This study analyses how the social construction of integrity takes place within the context of football in the Netherlands. Combining a contextual approach to sports integrity with the analytic lens of sensemaking, this qualitative multi-method case study analyses – in one extreme case in Dutch youth amateur football – why and when the ‘incident’ was perceived as an ‘integrity issue’, and how the meaning of (the) integrity (issue) was socially constructed by (interactions between) stakeholders involved in the case. Our findings show why, when, and how moral norms and values are (not) debated and at stake, and that the social construction of sports integrity is intertwined with the institutional context and the role of secondary stakeholders. It provides insights that can help sports organizations to identify risks in their moral sports culure and to develop measures or policies to safeguard integrity in sport.
The aim of this study is to investigate Dutch citizens’ care attitudes by looking at care-giving norms and citizens’ welfare state orientation and to explore to what extent these attitudes can be explained by combinations of diversity characteristics. We combined two datasets (2016 and 2018, N = 5,293) containing citizens’ opinions regarding society and conducted multivariate linear and ordered probit regression analyses. An intersectional perspective was adopted to explore the influence of combinations of diversity characteristics. Results show that citizens’ care-giving norms are relatively strong, meaning they believe persons in need of care should receive help from their families or social networks. However, citizens consider the government responsible for care as well. Men, younger people, people in good health and people of non-Western origin have stronger care-giving norms than others, and younger people assign relatively more responsibility to the family than the government. Level of education and religiosity are also associated with care attitudes. Primary diversity dimensions are more related to care attitudes than secondary, circumstantial dimensions. Some of the secondary dimensions interact with primary dimensions. These insights offer policy makers, social workers and (allied) health professionals the opportunity to align with citizens’ care attitudes, as results show that people vary to a large extent in their care-giving norms and welfare state orientation.
In my PD research, I want to focus on how collectivity is practiced in the arts, by learning from the Indonesian multidisciplinary art collective ruangrupa’s use of [the international art exhibition] ‘documenta’ as a tool, and the potential of continuing the experiences outside this group and context. The art practices programmed by ruangrupa can be understood as complex and ambiguous where art is not at the center of attention but part of a larger communal productivity. And where it is not sufficient to be merely critical, and merely voice opposition, but to engage, and create alternatives in everyday life [without being problem-solving or social design]. My research concerns the potential of continuing these practices and experiences outside this particular artist group and exhibition context. Ruangrupa’s work reveals problems of the current Western art system, how it is (hierarchically) organized, the implicit rules, norms and values it is based on. Ruangrupa's practice thus serves as an exercise and point of departure to answer questions about forms of self-organization within the art field. Its collective and multidisciplinary art practice implies the question whether it also can serve as a model for living together on a larger scale (also outside the arts), beyond hierarchies of social and professional structures. There is currently a lack of research on these particular art practices, so that they are not easily accessible for non-participants. For the art field in particular, this concerns the question whether contemporary art can and needs to take place outside established Western gallery/museum, art/curatorial paradigms and what can be learned from ruangrupa's and documenta fifteen's blending of art practice with daily life practice. This is also an urgent practical issue for art schools (including my school Willem de Kooning Academy) that increasingly develop art study programs outside the studio and gallery art paradigm.
"Regenerative Renaissance" (RR) embarks on an innovative journey to reshape the Fashion and Textile Industry's (FTI) societal and environmental influence. This project, led by University of Groningen (UG) in partnership with fashion designer Joline Jolink (JJ) and local farm Boerderij Gagel: Lente Land (LL) aims to transform Joline’s business into a leading regenerative small-medium enterprise (SME), establishing new norms for social and net positive circularity in the Dutch FTI. It probes how the FTI can progress from sustainability (net zero) to regeneration (net positive), focusing on fostering a symbiotic bond between fashion/textile production and land regeneration, connecting textiles and people with the land. This vision transcends traditional sustainability, seeking to actively enhance environmental restoration, biodiversity and creating multiple values. It entails a transformation of the fashion business model (BM), embedding regenerative practices into all aspects of running a fashion business and strengthening the ties between humans and nature. RR strives to reduce the fashion industry's environmental impact while enriching ecosystems and communities. The project involves collaborating with local communities and stakeholders to co-create initiatives like community farming, educational workshops, creating alternative products and a clothing line that reflects regeneration principles in its making and storytelling. The ultimate goal is to develop a replicable regenerative BM for the FTI, redefining the interaction between fashion, society, and the environment, and prompting a balanced shift towards a sustainable, ecologically harmonious future.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
