De 48e editie van de Onderwijs Research Dagen (ORD) werd onder toezicht van de Vereniging voor Onderwijs Research (VOR) afgelopen jaar op 13, 14 en 15 juni in Nijmegen georganiseerd door de Radboud Universiteit, het Radboud UMC en de Hogeschool van Arnhem en Nijmegen. Gedurende drie dagen kwamen onderzoekers, onderwijskundigen en beleidsmakers bijeen om kennis uit te wisselen met als centraal thema Ondersteboven van onderwijs. Er waren ruim 240 bijdragen, variërend van paperpresentaties en symposia tot rondetafelgesprekken en posterpresentaties. Nieuw dit jaar was een veertiental presentaties in alternatieve vorm waarin vooral een (inter-)actieve inbreng van bezoekers werd gevraagd. De congresbijdragen waren ingedeeld in 10 thema’s, parallel aan de VOR-divisies, zoals Beleid & Organisatie, Hoger Onderwijs en Leren & Instructie. Op de website van de VOR (https://www.vorsite.nl/nl/content/divisies) staat een overzicht van alle divisies.
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Recent studies show that students increasingly suffer from psychological complaints, including a high degree of (study) stress. If stress persists for a long time, it can have negative consequences for your health and can lead to a burnout, for example. A possible buffer against stress and a positive counterpart of a burnout is engagement. This infographic contains the most important results of a study into stress among students.
The COVID-19 pandemic has forced higher education (HE) to shift to emergency remote teaching (ERT), subsequently influencing academic belonging and social integration, as well as challenging students' engagement with their studies. This study investigated influences on student engagement during ERT, based on student resilience. Serial mediation analyses were used to test the predictive effects between resilience, academic belonging, social integration, and engagement.
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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.
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
Circular agriculture is an excellent principle, but much work needs to be done before it can become common practice in the equine sector. In the Netherlands, diversification in this sector is growing, and the professional equine field is facing increasing pressure to demonstrate environmentally sound horse feeding management practices and horse owners are becoming more aware of the need to manage their horses and the land on which they live in a sustainable manner. Horses should be provided with a predominantly fibre-based diet in order to mimic their natural feeding pattern, however grazing impacts pasture differently, with a risk of overgrazing and soil erosion in equine pastures. Additionally, most horses receive supplements not only with concentrates and oils, but also with minerals. Though the excess minerals are excreted in the manure of horses, these minerals can accumulate in the soil or leach to nearby waterways and pollute water resources. Therefore, the postdoc research aims to answer the main question, “What horse feeding practices and measurements are needed to reduce and prevent environmental pollution in the Netherlands?” The postdoc research is composed of two components; a broad survey-based study which will generate quantitative data on horse feeding management and will also obtain qualitative data on the owners’ engagement or willingness of horse owners to act sustainably. Secondly, a field study will involve the collection of detailed data via visits to horse stables in order to gather data for nutritional analysis and to collect fecal samples for mineral analysis. Students, lecturers and partners will actively participate in all phases of the planned research. This postdoc research facilitates learning and intends to develop a footprint calculator for sustainable horse feeding to encompass the complexity of the equine sector, and to improve the Equine Sports and Business curriculum.
