Artikkelen undersøker hvordan fortellingen kan skape rom for kulturell identitet i barnehagen. Med utgangspunkt i Ricoeurs teori om fortellingens betydning for dannelse av kulturell identitet og forståelseutledes sentrale holdepunkter for en kunstpedagogikk der barns kulturelle ytringer får fokus. Her synliggjøres det hvordan interaksjon er avgjørende på alle nivå; mellom perspektiver i fortellingen, mellomfortellinger i ulike kulturer og mellom barnas egne fortellinger og det som fortelles. Det pekes ogsåpå konkrete arbeidsformer (f.eks. defining space og hotseat), som åpner dialog mellom synspunkter slikat det legges til rette for at barna blir medskapende i egen betydningsdanning og identitetsprosess.

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This article examines evaluations of practical exams in drama and theatre. It looks for indicators of what has worked and not worked, in terms of the students’ understanding and further learning potential. In an analysis of challenges in the exam situation, overarching devices and frameworks are discussed, along with the importance of holistic versus analytical assessment, and alignment of the course design. Furthermore, the oral examination is discussed based on different types of feedback. Key findings in this article are that the course must have a very good match between learning objectives, learning activities and assessment methods, and that this may be particularly important in ensuring a good practical exam. The criteria should contain an element of holistic assessment, but should be based on analytical categories for the assessment to be considered fair. This also guarantees greater understanding and greater learning effect. Besides, the oral exam should provide clear criteria-based feedback to ensure understanding, but should also contain elements that ensure motivation. Both constructive and level-based feedback provide useful contributions to the students’ learning process.

This article examines how the methodology ‘theatrical chiasma’ can open up the material when working in a theatre production, so that you do not abort or ‘close’ the creative process too soon. The method is based on a crossing-over principle, where the students can try different inputs to the creative material through various working methods. The article analyses the dramaturgical entry points in light of Shusterman’s theory of ‘art as dramatization’. Central findings are that dramatisation as a framework helps to focus the content and creates awareness about form. The method also facilitates the connection between visions, form and content, so that aesthetic alignment also becomes an important part of the students’ learning process. Dramatisation can be seen as art in itself, because it is an active theatre rehearsal with intrinsic value, where creation and reflection are essential to create new artistic significance.

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