In het project Ik zie ik zie wat jij niet ziet worden mensen met dementie getekend door kunststudenten. In dit artikel wordt beargumenteerd waarom dit traject zich laat articuleren als een antropologisch artistiek onderzoeksproces waarin de tekening een ontmoeting in de tijd zichtbaar maakt. Aan de toeschouwer tonen de tekeningen niet wat dementie is, maar wat het kan zijn.
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Traditional approaches in healthcare have been challenged giving way to broader forms of users’ participation in treatment. In this article we present the Health 2.0 movement as an example of relational and participatory practices in healthcare. Health 2.0 is an approach in which participation is the major aim, aspiring to reshape the system into more collaborative and less hierarchical relationships. We offer two illustrations in order to discuss how Health 2.0 is related and can contribute to a positive uptake of patient’s knowledge, which implies challenging healthcare practices exclusively focused on scientific expertise. In contrast, the illustrations we discuss focus on relations and cultural practices, searching for responsive and context-sensitive interventions, entertaining multiple views and allowing space for creativity. Finally we introduce two relational resources to contribute with the development and sustainability of Health 2.0 practices: Relational being and edge of fluidity. Those are resources aiming to engage professionals in a type of conversation with their clients, which is different from the hierarchical, linear and fact-oriented approach. This conversation aims at creating a space where the voices of all involved are welcomed, raising different opinions and points of view, bringing up new light and possibilities to the problem being investigated. These resources may be useful for those who are interested in improving quality in healthcare by investing in collaboration, contextual sensitivity and relational engagement.
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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
Higher education offers great flexibility as students are largely free to decide where, when, and how to study. Being successful in such an environment requires well-developed self-regulated learning skills. However, every teacher in higher education knows that students experience ample difficulty to self-regulate their learning. They struggle to set and plan learning goals, and to gain sufficient depth in learning when preparing for exams. These struggles can negatively impact their learning, well-being, academic achievement, and professional life. On top of the existing flexibility in higher education, a need for more flexibility in what students learn is becoming evident. That is, students have room for flexible learningapproaches (i.e., deciding what learning goals or materials to study and how) and/or flexible learning trajectories (i.e.,choosing what combination of courses to take). This places an additional burden on students’ self-regulated learning skills. We posit that for students to thrive in flexible higher education, practice-oriented research on supporting students’self-regulated learning skills is required. Our collaborative consortium will i) unravel how students can be optimally scaffolded within flexible learning approaches and flexible learning trajectories, ii) examine how to optimize teacher and technological support, and iii) study how student autonomy and motivation can be guarded. We will set up a practice-oriented research program with both qualitative and quantitative methods, including design-based research, action research, pre-post comparative intervention studies, and large-scale correlational research. The findings will impact higher education through (technological) design guidelines and intervention programs for educational professionals, andsupport-modules for students.
