In: ‘Onderzoekend op weg’, een essaybundel over opdrachten voor de toekomst, geschreven door de lectoren van De Haagse Hogeschool t.g.v. het afscheid van Rob Brons als collegevoorzitter, januari 2014 In dit essay worden nieuwe ontwikkelingen in de sector van de gebouwde omgeving beschreven. Door de crisis zagen bedrijven zich genoodzaakt te innoveren teneinde te overleven. In deze bijdrage worden de strategieën die zij daartoe gevolgd hebben, in vogelvlucht beschreven. Vervolgens wordt gekeken naar de consequenties van de veranderingen in de sector voor het onderwijs en het onderzoek aan de hogeschool. Deze bijdrage is gebaseerd op onderzoek zoals beschreven in het boek Samen Sneller Slimmer en maakt ter illustratie gebruik van aldaar weergegeven interviews.
As educational institutions, conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, research has paid little attention to in-depth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. This article addresses this gap through seeking to understand the constructed nature of the ‘learning cultures’ - the cultural practices through which students learn - of a UK conservatoire. Working within an ethnographically-informed case study, multiple qualitative methods were employed to collect in-depth data. Key findings from a four-phased analysis procedure reveal that the conservatoire’s learning cultures are constructed across four intertwined features: (1) learning cultures of performing specialism, (2) learning cultures of social networking, (3) learning cultures of musical hierarchiesand (4) learning cultures of vocational position taking. Implications of the study are discussed, and recommendations made for the introduction of creative and reflective spaces for learning in the conservatoires of the future.
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'In dit essay beargumenteer ik dat de rol van ambtenaren fundamenteel aan het veranderen is. De verandering wordt veroorzaakt door veranderingen in de samenleving (deel 1 van dit essay) en door veranderingen in de overheid (deel 2). Die veranderingen zijn van belang voor het onderzoek en het onderwijs aan De Haagse Hogeschool (deel 3 van het essay)'
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.
