The Fellowship Programme is Here to Stay
The Programme for Research Fellowships in the Arts was established four years ago, and Siri Meyer, who is Head of the Steering Committee, is very satisfied that the programme is well established and on the way to being publicly recognised. - The programme aptly demonstrates a need for new approaches to knowledge production, she says.
Siri Meyer , Professor of Art History, the University of Bergen (UiB), Head of the Steering Committee of the Programme for Research Fellowships in the Arts. Interviewed by Peter Klasson (KHiB) November 2007,
Siri Meyer confirms the development of a Programme for Research Fellowships in the Arts has been successful.The programme is implemented in the sector with formal frameworks and consistent management. The Ministry of Education and Research is satisfied with the progression of the programme and is confident that it maintains the necessary quality requirements. The Ministry is also satisfied that rules and regulations are in place to support the formal framework.
Siri Meyer, who is Professor of Art History at the University of Bergen (UiB) has chaired the programme since its initiation in 2002.
- Seeing art as knowledge production is a relatively new tradition. The philosophy of Romanticism has always been strong with emphasis on art as self expression.
A new potential for action opens for artists when art becomes recognised as a new and alternative form of knowledge. Artists should have the opportunity to apply for post doctorate projects or take part in project based work on equal terms with university academics.
- One of the future challenges is to make the Norwegian Research Council open its doors to our candidates and to support projects in artistic research, says Siri Meyer. But she admits there is a lot to be done before this goal is reached.
Interdisciplinary Approach
Programme for Research Fellowships in the Arts draws fellows from a variety of art fields and the interdisciplinary approach is an important method. All fellows and their tutors meet twice annually for professional discourse on their work. Additionally all new fellows follow a mandatory series of courses during their first year in the programme.
- Many of the fellows who meet maintain contact after graduation, informs Meyer. In the long term this will benefit the arts in general.
Research Fellow Amanda Stegell (Norwegian Theatre Academy, Østfold University College) was the first to graduate from the programme in January 2007. «The Emotion Organ»; when played the organ creates ambience with light and olfactory experience.
A Unique Scheme
When the programme started in 2002 it was a pioneer project. No similar programmes existed in higher education in Europe which emphasised artistic work to the same extent.
- A programme where the end result is an artwork of the highest quality was a unique concept when the framework was built. Foreign artists, who function within the programme as tutors, external examiners and lecturers maintain that we are unique.
- It is wholly dependent on the artistic work delivered. The programme would fail if our candidates were mediocre artists. The fellows are not only expected to produce artwork of high quality, they also have to document the process and reflect on where they stand in relation to other work and other artists in their field. This contributes to the high priority of professional discourse in the programme. Reflection and discussion on the artwork, however, should not take the form of an academic thesis. The fellows themselves have to find alternative ways to impart and communicate. We hope that, with time, we will create new models and tools for artists to communicate with each other and with the public.
The programme is up for evaluation for the first time. This will happen in 2008, and we shall have two classes who have graduated. The research council provides support for a project which will investigate methods fellows in the programme have applied. Research councillor Søren Kjørup at Bergen National Academy of the Arts begins this work in spring 2008.
Trond Lossius preparing for the exhibition «White Out» at Visningsrommet, USF Verftet, with technical supervisor Kristian Skjold of the Dept of Fine Arts, September 2005.
Institutional Development
The programme for Research Fellowships in the Arts requires contribution from host institutions. The institutions are gradually coming to terms with what this involves.
- Perhaps we were not prepared for the requirements of the individual fellows, Meyer remarks. She points out that this refers to office space and equipment, as well as professional guidance.
- The fellow needs a subject-specific structure and professional guidance from the institution. They must be included in the institution’s day-to-day practice. In return, the institution expects the fellow to give something in return in the form of professional engagement, sharing results and experience from their project with students and staff.
- The quality of tutors has improved as a result of the programme. At the meetings we train new tutors and share experiences.
Of the seven candidates of the first class, four have completed the program.
The article is from KHiB's Yearbook for 2006 - 2007