Abstract: In this article I will reconstruct the Dutch debate on citizenship against the developing thinking about social citizenship in the context of globalization. I will show that the confusion around citizenship in the Netherlands can be seen as a result from a split between an unanimous negative valuation of Dutch citizen participation and the practice in which the participation of Dutch population is high. Recent theory on citizenship and participation localizes citizen participation, through membership, in the heart of citizenship practices (B.S. Turner). This can be understood as that all kinds of practices and activities can be viewed as citizenship practices and citizenship activities. From this perspective it becomes clear that in the Netherlands, due to the nation-state conceptualisation of citizenship social participation is not acknowledged as part of citizenship. In reverse, the case study learns about the theory of citizenship in practices that that theory functions as a framework that visualises different - sometimes conflicting - notions and practices of citizenship and thereby recognises all these as part of citizenship.
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This paper assesses the impact of perceived HRM practices on organisational citizenship behaviour (OCB) and whether leader membership exchange (LMX) mediates this relationship. The required research data were retrieved from four different departments within a logistics and supply chain management organisation. The results show that there is a significant relationship between the HRM practices as perceived by a subordinate and their level of organisational citizenship behaviour. The relationship that subordinates have with their frontline manager (LMX) acts as a significant mediator. In the final section, of this paper the findings are discussed and recommendations for future research and practical implications are given.
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This dissertation presents the results of a research project on unraveling the dynamics of facilitating workplace learning through pedagogic practices in healthcare placements. Supervisors are challenged to foster safe learning opportunities and fully utilize the learning potential of placement through stimulating active participation for students while ensuring quality patient care. In healthcare placements, staff shortages and work pressure may lead to stress when facilitating workplace learning. Enhancing pedagogic practices in healthcare placements seems essential to support students in challenging experiences, such as emotional challenges. This dissertation proposes approaches for optimizing learning experiences for students by highlighting the value of day-to-day work activities and interactions in healthcare placements, and shedding light on agency in workplace learning through supervisor- and student-strategies.
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Receiving the first “Rijbewijs” is always an exciting moment for any teenager, but, this also comes with considerable risks. In the Netherlands, the fatality rate of young novice drivers is five times higher than that of drivers between the ages of 30 and 59 years. These risks are mainly because of age-related factors and lack of experience which manifests in inadequate higher-order skills required for hazard perception and successful interventions to react to risks on the road. Although risk assessment and driving attitude is included in the drivers’ training and examination process, the accident statistics show that it only has limited influence on the development factors such as attitudes, motivations, lifestyles, self-assessment and risk acceptance that play a significant role in post-licensing driving. This negatively impacts traffic safety. “How could novice drivers receive critical feedback on their driving behaviour and traffic safety? ” is, therefore, an important question. Due to major advancements in domains such as ICT, sensors, big data, and Artificial Intelligence (AI), in-vehicle data is being extensively used for monitoring driver behaviour, driving style identification and driver modelling. However, use of such techniques in pre-license driver training and assessment has not been extensively explored. EIDETIC aims at developing a novel approach by fusing multiple data sources such as in-vehicle sensors/data (to trace the vehicle trajectory), eye-tracking glasses (to monitor viewing behaviour) and cameras (to monitor the surroundings) for providing quantifiable and understandable feedback to novice drivers. Furthermore, this new knowledge could also support driving instructors and examiners in ensuring safe drivers. This project will also generate necessary knowledge that would serve as a foundation for facilitating the transition to the training and assessment for drivers of automated vehicles.
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
