We De Try: Creative Methods of Storylistening and Storytelling tells the story of a research journey the author underwent in trying to gain a better understanding of diversity and inclusion in higher education. Through insights generated by the exploration of methods of storytelling and storylistening, the research problematises using stories as tools for diversity and inclusion in higher educational institutions. In order to be transformed by that which emerges (storylistening) in a manner that is non-extractive, avoids reinforcing existing power imbalances, and recognises that stories transcend time and space asks for exploring questions relating to practicing care, generosity, and honouring and catering to different needs.
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When conducting research in and for the creative industries, there are a wealth of different possible research approaches that can be taken - reflecting the diverse nature of the disciplines (design, arts and crafts, advertising, architecture, fashion, film, music, TV, radio performing arts, publishing and interactive software) and academic contexts (art schools, business schools and universities) involved. The result is that there are variations in the emphasis and approach taken to how students are taught to link theory with practice, and how they view and engage with the concept ʻresearchʼ. The need for understanding and awareness of a range of approaches is critical for anyone learning about and working within design, business and the creative industries today.
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Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
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Understanding the unprecedented impact of COVID-19 on mental health and digital interactions is crucial, but also difficult to study in times of physical distancing. This paper contributes to the understanding of well-being in The Netherlands during the pandemic by employing mixed-remote methods. Sentiments of the Dutch public expressed on X (formally Twitter) are analyzed with AI techniques. Additionally, co-creative toolkits and probes, such as diaries, were used with older adults and students for detailed in-situ capturing. The AI approach provides general insights, while toolkit studies can address interpersonal variation and provide non-automated individual feedback. Findings indicate that (1) the pandemic has impacted the expressed emotional states of ‘loneliness’ and ‘happiness’, (2) this varied over time, for example related to pandemic announcements, (3) there are differences between groups (such as young and old), and (4) the toolkits provided contextual self-reflective insights and active inspiration in support of mental well-being.
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Introduction: The notion of autonomy in Self-Determination Theory is at the core of intrinsically motivated learning, and fulfilment of the need for autonomy is essential for thriving at school. Therefore teacher-provided autonomy support has grown into a key concern in educational research. In the present study into primary school music education, the notion of creative autonomy support is introduced. Research into autonomy support is typically focused on verbal interaction. However, from an enactive perspective, teachers’ gesturing, bodily movement, facial expression, and musical action form an integral part of the socially situated interaction in music lessons, inherently involving autonomy support. In the present study, a distinction is made between creative verbal autonomy support and creative musical and non-verbal autonomy support.Methods: Applying a process-based time-serial methodology, rooted in a Complex Dynamic Systems and Enactive perspective, the effects of an intervention with Video Feedback Coaching for teachers were investigated. Video data of 105 music lessons of 18 teachers (intervention and control condition) from six primary schools was gathered, to examine teachers’ creative autonomy support at both the individual and group level.Results: The findings show that teachers in the intervention condition, compared to the control group, achieved a meaningful increase in their ability to offer creative autonomy support verbally. Teachers also showed development for the non-verbal and musical aspects of offering creative autonomy support. However, particularly for offering higher-level creative autonomy support in the non-verbal and musical mode, significant results were found for less than half of the intervention teachers.Discussion: These results underline the importance of embracing and studying the bodily dimension as an integral part of teacher autonomy support, aimed at emergence of students’ musical creativity, in primary school music education and in teacher training. We explain how these results might be relevant for autonomy enhancing musical activities in vulnerable groups.
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In this chapter, we propose that the democracy we wish to see out in the world is influenced by the quality of our own “inner democracies”—that is: the quality of the democracies among and between the selves or voices in the landscape of the self. We must find ways out of the I-prisons we experience and perpetuate. With this in mind, we propose that ”writing the self,” a method whereby creative, expressive, and reflective writing is used to cultivate an internal dialogue and construct a new identity narrative (Lengelle, 2014), can assist in reshaping our stories about ”the Other and ourselves” and can contribute to personal and cultural healing and reconciliation. The inner dialogue reconciled is foundational for the external dialogue at the heart of global citizenship within education. Indeed, as Schellhammer argues, we must cultivate the self in order to become inter-culturally competent, and this includes facing shadow aspects through truthful dialogues with the self and caring for the self. https://doi.org/10.1007/978-3-319-62861-5_6 LinkedIn: https://www.linkedin.com/in/reinekke-lengelle-phd-767a4322/
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Living labs are complex multi-stakeholder collaborations that often employ a usercentred and design-driven methodology to foster innovation. Conventional management tools fall short in evaluating them. However, some methods and tools dedicated to living labs' special characteristics and goals have already been developed. Most of them are still in their testing phase. Those tools are not easily accessible and can only be found in extensive research reports, which are difficult to dissect. Therefore, this paper reviews seven evaluation methods and tools specially developed for living labs. Each section of this paper is structured in the following manner: tool’s introduction (1), who uses the tool (2), and how it should be used (3). While the first set of tools, namely “ENoLL 20 Indicators”, “SISCODE Self-assessment”, and “SCIROCCO Exchange Tool” assess a living lab as an organisation and are diving deeper into the organisational activities and the complex context, the second set of methods and tools, “FormIT” and “Living Lab Markers”, evaluate living labs’ methodologies: the process they use to come to innovations. The paper's final section presents “CheRRIes Monitoring and Evaluation Tool” and “TALIA Indicator for Benchmarking Service for Regions”, which assess the regional impact made by living labs. As every living lab is different regarding its maturity (as an organisation and in its methodology) and the scope of impact it wants to make, the most crucial decision when evaluating is to determine the focus of the assessment. This overview allows for a first orientation on worked-out methods and on possible indicators to use. It also concludes that the existing tools are quite managerial in their method and aesthetics and calls for designers and social scientists to develop more playful, engaging and (possibly) learning-oriented tools to evaluate living labs in the future. LinkedIn: https://www.linkedin.com/in/overdiek12345/ https://www.linkedin.com/in/mari-genova-17a727196/?originalSubdomain=nl
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Een neerslag van het onderzoek dat is gedaan door de leden van de onderzoeksgroep die verbonden is aan het lectoraat Creative Industries and Social Innovation
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Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed.
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Did you ever wonder why, for example, despite investing of millions of research funding, there is still no clarity regarding the definitions of many (psychological or psychiatric) images such as Autistiform Spectrum Disorder, or ADHD? Could it be that, at least partly, the images consist of psychological realities created by Likert scales (unconsciously)? The creative power of psychological methods is discussed. InL Education Journal, 2018-349 p.23
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