Dramatic Art in the Art Testers Programme

I step into a comprehensive school. In the cold hallway stands a young middle school student, and I ask her for directions. She’s also on her way to see the headteacher. Together, we make our way upstairs to check in. While we wait, she pulls her schoolbooks from her bag. I balance my laptop on my lap and scroll through my emails. We exchange a few words. She’s a student from another school; I’m an Art Testers coordinator. Despite the decades between us, there’s a shared understanding in our demeanor. We’re both a little nervous, familiar with the school environment, and know its unspoken rules. In this space, we are equals, each with our own kind of competence.

I’m here to understand what we can learn from young people and teachers to improve our audience engagement. The headteacher calls me into their office. I cross the threshold and take a seat. The headteacher is straightforward, meeting my gaze with a sigh:

“When our students see an AI-generated video of an animal or a dinosaur flying, they believe it’s real. We have to twist ourselves into knots to convince them it’s just a story—a fairy tale made by a machine, not reality. And even then, they don’t believe the teacher. They believe what they see.”

With that sentence, the headteacher captures the fragile state of multiliteracy skills among an increasing number of students.

Young People’s Multiliteracy Skills Evident in Art Testers Visits

According to the Finnish National Core Curriculum, the goals of broad-based competence include deepening multiliteracy into analytical and critical literacy, as well as cultural competence rooted in the ability to act in diverse environments while respecting human rights.

Research shows that there is room for improvement in multiliteracy skills across different grade levels. A proficient multiliterate reader recognizes various codes, structures, and characteristics, and can construct meaning by assessing the whole and its message. A skilled reader also understands the contexts in which texts are used and possesses the ability for critical examination (Reijo Kupiainen 2019). Weaker readers, on the other hand, may take what they see at face value. An experienced teacher from an East Helsinki school provides an example:

“Many students miss the point of theater performances because they are too complex. They don’t understand metaphor or symbolism. For many, a concrete and simple story works best.”

Feedback from teachers and headteachers indicates that multiliteracy levels—and consequently, the ability to interpret art—vary significantly between schools and student populations. This variation is particularly noticeable between schools in East Helsinki and those in the city center.

“In East Helsinki, weaker multiliteracy skills are evident. The level of art literacy here differs from that in Helsinki’s central schools,” a headteacher notes. Addressing these disparities in a national programme is challenging: How can we select art experiences for schools that best support students’ development in art literacy and offer an appropriate pedagogical challenge?

Misinterpreting the Message of the Work

One headteacher uses the neutral term “dramatic art” to describe certain art experiences that have proven challenging for their students. According to the headteacher, this term could serve as a useful signal for teachers, indicating that thorough preparation is needed before the lesson.

The behaviour of young people during art visits has been a topic of discussion before, but it has become particularly pronounced during the 2023–24 and 2024–25 seasons. Disruptions have occurred most frequently in connection with what the headteacher describes as “dramatic art.” The pedagogical dimension of Art Testers has come to the fore, as has the need to restore a sense of safety to these visits. The behaviour of young people which we, the Art Testers coordination team, interpret as a form of distress has raised concerns.

“A class that misbehaved during a performance is usually well-behaved. The students took the content literally, and we teachers weren’t prepared to guide them through it,” shares one teacher.

In this case, the misunderstanding had consequences not only for the artists involved but also for the school, where parents contacted the teachers. The risk of misinterpretation is real. In a theatre performance, the message of a classic play about class differences and child labour may be lost if young people lack the skills to construct meaning. Conversely, a performance advocating for human rights may provoke rebellion or resentment in a young person who cannot read the work in its proper context or recognize its various codes.

The Importance of Free Interpretation in Arts Education

Free interpretation is an essential part of experiencing art, and these interpretations vary widely from individual to individual. Western art tradition holds that art should also tackle difficult and challenging subjects, sometimes raising more questions than answers. Art does not need to be unanimous.

Art Testers experiences can address tough topics in an age-appropriate manner. However, the content must be generally suitable for the age group. For example, explicit violence, graphic sex, or other content that causes excessive psychological discomfort should not be presented to young audiences. Of course, the line is often subjective.

It is crucial for classes to familiarize themselves with the theme and form of their art visit in advance, using preparatory materials. This preparation is vital—not only for understanding the work’s message but also for strengthening cultural competence and multiliteracy.

Joonas Keskinen, the programme director of Art Testers, notes that in his experience, teachers can gauge the “dramatic” nature of art content from descriptions and preparatory materials.

“That’s why high-quality descriptions and preparatory materials are a key part of the Art Testers programme,” Keskinen says.

The Art Testers coordination team believes that content warnings are not the solution. They would limit artistic freedom and categorize works as either “dramatic” or “non-dramatic,” which does not do justice to the diversity of art and its interpretations.

A Ladybug on Another Ladybug

Sexuality and eroticism in art have also sparked discussion in Art Testers visits. It’s important to remember that each individual is at their own stage of development, and for Year 8 pupils, these themes can be highly relevant. A health education teacher shares:

“In health class, some students can’t even bear to look at an image of one ladybug on top of another.”

An Art Testers visit is always a learning experience, and it should be a safe space for young people and all participants. Safety is created through clear structures, guidelines, and shared responsibility among all adults involved — whether from the Art Testers production team, cultural organizations, or schools. Even if art challenges young people to think about difficult issues or evokes uncomfortable emotions, these are part of the artistic experience.

I stand outside the headteacher’s office, reflecting. Their competence in managing school affairs is strong. We naturally hope for the same competence from students during their art visits. “Dramatic art” often addresses unspoken and difficult topics. Civilization and empathy grow through art, and avoiding challenging subjects is not constructive. Instead, preparation and foresight are key to reducing misunderstandings during art visits. We can strengthen students’ cultural competence through arts education and gently guide them toward a more just and sustainable world.

Text: Karolina Ajanki

Sources

Kupiainen, Reijo. 7.6.2019. Tyttöjen ja poikien välinen ero säilyy monilukutaidossa. Website 3.1.2025.

Terävä, Hanna. Malminen, Ulla. Forss, Henri. Kemppinen, Ilkka. Lampén, Mårten. 20.2.2023. Kone näyttää, millaisista taustoista sinun lähikoulusi oppilaat tulevat. Website 3.1.2025.

Paastela, Kaisa. 28.9.2022. Helsingissä on jo kouluja, joissa vieraskielisiä on liki 60 % oppilaista, pienimmät osuudet alle 5 % – ”Se ikkuna, että voidaan tähän kehitykseen puuttua, alkaa sulkeutua”. Website 3.1.2025.

Perusopetuksen opetussuunnitelman perusteet 2014. Website 23.1.2025.