"Purpose – Little is known about effective supervision of offenders with debt. This multiple case study aims to gain insight into working elements in offender supervision on debt. This is important for probation officers to choose the most effective interventions in daily offender supervision. Design/methodology/approach – This study included five best practice cases based on both interviews with involved professionals and clients and client file information. One case was described in detail to illustrate what probation officers and clients encounter when working on debt. All five cases were analyzed thematically using patternmatching techniques and crosscase syntheses on debt background, current supervision, barriers and working elements. Findings – Organization processes and lack of aftercare hinder effective supervision. Close collaboration with other professionals (e.g. debt counselors) is important in supervising clients with debt. The client’s own behavior and motivation for supervision are crucial in the success of debt supervision and can be both hindering and effective. Working elements in supervision depend on personal characteristics of professionals involved and on the extent to which elements of a working alliance, particularly trust and bonding, are built. Practical implications – Support and facilitation from probation organizations regarding primary conditions and collaboration, training professionals in methods of stimulating clients motivation and an effective working alliance are essential to supervise clients with debt adequately. Originality/value – To the best of the authors’ knowledge, no other in-depth study has yet been conducted on working elements in supervision of probationers with debt."
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Dynamic body feedback is used in dance movement therapy (DMT), with the aim to facilitate emotional expression and a change of emotional state through movement and dance for individuals with psychosocial or psychiatric complaints. It has been demonstrated that moving in a specific way can evoke and regulate related emotions. The current study aimed to investigate the effects of executing a unique set of kinetic movement elements on an individual mover’s experience of happiness. A specific sequence consisting of movement elements that recent studies have related to the feeling of happiness was created and used in a series of conditions. To achieve a more realistic reflection of DMT practice, the study incorporated the interpersonal dimension between the dance movement therapist (DMTh) and the client, and the impact of this interbodily feedback on the emotional state of the client. This quantitative study was conducted in a within-subject design. Five male and 20 female participants (mean age = 20.72) participated in three conditions: a solo executed movement sequence, a movement sequence executed with a DMTh who attuned and mirrored the movements, and a solo executed movement sequence not associated with feelings of happiness. Participants were only informed about the movements and not the feelings that may be provoked by these movements. The effects on individuals were measured using the Positive and Negative Affect Schedule and visual analog scales. Results showed that a specific movement sequence based on movement elements associated with happiness executed with a DMTh can significantly enhance the corresponding affective state. An additional finding of this study indicated that facilitating expressed emotion through movement elements that are not associated with happiness can enhance feelings such as empowerment, pride, and determination, which are experienced as part of positive affect. The results show the impact of specific fullbody movement elements on the emotional state and the support outcome of DMT on emotion regulation.
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Formal elements are often used in art therapy assessment. The assumption is that formal elements are observable aspects of the art product that allow reliable and valid assessment of clients’ mental health. Most of the existing art therapy assessment instruments are based on clinical expertise. Therefore, it is not clear to what degree these instruments are restricted to formal elements. Other aspects might also be included, such as clinical expertise of the therapist. This raises the question of whether and how formal elements as observable aspects of the art product are related to clients’ mental health. To answer this question, four studies are presented that look at: (1) a meta-theoretical description of formal elements; (2) operationalization of these formal elements so they can be analyzed reliably in clients’ art products; (3) establishment of reliable and clinically relevant formal elements; (4) the relationship between formal elements and adult clients’ mental health. Results show that the combination of the formal elements “movement,” “dynamic,” and “contour” are significantly interrelated and related to clients’ mental health, i.e., psychopathology, psychological flexibility, experiential avoidance, and adaptability. These findings give insight in the diagnostic value of art products and how they may add to clients’ verbal expression and indicate their potential to benefit from therapy.
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The latest IPCC Report (2022) provided by the UN shows us that, to guarantee a safe future for upcoming generations, we must change how we lead our lives on several levels. However, the increasing urgency to act and behave in a way that is not damaging the climate is bringing many psychological concerns to young generations. Worldwide reports are demonstrating how the issue of eco-anxiety is increasing daily, and how young people are feeling more hopeless than ever. Climate change has become a climate crisis, and individuals are experiencing pressure and fear incessantly (Marks et al., 2021). We, as Climate Streamers, have often found ourselves in this situation as well, but rather than freezing, we decided to take this challenge and think of solutions. Therefore, with the support of Breda University of Applied Sciences, the Performatory community, the BUas Startup Support Team, and outside mentors, we created Climate Streamers Foundation: a new youth-led non-profit organisation and a movement working towards a more inclusive and less polarised climate action. By working with leisure elements and a positive and appreciative approach, we want to give back hope, voice and power to the youth and inspire each other genuinely and sustainably. The purpose of this application is to allow us to elaborate a feasibility study concerning our MVP (minimum viable product), the card game, and boost the overall concept. We intend to implement the researched data to improve the design and sales management. The card game aims to stimulate appreciative conversations by giving space to players to express their opinions and personal stories and it is designed so everyone can play it, regardless of background and knowledge. After giving 200 games in production, we launched the card game in July 2022.
The eleven Universities forming the KreativEU consortium agreed to the common goal of establishing a fully European University, that places the creative potential derived from Europe’s cultural heritage at the heart of its teaching, research and knowledge transfer activities. Committing to a long-term institutional, structural and strategic cooperation the partners will jointly implement an ambitious yet inclusive vision for transforming the study of culture, identity, memory and heritage for the benefit of society. Building upon this strong foundation, KreativEU will provide innovative concepts, methods, and solutions to address both current and future challenges, contributing to a sustainable and harmonious future for communities and the environment alike. KreativEU recognizes the inseparable interconnection of tangible and intangible cultural heritage, as well as the interwoven nature of local and national traditions, crafts, cultural practices, and folklore. The alliance is dedicated to formulating cutting-edge educational and research programmes that reevaluate these elements and their associated ecological surroundings, the lived environment, especially in the context of the digital age. This ecocultural vision serves as the foundational principle guiding KreativEU's efforts, ensuring that a new generation of EU citizens working together across cultures, borders, languages, sectors and disciplines will be educated. Students from the KreativEU are expected to be leaders of change and enablers of societal transformation.To reach this vision, the KreativEU Alliance will work towards the completion of 8 work packages (WP1 - Governance and Management; WP2 - KreativEU Education; WP3 - KreativEU Research; WP4 - KreativEU Culture with and for society; WP5 - KreativEU Knowledge-creation and design network on Smart Sustainability WP6 - KreativEU Heritage European campus; WP7 - KreativEU Mobility; WP8 - Communication and Dissemination).Collaborative partners:Instituto Politécnico de Tomar, Escola Superior de Gestão de Tomar, D.A. Tsenov Academy of Economics, Johoceska Univerzita V Ceskych Budejovicich, Universita Degli Studi di Camerino, Universitaet Greifswald, Pilitechnika Opolska, Universitatae Valahia Targoviste, Trnavska Univerzita V Trnave, Sodestorns Hogskola, Adana Alparslan Turkes Bilim VE Teknoloji University
On a societal scale, the ‘problem with work’ is that everyone is exhausted, job security has been replaced by ‘flex work’ and much important work had been invisibilised. While billions of people are displaced and illegalized from work, others have physical/ mental conditions caused by work. The problem with work merits scrutiny not only from medical, corporate or legal perspectives. It needs tackling without an agenda of productivity, with an open regard and embodied, intuitive research. Artistic research has this scope. It taps into knowledges that are underused/repressed, by involving the body, harnessing intuition, experience and situatedness, and activating a plurality of voices. The aim of this research is to gain a deeper understanding of what is (not) work, who we are when we perform work, and when we don’t or are not able to work. Why are certain activities or roles called work and what happens when the term is applied to activities that are not normally deemed work, but which include comparable elements? Three research questions are addressed: 1. What can be learned about work by regarding every job, or all the work, as a performance? 2. What can be learned about performance (art) by looking at it through the lens of work? 3. What are ethical practices in collaborative and participative work processes? The research is carried out through an artistic approach that contains a particular way of making, teaching and researching which is collaborative, performative and transdisciplinary. It proposes the body as a thinking apparatus, experience as a way of gathering information and doing, writing, exchanging and performing as both method and dissemination. This research aims to contribute to a better understanding of what work is in our lives. The research has social, artistic and educational targets and target groups, which are also intertwined.
