Empowerment has become a hegemonic moral horizon and key modality of governance across the global South and the global North. Whether in the realm of development or in that of welfare and urban governance, a broad range of actors, from local NGOs to social professionals and international donors, now envision the empowerment of local communities as a crucial condition and means for achieving good governance and social justice (Cruikshank 1999; Rose 1996). Anthropologists and development scholars – including ourselves – often find themselves ambivalently positioned in relation to such projects of empowerment. In this essay, we turn to the hesitancies and experimental practices of our research interlocuters in two urban settings saturated by a ‘will to empower’ (Cruikshank 1999). During ten months in the year 2017, Anick followed the everyday practices of family workers in three community centers and neighborhood associations in the northeast of Paris, who were tasked to help working-class and migrant-background parents regain confidence and agency vis-à-vis state institutions. Like the parents with whom they worked, many of these family workers hailed from the banlieue themselves and were of migrant backgrounds. Naomi worked with 15 male former gang leaders in Mombasa (Kenya) who sought to reform themselves to escape police violence. Naomi’s interlocutors were between 16 and 28 years old and worked closely with their friend Hasso during 2019 and 2022. In this period, Naomi conducted eight months of ethnographic fieldwork with these young men and with Hasso, during which she observed their weekly meetings and the individual lives of several group members, and she conducted life history interviews with five of them. These two cases thus figure actors who were differently positioned in relation to the will to empower.
While luxury accommodation experience research has increased in the last decade, the field shows little accumulation of knowledge over time, requiring further foundational development. This study presents a meta-ethnographic synthesis of sixteen qualitative studies to propose a new conceptualisation of the luxury accommodation experience. The study follows Noblit and Hare (1988) seven-steps methodology for the interpretative synthesis of qualitative empirical studies, an under-utilised methodology introduced by Smit, Melissen, Font, and Gkritzali (2020) in tourism and hospitality research. The synthesis model highlights the emotional, multi-dimensional and process-driven nature of the luxury accommodation experiences, created by guests, hosts, and external others through the social interaction occurring within a physical and sensorial environment and influenced by personal and situational factors. The synthesis also underlines three factors characterising the luxury accommodation experience, congruence, culture, and collaboration, providing a foundational framework to advance hospitality luxury experience research. Implications for practitioners are also highlighted.
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In the course of our supervisory work over the years, we have noticed that qualitative research tends to evoke a lot of questions and worries, so-called frequently asked questions (FAQs). This series of four articles intends to provide novice researchers with practical guidance for conducting high-quality qualitative research in primary care. By ‘novice’ we mean Master’s students and junior researchers, as well as experienced quantitative researchers who are engaging in qualitative research for the first time. This series addresses their questions and provides researchers, readers, reviewers and editors with references to criteria and tools for judging the quality of qualitative research papers. This second article addresses FAQs about context, research questions and designs. Qualitative research takes into account the natural contexts in which individuals or groups function to provide an in-depth understanding of real-world problems. The research questions are generally broad and open to unexpected findings. The choice of a qualitative design primarily depends on the nature of the research problem, the research question(s) and the scientific knowledge one seeks. Ethnography, phenomenology and grounded theory are considered to represent the ‘big three’ qualitative approaches. Theory guides the researcher through the research process by providing a ‘lens’ to look at the phenomenon under study. Since qualitative researchers and the participants of their studies interact in a social process, researchers influence the research process. The first article described the key features of qualitative research, the third article will focus on sampling, data collection and analysis, while the last article focuses on trustworthiness and publishing.
The development of a training for musicians aspiring to work in contexts with people with dementia in the Netherlands. This project was inspired by the renowned Music for Life programme by Wigmore Hall Learning in London, UK and its in-depth ethnographic study by the research group Lifelong Learning in Music which was published as While the Music Lasts by Smilde, Page and Alheit (2012).
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
