This article seeks to contribute to the literature on circular business model innovation in fashion retail. Our research question is which ‘model’—or combination of models—would be ideal as a business case crafting multiple value creation in small fashion retail. We focus on a qualitative, single in-depth case study—pop-up store KLEER—that we operated for a duration of three months in the Autumn of 2020. The shop served as a ‘testlab’ for action research to experiment with different business models around buying, swapping, and borrowing second-hand clothing. Adopting the Business Model Template (BMT) as a conceptual lens, we undertook a sensory ethnography which led to disclose three key strategies for circular business model innovation in fashion retail: Fashion-as-a-Service (F-a-a-S) instead of Product-as-a-Service (P-a-a-S) (1), Place-based value proposition (2) and Community as co-creator (3). Drawing on these findings, we reflect on ethnography in the context of a real pop-up store as methodological approach for business model experimentation. As a practical implication, we propose a tailor-made BMT for sustainable SME fashion retailers. Poldner K, Overdiek A, Evangelista A. Fashion-as-a-Service: Circular Business Model Innovation in Retail. Sustainability. 2022; 14(20):13273. https://doi.org/10.3390/su142013273
In this critical review article, Isaac and Platenkamp present the case that tourism is not isolated from the world's dramatic situations in which humanity is at stake. Their argument principally centers on the devastating historical and contemporary conflict in Palestine and its relations with tourism. In this article, Isaac and Platenkamp maintain that (in relation to current happenings in Palestine) ethical and moral argumentation would be beside the point, and might even be a "cynical" exercise. They suggest that the conflict there is imbued with many kinds of normative argumentation. It is their view that positions need to be taken with regard to "Palestine," as in all extreme circumstances, where at the same time respect for the other positions becomes crucial. In this critical review article, therefore, Arendt's idea of "agora" will be introduced, in order to create a space where these "respectful positions" can be taken in a public arena and in order to contribute to a possible peaceful development. To Isaac and Platenkamp, tourism could enable this sort of "peaceful development" and could promote or help empower conditions where violence would be excluded, and where different sorts of "argumentation" could be generated and heard about these so-called "controversial spaces." In these respects, they maintain that tourism is a challenging field, because it has (itself) many faces-and they argue that such scenarios for "tourism" indeed could apply/should be applied for many controversial other spaces like Nepal and Burma (for instance) where (as in Palestine) the original population has no say in any economic development, such as that of tourism. But Isaac and Platenkamp recognize that (even in Burma) resistance against injustice can never be destroyed. Their own principal focus remains targeted upon Palestine, though. There, tourism is known to have "an incredibly high potential," despite the fact that (in their view) a strong and powerful "Israeli self" indeed controls the "humiliated Palestinian other." Thus, to our two reviewers in the Netherlands, therefore, tourism seems to be a communicative activity that might enable the implementation of Arendt's idea of and about "the agora." Isaac and Platenkamp suggest that there is no violence in the agora, itself, because only the force of argumentation rules. there.
MULTIFILE
Research into workplace mentoring is principally focussed on predictors and psychosocial and instrumental outcomes, while there is scarcely any in‐depth research into relational characteristics, outcomes and processes. This article aims to illustrate these relational aspects. It reports a co‐constructed auto‐ethnography of a dyadic mentoring relationship as experienced by mentor and protégé. The co‐constructed narrative illustrates that attentiveness towards each other and a caring attitude, alongside learning‐focussed values, promote a high‐quality mentoring relationship. This relationship is characterised, among other things, by person centredness, care, trust and mutual influence, thereby offering a situation in which mutual learning and growth can occur. Learning develops through and in relation and is enhanced when both planned and unplanned learning takes place. In addition, the narrative makes clear that learning and growth of both those involved are intertwined and interdependent and that mutual learning and growth enrich and strengthen the relationship. It is concluded that the narrative illustrates a number of complex relational processes that are difficult to elucidate in quantitative studies and theoretical constructs. It offers deeper insight into the initiation and improvement of high‐quality mentoring relationships and emphasises the importance of further research into relational processes in mentoring relationships.
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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
Zijinstromers in het primair onderwijs combineren een opleiding tot bevoegd docent met een baan in het primair onderwijs en hebben daarnaast vaak nog een gezin. Het opleidingstraject wordt door veel studenten als “zwaar” ervaren en de uitval is hoog, soms met grote gezondheidsschade (burnout). Dat is ernstig voor de studenten, maar het is ook ernstig omdat zijinstromers cruciaal zijn in de strijd tegen het lerarentekort waar het primair onderwijs mee kampt. Terwijl breed bekend is dat de opleiding zwaar is, is niet precies bekend hoe en wanneer het traject zwaar is. Dat betekent dat het ook niet goed mogelijk is om het traject aan te passen. Hoe kan het traject didactisch, logistiek en qua begeleiding beter aansluiten bij deze groep? Er is scherp inzicht nodig in hoe zijinstromers hun tijd besteden, hoe en wanneer zij tijdsdruk ervaren, en op welke momenten die druk onaanvaardbaar wordt. Dat is een complexe vraag omdat tijdsdruk ervaren niet exclusief het gevolg is van veel werk hebben. Het gaat ook over of gepland werk gedaan kon worden, of er flow ervaren is, of werk/opdrachten relevant voelen, etc. Het verkrijgen van dat inzicht vraagt om tijdsbestedings/tijdservaringsonderzoek. Echter, dit soort onderzoek is klassiek belastend voor deelnemers. Er moet bijvoorbeeld meerdere keren per dag een vragenlijst worden ingevuld: nog een extra taakje. Deze kiemaanvraag wil een innovatieve manier van tijdsonderzoek doorontwikkelen: met behulp van smartphones en wearables data automatisch en half-automatisch verzamelen. Naast een helder inzicht in hoe de student door de opleiding reist (“user journey”) en dus waar in de opleiding de pijnpunten zitten, levert dit onderzoek ook een natuurlijke aanleiding op om met veel schoolbesturen en zijinstromers in gesprek te gaan: een vruchtbare basis voor het vormen van een langdurig en stevig consortium waarbinnen verder onderzoek naar zijinstromers gedaan kan worden.
