Art-Based Action Research 38.

3
for Art Education in the
North
Timo Jokela

Abstract

This article introduces the art-based action research (ABAR) methodology as part of the
international discussion of art-based educational research (ABER). The participatory and
dialogical approach of ABAR was inspired by a consideration of the pressure for change in
art education stemming from the practices of relational and dialogical contemporary art. The
need for ABAR as a tool of culturally decolonising, sustainable art education research was
identified in multidisciplinary collaboration with the University of Lapland’s (UoL) northern
and circumpolar network. The methodology was developed collaboratively by a group of art
educators and researchers at UoL to support the artist/teacher/researcher with
professional skills for seeking solutions to recognised problems and to promote future
actions and aspirations in the changing North and Arctic. This article describes how ABAR
has been used in school projects, in doctoral theses and finally in a development project
with an impact on regional development in the North. These examples show how art
education developed through the ABAR method has supported decolonisation, revitalisation
and cultural sustainability in schools, communities and businesses.

Keywords
art-based action research, decolonisation, cultural sustainability, northern knowledge system

Introduction
In art universities across Europe, the pressure to create doctorates in the arts
gave rise to a discourse about research in the field of art and design. Subsequently,
much has been written about artistic research, and the phenomenon has garnered
recognition and various names (Borgdorff 2011; Gray & Malins 2004; Leavy 2017;
McNiff 1998; Sullivan 2005; Varto 2009). Concurrently, educational researchers
have begun to use artists’ and arts critics’ practices to conduct educational
research. These art-based methods are normally connected to researchers’ educa-
tional practices, and scholars identify in various ways the role of the arts in
research strategies and processes (see Eisner 1976; Irwin & Cosson 2004; Leavy,

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 600
2017). In recent years, there has been much discussion of the notion that art-
Timo Jokela

based research methods should be an essential part of doctoral dissertations in art

education (Sinner et al. 2018). At the University of Lapland (UoL), the northern-
most art and design university in Europe, art-based educational research has been
closely linked with the action-research method (Jokela et al. 2015). To clarify the
difference between international artistic research and the art-based research
method and to highlight the role of action research, the method used at the
University of Lapland has been termed art-based action research (ABAR). It has
been used in art-education reform (Hiltunen 2009), participatory art activities
(H€arko
€nen et al. 2018), development work in the social sector (Hiltunen 2010) and
in the cultural tourism industry (Jokela et al. 2018).

From art-based self-reflection to participatory action

research
To describe the essence of the ABAR method, its developers (Jokela 2017) have
stated that it must first be examined as action research. According Cole & Knowles
(2008), action research allows practitioners to investigate and solve problems
within their practice. All forms of action research underline the use of action and
reflection to solve real-life problems (Whitehead & McNiff 2006). Traditionally,
action research has been described as a cycle of planning, action, observation and
reflection leading to improved practice (Kemmis & McTaggard 2005). Action
research has many branches, ranging from teacher self-development to participa-
tory interventions for positive changes in societies.
In education, action research as a method of teacher/artists’ self-development
has deep roots. According to Clarke & Bautista (2017), the teacher-as-researcher
movement emphasises self-development and the importance of combining action
research and reflective practice to achieve a more holistic approach to teacher
development. They point out that there are two prominent branches of self-reflec-
tive action research. Evocative autoethnography centres on the delivery of an unin-
hibited and emotional text that stimulates further conversation, while analytic
autoethnography, although it may incorporate emotive aspects, also provides an
analytical, theoretical perspective. Both of these self-reflective, autoethnographical
branches of action research are often critiqued as lacking in replicability, scientific
objectivity and evidence.
Critical self-reflection has traditionally been regarded as a text-based activity,
but alternative methods for building a reflective practice exist, and there is grow-
ing recognition that arts-based approaches can be invaluable in successful reflec-
tive work. Clarke & Bautista (2017) advocate arts-based narrative and storytelling
for educator development because both the author and the reader get closer to
experiences and emotions that are often inaccessible from a theoretical perspec-
tive. Artistic expression remains a method of approaching alternative ways of
learning, while action research in teachers’ self-reflective development is closely
related to the ongoing discussion of artistic research as an artist’s self-reflection,
which is common in fine art academies as well as in a/r/tography in art education
(Irwin & de Cosson 2004).
Action research is often cited as a progressive method in teacher education.
According to Hine (2013), there is clear evidence suggesting that action research
is a valuable exercise for teachers. He notes that action research offers teachers a

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systematic, collaborative and participatory process of inquiry. Additionally, action

Timo Jokela
research provides teachers with the technical skills and specialised knowledge
required to effect positive change in classrooms, schools and communities (Stringer
2008).
This was in mind within UoL’s art-education programme when the ABAR
method was collaboratively developed by a group of art educators and researchers
together with art-education students at both the master’s and doctoral levels. Even
when all the developers of ABAR at UoL worked as artists, the key goal in devel-
oping the ABAR method was not merely incorporating the artist/teacher/re-
searcher’s own artistic expression or self-reflection. Rather, they highlighted the
interaction and teamwork-building capacity with other cooperating teachers, artists,
researchers, communities and participants that is typical in educational action
research, community-based action research (Stringer 2008) and participatory
action research (Whyte 1991). Among art education researchers at UoL, ABAR is
understood as qualitative research, not as its own paradigm, as Leavy (2017), for
example, has suggested.

Dialogical contemporary art as art-based action

The developers of ABAR have stated (Jokela & Coutts 2018) that the notion of
changing the research focus from artist/teachers’ self-reflection to people and
communities was not based only on the essence of action research. Concurrent
with rising interest in the role of art in research, the paradigm in contemporary art
is shifting from the artist’s self-expression and individualism to a more community-
focused and dialogical approach. Writing on relational art, Bourriaud (2002) views
artistic practice as a process that always involves making connections and dialogue
between people. In art education, contemporary art is often used as a reference
and starting point, marked as it is by a contextual, process-based and dialogical
stance rather than by the focus on training in technical skills and self-expression
that characterised the modernist era. Individualism has been supplanted by dia-
logue and community engagement. Environmental and community art, for example,
emphasises the situated and dialogical dimensions of art as well as links to every-
day life, events and places, as opposed to the universal aspects stressed in mod-
ernism. New Genre international relational and dialogical art (Kester 2004; Lacy
1995; Lippard 1997) has underpinned the doctoral- and postdoctoral-level study
of art education at UoL (Hiltunen 2009; Huhmarniemi 2016; Jo nsdo
ttir 2017). In
UoL connecting ABAR with relational contemporary art has inspired a discussion
of the principles of cultural sustainability (Auclair & Fairclough 2015).

Challenges for ABAR in the multicultural North

Researchers at UoL (Jokela 2017; Jokela & Coutts 2018; Jokela et al. 2015) have
stated that, when bringing the operating modes of socially active contemporary art
into northern contexts through ABAR projects, art educators and researchers
should be familiar with the megatrends of the North and the Arctic. Scholars in
several disciplines have pointed out how the northern environment is rapidly
changing and how the cumulative impacts on nature, the economy and livelihoods
very visibly affect the social life, wellbeing and culture of people living in the region

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(see Nordic Council of Ministers 2011). Simultaneously, youth in the North, as in
Timo Jokela

all peripheral places, are sent to be educated in the South or in bigger cities (see
Corbett 2007). This has led to the erosion of social structures in small towns and
villages and has caused recognised problems, including the ageing of the popula-
tion, youth unemployment, a decrease of cultural activities and the psychosocial
problems often associated with the loss of cultural identity (Karlsdottir & Junsberg
2015).
The blending of indigenous cultures and other lifestyles is common in the
entire circumpolar region. This multinational, multicultural composition creates elu-
sive sociocultural challenges that are sometimes even politicised in the neo-colonial
settings of the North and the Arctic. In recent years, interest has grown in rewrit-
ing the forgotten cultural history of Lapland (Tuominen 2011), and attention has
been paid to the role of the arts in representing the North (see Grace 2001;
Marsching & Polli 2011). Kuokkanen (2000) discusses the need, significance and
objectives of an indigenous paradigm, which describes a way of decolonising indige-
nous values and cultural practices by re-centring the research focus on indigenous
peoples’ own concerns and worldviews. One of the main features of such a para-
digm is criticism of a Western, Eurocentric way of thinking. Smith (1999) chal-
lenges the traditional Western ways of knowing and researching and calls for the
decolonisation of the methodologies of indigenous research. Revitalisation – a pro-
cess that aims to restore the values of old traditions but in a contemporary rather
than traditional context – has gained equal prominence with decolonisation (Mata-
haere-Atariki 2017). Scholars have described the indigenous knowledge system as
the basis for indigenous research in the fields of culture, art and design (Guttorm
2014). According to Aamold (2014), several Sami artists in the Scandinavian North
use their multi-ethnic background and environmental knowledge as the basis of
their art. Thus, in the multicultural and multi-ethnic North, Guttorm’s concept could
apply to the concept of a northern knowledge system.
In education, Keskitalo (2010) has stressed the importance of paradigm change
and decolonisation in Sami schools as a counterforce to colonialisation. She follows
Smith’s (1999) vision of decolonisation as a long-term process that includes dis-
mantling the power of administrative, cultural, linguistic and psychological colonial-
ism. In addition, scholars of northern cultures have stressed the need for
decolonisation among other multi-ethnic communities; for example, L€ahteenm€aki
(2005) addresses mixed Sami-Finnish societies in central Lapland (in Finland) and
Corbett (2007) looks at Nova Scotian coastal fishery communities in Canada.
These paradigm changes have led to a re-evaluation of how art is taught and
researched in schools and universities and have highlighted the aims of a culturally
sustainable approach in art education (see Jokela & Coutts 2018). In art education
in the North, the concern is not only safeguarding cultural heritage but also
rethinking the nature of school education policies and curricula. This involves
acknowledging and respecting the northern knowledge system and developing
engaging, participatory ABAR projects with the various actors of the University of
Lapland’s northern network.
Next, a description of three projects will show how the ABAR method is used
in various stages of art education. The first example is from an art-education stu-
dent’s master’s thesis, the second from a doctoral thesis and the third from the
art-education department’s informal continuing-education project for artists, which
has an impact on regional development in tourism industries. All these project have
had a special significance for the development of northern expertise in art

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education at the University of Lapland as well as for the improvement of the

Timo Jokela
ABAR method.

Exploring identity of northern youth

Art-education students Laura Lepp€anen and Sonja Vuollo (2017) did their master’s
thesis ‘Outlines of Self’ with the aim of developing art education activities that
would investigate identity in small, multi-ethnic northern villages in Norway and
Finland. The thesis was part of ArctiChildren INnet, a project led by university
researchers. The aim of this collaborative project with Finnish, Norwegian and Rus-
sian partners was to develop models for northern schools to support schoolchil-
dren’s psychosocial wellbeing. Taking part in this large research project, art-
education students learn how to use the ABAR method in practice.
The art-education students’ subproject encouraged youth to explore their iden-
tities by making self-portraits in group workshops using models of contemporary
art that mixed drawing and painting with digital photographs (Figure 1). Through
the collaborative process, eighth- and ninth-grade students learned to experience
their emotions and the qualities of living in the North. The findings show that mak-
ing art together fosters the sharing of feelings and seeing both the self and the
other. The teacher, as leader and facilitator of the process, played a crucial role in
inspiring and guiding meaningful conversation, dialogue and collaboration during
the process. The mixing of the contemporary relational art and northern perspec-
tives provided a dialogical space for communicating over cultural barriers in multi-
ethnic school communities.

mi reindeer herders in Finland

Daily life of S a
One of the salient, pragmatic objectives of the University of Lapland has been to
unite art and the university’s multidisciplinary research expertise in the changing
sociocultural settings of the North and the Arctic. Korinna Korsstro €m-Magga’s
(2019) ongoing doctoral research is a good example of applying the ABAR

Figure 1
Students of Taflvik village school in Norway create self-portraits merging drawings and
cell-phone photos and explored their own relations of living in the North. Self-portrait of
13-year-old Elskin, 2016.

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approach in small northern multi-ethnic communities. Her study explores the
Timo Jokela

potential of community-based art education to reveal reindeer-herding families’

contemporary daily life in northern Finnish Lapland.
The first aim was to increase awareness of the reindeer herders’ contempo-
rary lives. Reindeer herding is a livelihood that has strong bonds to the Sami iden-
tity and culture, and the reindeer herders’ contemporary work blends the Sami
knowledge system with modern techniques. The children of the reindeer-herding
families learn the lifestyle at home. The second aim was to draw attention to
actions that enhance cultural identity and self-respect in daily life in the North and
that enable decolonisation.
The research process had three phases. In the first, the reindeer herders visu-
alised their daily lives by taking cell-phone snapshots of their routines during one
year; they discussed and reflected on the photographs by themselves and with the
researcher. In the second phase, the reindeer herders chose photographs to be
shown in an exhibition in the autumn of 2017 at the Sami museum, Siida, in
Inari (Figure 2). The photographs were placed in a contemporary-style art installa-
tion with typical tools and other items that the herders use in their work and lives.
Each family designed its own contribution to the exhibition. The families worked
side by side with the artist/teacher/researcher at each stage of the project, analys-
ing, discussing and gathering data and also reflecting on the aesthetic value of the
results.
The third phase of the process is ongoing as of the writing of this article. As
the exhibition tours, its content and arrangement change depending on recognised
art-education and research needs. Research data are also gathered from the exhi-
bition through interviews and questionnaires.

Environmental art for tourism sites in Lapland

The research and development projects coordinated by the staff of the depart-
ment of art education are normally funded by external bodies, and the ABAR

Figure 2
Reindeer herder families hang photograph and construct installations for the exhibition in
€m-Magga, 2017.
Siida Sami museum in Inari. Photograph Korinna Korsstro

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method provides a good basis for the goal of collaborative development and pre-

Timo Jokela
senting the results. Representatives of the education sector, art and cultural insti-
tutions, the tourism and business sectors and, naturally, local communities are
often involved in these projects.
A large-scale development project, Environmental Art for Tourism, provides an
example of collaboration with continuing education for artists and regional develop-
ment (Jokela et al. 2018). The project aims to increase the use of environmental
art by tourism companies in Finnish Lapland and to support new collaborative skills
among artists working in such environments. The ABAR research strategy has been
used in this project with the aim of developing models of collaboration between
artists and companies. In this project, artists, art-education students, representa-
tives of tourism companies and experts from the university formed design teams
to determine needs and make plans for tourism sites (Figure 3 and 4). The
research involved four tourism companies and sites, and the aim at all the sites
was to support summer tourism in particular. For example, the identified design
needs included landscaping the sites, developing story-based art paths, designing
thematic sites to experience northern cultural heritage and developing art-based
services for a sculpture park.
According to Jokela et al. (2018), the results of ABAR have led to a new
understanding of artists’ skills to create novel forms of environmental art as part
of design and architecture of tourism sites. These experiences are significant in the
Arctic region, where the evolution of livelihoods has increasingly shown the impor-
tance of nature tourism and creative industries in boosting employment. Artists
have a growing number of opportunities to use their skills and earn more money
in the design of tourism environments.

Conclusion
This article aimed to introduce the ABAR method developed and used by the
University of Lapland in northern contexts and to clarify the interaction between
artistic activities, educational aims and this research orientation. One of the main
challenges has been discovering how to merge the aims of social improvement that

Figure 3
Elves Hideaway is a kind of living folklore museum based on legends of elves and goblins
who are living underground in the forest. The huge 2, 000 cubic metre large space to pre-
sent the lives of the elves and goblins is all under an artificial rock and tree stump. Design
by artist Kimmo Takarautio. 2017.

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Timo Jokela

Figure 4
Artist Maija Kovari's design of an environmental artwork for Ranua Wildlife Zoo, 2018.

are typical in action research with the individual artistic creativity typical in artistic
research and art-based research. In the North, this involves engaging in culturally
sustainable, decolonising activities and respecting northern knowledge systems
when devising art-education activities and development work.
The research projects demonstrate that action research makes possible collab-
oration between the researcher and researchers from other disciplines and people
who are not familiar with art. The art created using the pedagogical, dialogical and
community-based methods of relational contemporary art directly evokes emotions
among the participants. Together, art and action research make new solutions visi-
ble and easy to practice. Using ABAR, art-education students, doctoral students,
researchers and participating artists learn how to foster new knowledge and prac-
tices directly related to their research activities.
ABAR projects also bring together people of diverse ages and generations and
promote the understanding, dissemination and renewal through art of the cultures
of northern places and their communities. The ABAR approach, by fostering the
participation of local peoples, has furthered the process of decolonisation in the
North.

Timo Jokela is as a professor of Art Education at the University of Lapland and a head of
Northern Culture Institution of Lapland University Consortium. He is also a lead of Univer-
sity of Arctic’s thematic network on Arctic sustainable Art and Design (ASAD). His theoreti-
cal studies, artistic projects and art-based action research development project focus on
relationship between northern cultures, art and nature. Latest edited books: Relate North:
Art and Design for Education and Sustainability (with G. Coutts, 2018) and Visually Provoking:
Dissertations in Art Education (with A. Sinner & R. Irwin, 2018) both published by Lapland
University Press. Contact address: University of Lapland, Faculty of Art and Design.
Box 122, 96101, Rovaniemi, Finland. Email: timo.jokela@ulapland.fi

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iJADE 38.3 (2019)
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