Purpose: Drawing on theories of organisational identity, social exchange and stakeholder engagement, this study aims to investigate the processes and practices involved in the formation and shaping of identities of social enterprises (SEs) that operate in the Malawian hospitality and tourism industry. Design/methodology/approach: Drawing on an interpretive research paradigm, data collected from 22 semi-structured interviews with four founders of case SEs and stakeholders, and SEs’ reports and other publicly available documents were generated and analysed following a grounded theory approach. Findings: The authors show that the trajectory SEs followed and the exchanges that occurred with the external stakeholders allowed three out of four case SEs to swiftly re-evaluate their pre-existing identities and work towards the formation of their new identities. Practical implications: This study provides an opportunity for policymakers and other actors in developing countries to frame and place SEs in line with the wider societal realities in such contexts. This may in turn call for policymakers to increase actors’ engagement with SEs and provide the necessary support that can allow SEs to be an effective force for the public good. Originality/value: This paper highlights the role of exchanges with external stakeholders in identity formation and shaping within SEs in the hospitality and tourism sector in the context of institutional voids. By adopting the social exchange theory, this paper introduces a dynamic lens to identity formation and shaping and helps to explain how, across different tourism ventures, stakeholder engagement and different modes of exchange unfold in the inter-organisational and community domains. It further shows how the ventures’ value orientations on the one hand, and stakeholder engagement practices and the ensuing exchanges, on the other hand, are closely interwoven.
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The central aim of this dissertation is to increase our understanding of changes in identifications and in the professional identity of employees, by investigating the prominent foci of identification, their mix in higher-order social identities and the personal and organisational factors (HRM and supervisory behaviour) that are involved in the change of these professional self definitions. Building upon the assumption that institutions for Higher Education and their workforce are being continually challenged to keep up and adapt to changing societal demands and that it is the quality and flexibility of the workforce which is the key factor to address this turmoil, this dissertation specifically focuses on the understanding of changes in teachers’ professional identity in higher vocational education. For this purpose four related empirical studies have been conducted. Together these studies illustrate the considerable professional diversity in the workforce and shed light on the relationships between foci of identification and professional identities, performance appraisal, leadership, career competencies, customization strategies, professional development and changes in teachers’ identifications over time.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
phōnē – Giving Minority Languages a Voice is a project application to safeguards and promotes cultural and linguistic diversity in Europe. We will connect people who belong to a language minority in their countries with European values across language and cultural borders. 10 institutions will cooperate for the first time, breaking new ground for the RML theatre sector and improving their standing nationallyand internationally. phōnē will be the first ever major international collaboration between theatres working for minority languages.“Languages are vehicles of our cultures, collective memory and values. They are an essential component of our identities, and a building block of our diversity and living heritage.”The loss of a language means not only the loss of a basic element of communication, but also of a complete system of knowledge developed over time. The disappearance of a language also means the loss of a unique, unrecoverable universe associated with a particular environment. It means the loss of diversity.Phōnē wants to make an active contribution to the vitalisation of endangered minority languages. In order to keep endangered languages alive, theatre is one of the most suitable media because it provides a space for language, but also because it uses non-language-based forms of communication. In this way, theatre in particular makes it easier for people who do not yet have a confident knowledge of theminority language to get started. This will safeguard cultural and linguistic diversity in Europe. Strengthening the cultures and their languages will also strengthen the economic basis of the theatres working in these minority languages.phōnē is aiming for three main objectives to strengthen theatre in its role of vitalising endangered minority languages.A – Giving Minority Languages a voiceTogether we will search for narratives that tell about the people in their minority language region. Thestories are about and from people who live and work in remote regions of Europe and are written anddeveloped in the respective minority language.B – Giving Minority Languages a European stageThe developed texts need a stage to reach the widest possible audience. As different as the expectednarratives will be, so different will be the stages (outreach / site-specific / digital) on which they are presented.Different formats support the goal of addressing the broadest possible audience in the communitiesand involving them both passively and actively in the use of their minority language.
The question we have chosen – and been invited – to answer is “What is Europe: Past, Present, and Future.” This sits within the resilient societies theme of the NWA call. The reason for our choice of the ‘resilience’ theme is based on the many disciplines working on the project, which stretch beyond the historic (living history theme) into the societal.It has a deeper conceptual basis, however. It springs from an assumption that a shared sense of belonging and inclusion is one foundation for and aspect of resilience – just as a rope braided together from many strands is stronger than one where the strands are fraying apart. Positive and inclusive expressions of belonging and affiliation are present in education, sports, and music – highly visible sites of representation that have profound reach and impact in society. Racialisation, othering, and selective or stereotypical representations, however, work against resilience. They are circulated widely and generate exclusion and hurt. In these linked work packages, then, we take up the question’s invitation to expand and disrupt, what the NWA’s call itself defines as a normative prior understanding of Europe. In the words of the question, this definition emphasizes Europe’s nature as white, Christian-secular, bounded by the geographic limits of Western Europe, shaped by Greco-Roman heritage and tradition, democratic, and home of the enlightenment. Our consortium seeks to analyze this representation, research and present more expansive and accurate ones in consultative reflective and co-creative processes. Through the process, the new knowledge, and our highly participatory research and dissemination models we will change societal understandings of the bounds of Dutch, and European identities. This will forge a greater sense of belonging across all of the communities, including academia, involved in our project.This project is vital for building resilience through tackling sources of fragmentation and alienation in past and present. It is much needed as we look forward to an increasingly diverse and mixed demographic future.
