The impact of organized youth sport on youth development depends on various conditions in the pedagogical climate, such as how sport is delivered by youth sport coaches. While this is broadly acknowledged and provides a basis to improve youth sport and its developmental outcomes, little is known about the pedagogical perspectives of youth coaches on their practice. This study uses semi-structured interviews with 32 youth sport coaches in diverse youth sport contexts in the Netherlands. Reflexive data analysis is employed to garner insights into coaches’ role perceptions, coaching goals, and underlying values. The findings show that while youth coaches focus on sport-centered activities, many foreground non-sport dimensions such as life mentoring and working towards social inclusion as critical elements of their work, reflected in five pedagogically-oriented goals: discipline, autonomy, resilience, social abilities, and aspirations. Underlying these goals are pedagogical values such as building and maintaining caring relationships with participants. These goals and values echo scientific literature on pedagogical sport climate conditions (e.g. positive youth development), and challenge notions of youth sport as a performance-oriented and uncaring setting. The results contribute to existing knowledge about youth coaches’ pedagogical orientations, and inform the development of strategies to stimulate positive sport practices and developmental outcomes for participants.
This collection follows anthropological perspectives on peoples (Canadian Inuit, Norwegian Sámi, Yupiit from Alaska, and Inuit from Greenland), places, and practices in the Circumpolar North from colonial times to our post-modern era. This volume brings together fresh perspectives on theoretical concepts, colonial/imperial descriptions, collaborative work of non-Indigenous and Indigenous researchers, as well as articles written by representatives of Indigenous cultures from an inside perspective. The scope of the book ranges from contributions based on unpublished primary sources, missionary journals, and fairly unknown early Indigenous sources and publications, to those based on more recent Indigenous testimonies and anthropological fieldwork, museum exhibitions, and (self)representations in the fields of fashion, marketing, and the arts.The aim of this volume is to explore the making of representations for and/or by Circumpolar North peoples. The authors follow what representations have been created in the past and in some cases continue to be created in the present, and the Indigenous employment of representations that has continuity with the past and also goes beyond "traditional" utilization. By studying these representations, we gain a better understanding of the dynamics of a society and its interaction with other cultures, notably in the context of the dominant culture’s efforts to assimilate Indigenous people and erase their story. People’s ideas about themselves and of "the Other" are never static, not even if they share the same cultural background. This is even more the case in the contact zone of the intercultural arena. Images of "the Other" vary according to time and place, and perceptions of "others" are continuously readjusted from both sides in intercultural encounters.This volume has been prepared by the Research Group Circumpolar Cultures (RGCC) which is based in the Netherlands. Its members conduct research on social and cultural change focusing on topics that are of interest to the Indigenous peoples of the Arctic. The RGCC builds on a long tradition in Arctic studies in the Netherlands (Nico Tinbergen, Geert van den Steenhoven, Gerti Nooter, and Jarich Oosten) and can rely on rich Arctic collections of artefacts and photographs in anthropological museums and extensive library collections. The expertise of the RGCC in Arctic studies is internationally acknowledged by academics as well as circumpolar peoples.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
The pace of technology advancements continues to accelerate, and impacts the nature of systems solutions along with significant effects on involved stakeholders and society. Design and engineering practices with tools and perspectives, need therefore to evolve in accordance to the developments that complex, sociotechnical innovation challenges pose. There is a need for engineers and designers that can utilize fitting methods and tools to fulfill the role of a changemaker. Recognized successful practices include interdisciplinary methods that allow for effective and better contextualized participatory design approaches. However, preliminary research identified challenges in understanding what makes a specific method effective and successfully contextualized in practice, and what key competences are needed for involved designers and engineers to understand and adopt these interdisciplinary methods. In this proposal, case study research is proposed with practitioners to gain insight into what are the key enabling factors for effective interdisciplinary participatory design methods and tools in the specific context of sociotechnical innovation. The involved companies are operating at the intersection between design, technology and societal impact, employing experts who can be considered changemakers, since they are in the lead of creative processes that bring together diverse groups of stakeholders in the process of sociotechnical innovation. A methodology will be developed to capture best practices and understand what makes the deployed methods effective. This methodology and a set of design guidelines for effective interdisciplinary participatory design will be delivered. In turn this will serve as a starting point for a larger design science research project, in which an educational toolkit for effective participatory design for socio-technical innovation will be designed.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
