portfolio: 2

Examination in workshop subject theory, counts 1/10

Programme assignments in Art Subjects counts 1/10

Programme assignment I, Workshop Subjects, counts 1/10

Programme assignment II, Workshop Subjects, counts 3/10

Programme assignment III, workshops subjects counts 4/10

Students will receive a grade on their final certificate, graded A to F, where A is the highest grade and E the lowest passing grade. Each course unit must receive a passing mark in order to achieve a final passing mark.

For more detailed information, please refer to Telemark University College’s Examination Regulations.

Minor adjustments may occur during the academic year, subject to the decision of the Dean