Learning potentials and pitfalls working with animation aesthetics as leisure-time pedagogues
The topic in our research project is leisure-time pedagogy, more specifically the part of leisure-time pedagogy concerning learning processes of animation aesthetics. Our cross-cutural analysis is based on a research project with leisure-time pedagoges, conducted in Denmark in 2016-2017. After the reform of the Danish primary School in 2014, the Danish leisure time pedagogues are to a larger content invited into curriculum based school activities. Meanwhile working hours in the leisure-time centers are reduced. These changes have created an even more urgent need for the leisure-time pedagogy to explicit its professionalism and potentials and establish the value of leisure-time pedagogy when it comes to for instance varied learning environment and the childrens well-being across school and leisure-time. In what way are the leisure-time pedagogy to become a valuable and important part of the primary school? In what specific way could the leisure-time pedagogy contribute to varied learning envionments in primary schools offering new or alternative solutions when it comes to learning activities? Participating and being a part of concrete learning environments in school activities the leisure time pedagogues seemingly enter a scene where primarily writing competences and verbal competences are being acknowledged and recognized as signs of learning, dominating learning environment and learning processes (Kress, 1998) (Ahm & Ringskou, 2017 ). However, there is a growing interest concerning multimodal learning processes (Kress & Selander, 2012). Today, other ways and signs of learning and an interest in creating alternative learning environments, are indeed emerging. An emerging and potential part of leisure-time pedagogy that can contribute when is comes to multimodal learning processes is the field of animation aesthetics. In our research project, we examine the part of leisure time pedagogy, concerning learning processes of animation aesthetics. What kind of pedagogy emerge, when pedagogues and children occupy with learning processes of animation aesthetics, characterized by technological liveliness (Chow, 2013)? What are the learning potentials and pittfalls within animation aesthetics? Theoretical frameworks: Theoretically, we draw on both aesthetic theories, theory concerning animation pedagogy and animation aesthetics, digital media theories and multimodal learning theories (Frølunde, 2009; Kress & Selander, 2012; Lindstrand, 2013; Letnes, 2013 and 2014; Chow, 2013). Methodology/research design: Methodologically we conduct a design based research (Bjørndal 2013; Letnes 2014). Design based research emphasizes a strong cooperation between the researcher and the field of practice. It focus on intervention, process orientation and a cyclic research design. As researchers, we alternate between designing, carrying out the design and developing the design in close cooperation with the leisure time pedagogues who participates (Bjørndal 2013) (Letnes 2014). Our empirical data primarily consists of ethnographic participant observations, accompanied by qualitative semi-structured focus group interviews. Findings: Aesthetic animation learning processes involve more playful and creative learning processes, acknowledging both sound, pictures, body and movement as signs of learning. Especially movement, as a central part of animations aesthetics, offers both potentials and pittfalls when it comes to the learning processes of the children and calls for pedagogical attention. Overall, the research project constructs knowledge about the pedagogy emerging when working with the learning processes of animation aesthetics.