Hoger onderwijsinstellingen investeren vaak fors in studentenmobiliteit en andere internationaliseringsactiviteiten die de ontwikkeling van interculturele competenties bij studenten moeten bevorderen. De verwachte meerwaarde van zulke projecten wordt vooral uitgedrukt in termen van carrièreperspectief, waarin interculturele competenties een centrale component vormen. Wat in veel internationaliseringsprojecten echter niet gebeurt, is nagaan in welke mate deze projecten ook echt het gewenste effect opleveren op de houding en het gedrag van de studenten. Vooral internationaliseringservaringen in verre bestemmingen vergen een substantiële investering van student en instelling, terwijl niet helemaal duidelijk is of studenten hierdoor ook daadwerkelijk intercultureel competenter worden. Mede om het leerrendement van internationalisering beter in kaart te brengen, is binnen Zuyd Hogeschool de Global Mind Monitor ontwikkeld, een kwantitatief meetinstrument dat zowel de effecten van internationalisering in eigen land als over de grenzen kan meten. In dit artikel gebruiken we recente data (2015-2016) van een eerste longitudinale pilot study bij 320 studenten met dit meetinstrument. Op basis van t-toetsen en meervoudige regressieanalyses onderzoeken we met name het belang van culturele afstand tot het gastland voor de ontwikkeling van interculturele competenties bij studenten. De analytische modellen bevestigen onze verwachting: hoe groter de culturele afstand tussen het thuisland en het gastland, hoe sterker het leereffect. Deze resultaten kunnen nuttige inzichten opleveren voor de verdere ontwikkeling van in internationalisering, zowel over de grens als ‘at home’.
AbstractHistorically, epidemics and plagues are repeatedly reported to have happened since the ancient civilizations (Egypt, Greece, Rome and imperial China). Most known examples of a devastating global pandemics in recent history are the ‘Black Death’ (14th century) and the global influenza (1918-1919), also known as ‘Spanish Flu’, that has killed nearly 50 million people in the world. Even thoughpandemics may vary in their dimensions, length (short vs. long), scope (local/regional, national, global) and severity of effects (minimal effects or maximal effects), they all represent distinct exogenous and endogenous shocks that have far reaching effects on population, health, economy and other societal domains.Currently, the Covid-19 pandemic has relentlessly spreaded around the world, leaving behind destructive marks on health, populations, economies and societies. The Covid-19 could spread quickly around the globe because of the current structure of the global economy, which is highly interconnected through sophisticated global transport networks. An important characteristic of a suchnetworked complex system is it vulnerability to unattended events of systemic risk such as the Covid-19 pandemic for example. These systemic risks cause substantial cascading effects, which lead to extreme outcomes that could permanently alter economic, environmental, and social systems.In this article, we first, present, discuss and analyze the potential impacts of the Covid-19 on global economy, trade and supply chains, by focusing on Europe and/or the Netherlands. Second, we examine the effects of the Covid-19 crisis on the shipping industry and on the hub ports and the policy measures that have been applied by different countries around the world.
Aim. Although cultural dimensions theory is a topical strand of quantitative cultural research, few intercultural simulation games use it. We present the design and review of the application of OASISTAN, an intercultural role-playing simulation game that is specifically based on cultural dimensions theory. Method. OASISTAN was first designed in 1999 for use in Master’s courses on cross-cultural management at Delft University of Technology in the Netherlands, attracting 20-23 year old students with a Bachelor degree in engineering and from various cultural backgrounds. Since its first design the game has been played approximately 45 times at Delft University of Technology in the Netherlands and three times at Harbin Institute of Technology in China in the years 2006-2008. We reviewed their experiences designing and facilitating OASISTAN since 1999. Results. The game has a no-tech role-play design and revolves around the geopolitically complex region of the Caspian Sea, specifically the fictional country of ‘Oasistan’. The game consists of students forming small teams of Oasistani, Western and non-Western public/private actors collaborating with each other to try and reach the common goal of oil exploration and production in this country. In total 15-30 students were involved. We found that OASISTAN allowed its players not only to intensely experience the difficulty and awkwardness of being confronted with cultural differences, but also to interpret and understand these differences through cultural dimensions. Students who played OASISTAN identified ten out of the 12 dimensions by Maleki and De Jong. The two dimensions that students were not able to identify are uncertainty avoidance and collaborativeness. Conclusion. OASISTAN shows how a game design field (i.e., intercultural simulation gaming) can be reinvigorated in light of new or updated scientific theories pertaining to the field’s subject matter (i.e., cultural dimensions). Several opportunities for future research are identified.
MULTIFILE
The precarity in the cultural sector became exposed during the COVID-19 pandemic. With the lockdowns, the sources of income for cultural venues and cultural workers vanished overnight, intensifying an already challenging labour market. Particularly freelance cultural workers were hit hard. While the immediate shock of the pandemic on the cultural sector has been well documented, the effects on the sector in the aftermath of the pandemic are still to be revealed and repaired. This project tackles these issues by zooming in on the case of the performing arts scene in Groningen. This scene constitutes the part of the cultural sector that was affected the most by the lockdowns. Currently, venues and event organizers in Groningen lack qualified freelance staff as many left the industry during the pandemic. At the same time, self-employed cultural workers find it difficult to generate sufficient incomes and develop sustainable careers in the city. The municipality is eager to support the industry, including freelancers, but is unsure about how best to do so. With a consortium composed of the university, the municipality, a knowledge organisation specialised in cultural entrepreneurship, and a network for creative freelancers in the North of the Netherlands the project is well-equipped to reach its two-fold aims of investigating this current situation and coming up with suggestions for solutions. The core component of the project is an interview study with three groups of self-employed cultural freelancers: experienced production staff, experienced performers, and nascent freelancers (both production staff and performers). Based on data from this study, the project provides a multifaceted picture of the cultural ecosystem in Groningen, highlighting how this system is experienced. This establishes a solid foundation for staging discussions on working conditions in the sector, enabling the project to eventually conclude with recommendations on how to improve the situation.
