Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
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Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
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This article examines whether calls for European ‘strategic autonomy’ in response to Trump’s rhetoric are qualitatively different from earlier disagreements in US-EU relations. By doing so, it re-assesses Geir Lundestad’s concept of “Empire by Invitation” to illustrate constraints for the development of such an autonomy especially in defence affairs. We argue that the US’s involvement in European defence affairs was never an invitation to ‘empire’, as the invitational aspect was based on consent. A process has been accelerated by the Trump presidency whereby this consent has shifted towards strategic estrangement. However, the article argues that the reactive and intergovernmental nature of EU foreign and security policy continues to hamper more autonomous policy planning in CSDP matters – different readings about cyclical disruptions in EU-US relations notwithstanding. The article finally discusses how the introduction of new CSDP mechanisms impacts on this debate. LinkedIn: https://www.linkedin.com/in/martijn-lak-71793013/
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In today’s technological world, human intertwinement with the rest of nature hasbeen severely diminished. In our digital culture, many people hardly have any direct experience of and sense of connection with “the real” of the natural world. The author assumes that when we want to find ways to mend this gap, arts-based environmental education (AEE) can play a meaningful role. In AEE, artmaking is regarded as itself a way of potentially gaining new understandings about our natural environment. As a reflective practitioner, the author facilitated three different AEE activities, at several times and at diverse locations. On basis of his observations, memories, written notes, audio-visual recordings and interviews with participants, teachers and informed outsiders, he interpreted the experiences both of participants and himself. To this end he employed interpretative phenomenological analysis paired with autoethnography.The artmaking activities researched here aimed to bring about a shift in focus. Participants were encouraged to approach natural phenomena not head-on, but in an indirect way. Moreover, the artmaking process aspired to heighten their awareness to the presence of their embodied self at a certain place. The research questions that the author poses in this study are: (1) What is distinctive in the process of the AEE activities that I facilitate?; (2) Which specific competencies can be identified for a facilitator of AEE activities?; and (3) Does participating in the AEE activities that I facilitate enhance the ability of participants to have a direct experience of feeling connected to the natural world?In this explorative study, the author identifies facilitated estrangement through participating in AEE as an important catalyst when aiming to evoke such instances of transformative learning. In undergoing such moments, participants grope their way in a new liminal space. Artmaking can create favorable conditions for this to happen through its defamiliarizing effect which takes participants away from merely acting according to habit (on “autopilot”). The open-ended structure of the artmaking activities contributed to the creation of a learning arena in which emergent properties could become manifest. Thus, participants could potentially experience a sense of wonder and begin to acquire new understandings – a form of knowing that the author calls “rudimentary cognition.” The research further suggests that a facilitator should be able to bear witness to and hold the space for whatever enfolds in this encounter with artistic process in AEE. He or she must walk the tightrope between control and non-interfering.The analysis of the impacts of the AEE activities that were facilitated leads the author to conclude that it is doubtful whether these in and of themselves caused participants to experience the natural environment in demonstrable new and deep ways. He asserts that most of their awareness was focused on the internal level of their own embodied presence; engagement with place, the location where the AEE activity was performed, seemed secondary. The findings show that AEE activities first and foremost help bring about the ignition and augmentation of the participants’ fascination and curiosity, centered in an increased awareness of their own body and its interactions with the natural world. The present study can be seen as a contribution to efforts of envisaging innovative forms of sustainable education that challenge the way we have distanced ourselves from the more-than-human world.
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Paper presented at the 41st World Conference of the International Council for Traditional Music ICTM, St John's, Newfoundland, Canada, 14/7/2011.
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To effectively grasp and address sustainability challenges, this chapter argues that we need to expand our predominantly logocentric and linear ways of knowing with more presentational, embodied and sensory means. The chapter traces an exploration of this position through a dialogue between four academic, artistic practitioners. It proposes the integration of art in (learning) processes for sustainability as a means to hold ambiguity, embrace the unknown and move ahead despite uncertainty. Art is introduced as a process that inherently and purposefully accepts and deploys (rather than minimizes) the latter elements. The authors subsequently touch upon a range of features of artistic processes that foster the emergence of these elements: i.e. imagination, connection, embodiment and estrangement. Some of which might inspire educators, academics, decision-makers and activist to adopt a more aesthetic, connective mode of experiencing, thinking and doing. Thereby holding a space and generating the conditions for active, connective and imaginative making rather than routinely adopting the ready-made.
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This study focuses on the uses and functions of music in the life of individuals in the province of Groningen at the beginning of the twenty-first century. The study is an ethnomusicological study representing the sub-discipline of ethnomusicology-at-home. It uses Andreas Reckwitz’ formulation of practice theory as a theoretical starting point and introduces methodological principles from the field of qualitative sociology. Central in the study is the individual. 30 theoretically sampled individuals recounted their musical biographies in narrative-biographical interviews, which were analyzed in detail and eventually led to a sufficiently suggested grounded theory of the uses and functions of music in Groningen AD 2010. The theory consists o three interrelated compartments. The first compartment contains a description o the uses o music a expressed b the interviewees. ‘Use’ refers t the ‘customary exercise o music’ i concrete musical social situations. The result o this study i of this study. The study describes how three cultural codes seem to be shared amongst many (though not all) of the interviewees: the codes of playing an instrument, craftsmanship, and musicality, together forming the supercode of the music specialist. These three more general codes are combined with two further codes to form the highly specific and culturally hegemonic musical subject culture of art music, expressing that music is a specialism; it is the craft of playing an instrument by talented individuals; that this craftsmanship must be combined with expressivity; and that through this form of specialized expression musical objects come into being which represent the ideal realm of the artistic. By discussing this attempt at a grounded theory of the uses and functions of music in Groningen AD 2010, a picture is delivered of how individuals become musical individuals. Through their musicking in the context of concrete musical social situations they use music for the functions of affirmation, connection and regulation of the self; and they do this in the context of a web of cultural codes labeling shared and disputed – and sometimes hegemonic – ways of doing and talking. An evaluation of the theory and methodology used in this study shows that both assist in further developing the field of ethnomusicology(-at-home); an evaluation of the results in the light of existing research shows that they contribute to further insights into the uses and functions of music. Four areas for further research are mentioned: typologizing the uses and functions of music, musical discourses, musical subject cultures, and the place of the musical subject order of art music in contemporary society. The study ends with a description of the possible implications for conservatoires. Conservatoires are recommended to encourage students to think of their future audiences in the broadest possible terms, taking into account the wide variety of uses and functions of music figuring in the daily lives of musicking individuals. They are encouraged to make students look upon themselves (also) as service providers, and as such to be open and non-judgmental in their relationships towards the musical other. Conservatoires are recommended to translate this into their curricula by devising transformative projects in which students meet ‘musical others’, and by encouraging their students to take their possible audiences into account consciously in any musical social situation they devise or find themselves in.
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In this report the philosophy of the Conscious Destination is discussed. Also the bounderies of the hospitality domain and the core themes (as defined by CELTH) of Conscious Destinations will be described. These themes are: “Living environment”, “Human capital”, “Organising Capacity”, “Smartness” and “Leisure offer”.
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Many, many comparisons have been drawn in recent years between the current rise of (right-wing) populism and the financial crisis of 2008 that shook and continues to shake Europe to its core, and the tumultuous and horrifying events of the 1930s, which in the end resulted in the Second World War. A number of recent studies which (partially) focus on this decade carry ominous titles like To Hell and Back, The Age of Catastrophe and The Triumph of the Dark. Referred to by some historians as the second Thirty Years’ War, the period from the First World War to the end of the Second still continues to draw much academic and indeed public attention. In many cases, Germany deservedly plays a central role in the analysis, either in the form of the Kaiserreich or the ill-fated Weimar Republic and, of course, Nazi Germany. The five books under review here discuss European history between 1914 and 1950 in general, and that of Germany in particular, in this period. What do these books tell us about Europe’s and Germany’s path in the first half of the twentieth century, and what new insights do they provide? https://doi.org/10.1177/0265691418777981 LinkedIn: https://www.linkedin.com/in/martijn-lak-71793013/
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