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Based on interviews in the first phase and short essays in the second phase, results show design-oriented teachers carefully plan designing situations and value design as a significant process element. The findings also indicate a need for supplementary education to implement the updated curriculum.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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the purpose of the study on Finnish craft teaching design?","Question",{"text":63,"@type":64},"The study aims to analyze teachers’ views on design as part of the holistic craft process in school contexts, focusing on students’ designing and how designing is implemented in craft teaching.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How do results describe student participation in designing craft products?",{"text":68,"@type":64},"Student participation in designing depends on the attitudes and competence of the craft teacher, with design-oriented teachers planning designing situations carefully and valuing design as a significant process component.",{"name":70,"@type":61,"acceptedAnswer":71},"What challenge do teachers face in implementing the Finnish crafts curriculum?",{"text":72,"@type":64},"The study suggests teachers need supplementary education to implement the new Finnish curriculum of crafts 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Turku, Finland Sanna Mommo, University of Lapland, Finland Juli-Anna Aerila, University of Turku, Finland  \nAbstract  \nThe Finnish curriculum for crafts emphasises the creative problem-solving skills of the student, the completion of different design tasks and the implementation of designs, while seeking to nurture the student’s self-esteem. Furthermore, students should draw up the designs for their artefacts, plan their work, and also develop designs when needed. These aims can be accomplished by teachers diligently teaching the designing of craft products. The purpose of the present study is to analyse teachers’views on design as a part of the holistic craft process in the school context. The study was conducted in two phases. In the first phase five teachers were interviewed, and in the second phase four teachers wrote short essays. The research questions addressed were as follows: “What kind of views do teachers hold on students’ designing in the crafts area? How is designing implemented in craft teaching?” The results indicate that the extent of students’participation in designing their craft product is dependent on the attitudes and competence of their craft teacher. Design-oriented teachers plan the designing situations and stimuli carefully and value design as a significant part of the craft process. Technique-oriented teachers will consider their students’ participation in design unnecessary or too challenging and as detracting from more essential learning outcomes, such as craft techniques. It seems the teachers need supplementary education to implement the new curriculum of crafts in Finland.  \nKey words  \ndesign, craft teaching, craft as a subject, holistic craft, craft teacher  \nIntroduction  \nIn Finland, craft teaching of primary education started in 1866 from the initiative of Uno Cygnaeus. He developed the idea of educational crafts to promote a student’s activity and independent enterprise, mediate certain generic skills and integrate crafts with mathematics and science. (Kiviniemi and Vuorinen, 2010) . The craft education developed by Cygnaeus had influence to other Scandinavian countries, but it also had indirect reference to craft teaching in Britain and the United States (Kananoja, 1999) .  \nCraft education has maintained quite a steady status as a school subject in Finland (Garber, 2002) . Craft has gone through many changes as curricula have been amended. Traditionally, the aim of craft teaching has been to increase students’ welfare, production capacity, and provide them with skills to manage in everyday life (Garber, 2002) . The contents have been divided between textile work and technical work on the basis of the gender. This division to textile work and technical work was valid up to the end of the 1990's after which the contents of the crafts were connected into one subject called craft. (Syrjäläinen & Seitamaa-Hakkarainen, 2014) . However, even nowdays the majority of craft teachers are either textile teachers or technical work teachers (Marjanen, 2012) .  \nIt is not necessary to learn to make products needed in daily life anymore as it was in Cygnaueus’ times (Seitamaa-Hakkarainen, 2010), and the appreciation of the practice of everyday life skills has gradually reduced its’significance (Marjanen, 2012) . The target of craft teaching is to develop the craft skill of students, so that their selfesteem improves and they enjoy their craft work. At the same time the students’ sense of responsibility increases alongside the knowledge of materials. The values have moved towards creativity and problem solving, technical and aesthetic skills, independent working skills and promotion of self-expression. During craft lessons, students learn the art of long-range and independent working. Becoming acquainted with one’s cultural genotypes is a part of the teaching of the crafts. (FNBE, 2004; ","cbCaiatKoVedPYcP","https://ap.wps.com/l/cbCaiatKoVedPYcP","pdf",172611,"English","# Abstract\n# Introduction\n## Origins and historical development of craft teaching in Finland\n## Curriculum aims and the shift toward holistic craft processes\n## Holistic craft process and designing phases\n# Research focus and questions","[{\"question\":\"What is the purpose of the study on Finnish craft teaching design?\",\"answer\":\"The study aims to analyze teachers’ views on design as part of the holistic craft process in school contexts, focusing on students’ designing and how designing is implemented in craft teaching.\"},{\"question\":\"How do results describe student participation in designing craft products?\",\"answer\":\"Student participation in designing depends on the attitudes and competence of the craft teacher, with design-oriented teachers planning designing situations carefully and valuing design as a significant process component.\"},{\"question\":\"What challenge do teachers face in implementing the Finnish crafts curriculum?\",\"answer\":\"The study suggests teachers need supplementary education to implement the new Finnish curriculum of crafts effectively.\"}]","The Teachers' Views on the Significance of the Design and Craft Teaching in Finland | PDF",1792091194,25]