In this article we explore our own experiences on working relationships in inclusive research through a collective biography. We aim to contribute to the understanding of how collaboration in inclusive research teams works, and how to realise transformation in ways of working together. In the collective biography we reflected on challenges in inclusive research, and how working together has impacted each one of us. In doing so we draw on Fine’s concept of ‘working the hyphens’: the conscious exploration of what happens where formal and informal roles or contexts overlap. We found that for us, ‘working the hyphen’ means: allowing time for togetherness, which is crucial for the construal of an ‘us’. We experienced the necessity of a permanent meta-conversation on accessibility, growth, and thresholds in our working relationships. By consistently being alert to and transparent about the moveability in the hyphen-space, the relational work between researchers can be deepened and made productive. Finally, we elaborated on several dilemmas in sharing responsibility between researchers.
LINK
African photography has emerged as a significant focus of research and scholarship over the last twenty years, the result of a growing interest in postcolonial societies and cultures and a turn towards visual evidence across the humanities and social sciences. At the same time, many rich and fascinating photographic collections have come to light. This volume explores the complex theoretical and practical issues involved in the study of African photographic archives, based on case studies drawn from across the continent dating from the 19th century to the present day. Chapters consider what constitutes an archive, from the familiar mission and state archives to more local, vernacular and personal accumulations of photographs; the importance of a critical and reflexive engagement with photographic collections; and the question of where and what is 'Africa', as constructed in the photographic archive. Essential reading for all researchers working with photographic archives, this book consolidates current thinking on the topic and sets the agenda for future research in this field.
DOCUMENT
Within a study on ‘musicians as lifelong learners’, explorative biographical research was used. When analysing the learning biographies informed by grounded theory, the emergence of profession-related health issues was striking. More than half of the portrayed musicians suffered from both physical and psychological problems, the latter mostly consisting of performance anxiety (stage fright), which was often connected to low self-esteem.However creative coping strategies were also frequently found by the musicians, showing their extensive use of metacognitive skills. This paper addresses the coping strategies found and relates it to musicians’ transformative learning.
DOCUMENT
This essay addresses the relationship of improvisation and identity. Biographicalresearch that was conducted by the author into professional musicians’ lifelong learning showed the huge importance of improvisation for personal expression. Musically, the concept of sound appeared to serve as a strong metaphor for identity. In addition, ethnographic research conducted as part of the project Music for Life in London, and published by Smilde, Page and Alheit in 2014, where musicians work in creative music workshops with people with dementia and their caregivers, shed light on the use of improvisation as an expression of the identity of ‘the other’ (i.e. the person with dementia). Sound again appeared to serve as a metaphor for identity. The essay draws on the work of George Herbert Mead on identity, which distinguishes between the personal ‘I’ and the social ‘Me’, and points out that both aspects are essential for the self. In this sense, improvisation can be conceived as a means of communication thatconnects the personal with the social. Furthermore, drawing on Paul Ricoeur’s Oneself as Another (1992), it is shown that this concept of improvisation in relation to personal and social identity may be transferred to forms of community engagement through music. However, despite its huge importance, improvisation is still often marginalised in specialist higher music education, particularly in conservatoires, and the essay finishes with a strong plea for conservatoires to take up their role in the midst of society and embed improvisation in the core of the curriculum.
DOCUMENT
Within the study ‘Musicians as Lifelong Learners: Discovery through Biography’, biographical research was used to examine key developments in the professional lives of musicians, focusing on the relationship between their life, educational and career span ant their learning styles. This resulted in a collection of 32 narrative learning biographies of musicians from different countries and with various careers. Musicians with a performing career, music pedagogues, and musicians with a portfolio career, who combine different roles within various areas of engagement, are portrayed. The main thread throughout the biographies is the question of how these musicians learn as ‘lifelong learners’.
MULTIFILE
The main focus of this article is on performance anxiety and stage fright in musicians, seen through the lens of biographical research. In short, biographical research deals with research into learning, taking as point of departure that important learning always needs to be understood in relation to the biography of the learner (Alheit 2009, p. 116). Within biographical learning people can act as their own change agents. This article discusses biographical findings on musicians’ generic leadership when coping with profession-related health issues and the transformative and transitional learning evolving from this.
DOCUMENT
Biographical information of Jan Floris de Jongh
DOCUMENT
