Based on 13 interviews with Eritrean status holders and professionals in Amsterdam this article explores how paying attention to media skills and media literacies may help gain a better understanding of what matters in exchanges between professionals and legal refugees in the mandatory Dutch integration process. Media literacy needs to be decolonised in order to do so. Starting as an inquiry into how professionals and their clients have different ideas of what constitutes “inclusive communication,” analysis of the interviews provides insight into how there is a need to (a) renegotiate citizenship away from the equation of neoliberal values with good citizenship and recognising needs and ambitions outside a neoliberal framework, (b) rethink components of formal and informal communication, and (c) reconceptualise media literacies beyond Western‐oriented definitions. We propose that professionals and status holders need to understand how and when they (can) trust media and sources; how what we might call “open‐mindedness to the media literacy of others” is a dialogic performative skill that is linked to contexts of time and place. It requires self‐reflective approach to integration, and the identities of being a professional and an Eritrean stakeholder. Co‐designing such media literacy training will bring reflexivity rather than the more generic term “competence” within the heart of both media literacy and inclusive communication.
Article for the Albanian Studies Days 2021 of the European University of Tirana. Higher education supports students in acquiring competences; a mix of knowledge, skills and attitudes. Experience has shown that it is precisely attitude and skills that ensure a better connection to the labor market, in whatever sector in whatever country.
MULTIFILE
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?
