Sustainability transitions are not hindered by technological barriers but above all by the lack of well-qualified people. Educating the next generation of engineers and product designers is therefore more important than ever. However, a traditional widely used model of instruction and evaluation is not sufficient to prepare this next generation for the demands of society. It is appropriate that curricula should be adapted. If necessary, in a disruptive way. The question was how to develop an education module in which students are agents in their learning. In which students decide what and how they will learn, and in which they can prepare for a role in society that is in shock. To propel them in a new direction a disruptive education innovation has been designed and tested. This new method turns the traditional education model upside down. Students and lecturers are transformed in equal partners in aninnovation consultancy firm with a passion for engineering, product design, and with a focus on sustainability transition. Students explore their emotionally intrinsic values that enables them to accomplish great things, to experience meaning in their lives and work, and leads to a significant learning experience.Purpose of this paper is to give individuals and organisations involved in higher education insight into a new method of education based on new values such as student agency, equal partnership, partnership learning communities, significant learning experience, and the strong belief students have the capacity and the willingness to positively influence their own lives and environment
Why studying student agency? • Prepare students for lifelong learning. (Biesta & Tedder, 2007;OECD, 2018) • Agency fosters motivation, which could enhance performance. (Bandura, 2018; Ryan & Deci, 2020) • More flexibility in higher education, but not all students can handle this. (De Bruin & Verkoeijen, 2022; Van Casteren e.a., 2021)
Background: Differences in professional practice might hinder initiation of student participation during international placements, and thereby limit workplace learning. This study explores how healthcare students overcome differences in professional practice during initiation of international placements. Methods: Twelve first-year physiotherapy students recorded individual audio diaries during the first month of international clinical placement. Recordings were transcribed, anonymized, and analyzed following a template analysis approach. Team discussions focused on thematic interpretation of results. Results: Students described tackling differences in professional practice via ongoing negotiations of practice between them, local professionals, and peers. Three themes were identified as the focus of students’ orientation and adjustment efforts: professional practice, educational context, and individual approaches to learning. Healthcare students’ initiation during international placements involved a cyclical process of orientation and adjustment, supported by active participation, professional dialogue, and self-regulated learning strategies.Conclusions: Initiation of student participation during international placements can be supported by establishing a continuous dialogue between student and healthcare professionals. This dialogue helps align mutual expectations regarding scope of practice, and increase understanding of professional and educational practices. Better understanding, in turn, creates trust and favors meaningful students’ contribution to practice and patient care.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
Studenten in het beroepsonderwijs leren op de werkplek om een goede beroepsuitoefenaar te worden. Beoordeling van het werkplekleren gebeurt vaak op de werkplek en door de werkplek. Dit promotieonderzoek wil in kaart brengen hoe werkplekopleiders de student beoordelen.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities. The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.
