Teacher beliefs have been shown to play a major role in shaping educational practice, especially in the area of grammar teaching―an area of language education that teachers have particularly strong views on. Traditional grammar education is regularly criticized for its focus on rules-of-thumb rather than on insights from modern linguistics, and for its focus on lower order thinking. A growing body of literature on grammar teaching promotes the opposite, arguing for more linguistic conceptual knowledge and reflective or higher order thinking in grammar pedagogy. In the Netherlands, this discussion plays an important role in the national development of a new curriculum. This study explores current Dutch teachers’ beliefs on the use of modern linguistic concepts and reflective judgment in grammar teaching. To this end, we conducted a questionnaire among 110 Dutch language teachers from secondary education and analyzed contemporary school textbooks likely to reflect existing teachers’ beliefs. Results indicate that teachers generally appear to favor stimulating reflective judgement in grammar teaching, although implementing activities aimed at fostering reflective thinking seems to be difficult for two reasons: (1) existing textbooks fail to implement sufficient concepts from modern linguistics, nor do they stimulate reflective thinking; (2) teachers lack sufficient conceptual knowledge from linguistics necessary to adequately address reflective thinking.
DOCUMENT
Career Writing is a narrative approach to qualitative career assessment whereby client (or student) groups use creative, reflective, and expressive forms of writing to foster an internal dialogue about career. It is intended to help individuals construct a career identity by uncovering life themes, assessing drives and wishes, and rewriting stories (i.e., narrative truths) that no longer serve. The starting point for this learning process is usually a crisis, which could be a situation, event, attitude or choice dilemma surrounding work. Research shows that career writing holds promise for university students in the process of career formation and orientation and can help adults facing job loss.
DOCUMENT
The purpose of this contribution is twofold. On the one hand we present an overview of recent international developments on inclusive education since the Salamanca Declaration (UNESCO, 1994). We also present the more general challenges and dilemmas this new approach generated, along with a series of promising approaches that have been developed internationally. We will argue – in agreement with many others – that inclusive education requires taking distance from a (dominant) medical-deficit approach in favour of a citizenship approach, which is connected to the Human Rights discussion. Finally, we will argue that the foregoing also suggests an alternative approach towards research in education: a more participative and reflective approach. We then present some examples of research developed and applied by the two authors in which people with disabilities and the professionals working with them were not considered ‘objects of research’, but were research partners throughout the process. The main working principles of this approach will be described and we will discuss some salient results of it.
DOCUMENT
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
