More than 25!years after Moore’s first introduction of the public value concept in 995, the concept is now widely used, but its operationalization is still considered difficult. This paper presents the empirical results of a study analyzing the application of the public value concept in Higher Education Institutions, thereby focusing on how to account for public value. The paper shows how Dutch universities of applied sciences operationalize the concept ‘public value’, and how they report on the outcome achievements. The official strategy plans and annual reports for FY2016 through FY2018 of the ten largest institutions were used. While we find that all the institutions selected aim to deliver public value, they still use performance indicators that have a more narrow orientation, and are primarily focused on processes, outputs, and service delivery quality. However, we also observe that they use narratives to show the public value they created. In this way this paper contributes to the literature on public value accounting.
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Over the past fifteen to twenty years we have witnessed Dutch and European higher art education become increasingly more international, a development that is reflecting globalisation in the art world in general. The artists we work with in many of our institutes and (master) programmes come from a diversity of cultural backgrounds, sometimes covering almost all continents.My doctoral research Global Encounters at a Dutch MFA focuses on the manifestation of cultural differences within and the conditions for an intercultural dialogue about art and artistic concepts within higher art education. The question is whether these cultural differences are made explicit within the dialogues conducted in educational settings and if and how students profit from this diversity in the development of their individual practice.In higher art education students and tutors exchange views on art and artistic concepts through regular conversations. Verbalizing what they see, experience and think is therefore an important ingredient of all the encounters happening at MFA programs: a Western master program focused on art always requires room for and installs a culture of conversation. But within this conversation, cultural confusion can arise. A South-Korean student at our institute recently described her experience of how coming from another, non-Western country, being raised in a different art context, confronted her with many underlying concepts in art she did not necessarily share or even could recognize and describe as such: “I was more like an estranged Babylonian that did not understand the exchanged language of ‘ways of seeing’ […] How can I say what I see, what can I see, or more likely what should I see and after all, what do I see? If I cannot say it, don’t I see it?” This experience is not a merely individual one. Hosting a wider range of cultural backgrounds increases the diversity in concepts and constructions that are implicitly underlying the discussions and conversations within the program. As much as we would like to think that every conversation at an art program leaves room for cultural differences to be made explicit, openly discussed and fruitfully addressed, it might be the case that in the daily educational practice many of them still remain rather under the surface.
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Living Lab Environments (LLE) are a relative new phenomenon, especially in higher education. There is no unambiguous definition of LLE in the literature and several LLE are discussed. Where traditional education takes place in a classroom (a controlled internal environment), LLE experiments in a real-life environment with all kinds of stakeholder groups needed. For higher education, this research explores whether this form of education in practice is appropriate by mapping the success and failure factors. Interviews with coordinators of labs and their experience with these labs will provide clues for future research.
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MUSE supports the CIVITAS Community to increase its impact on urban mobility policy making and advance it to a higher level of knowledge, exchange, and sustainability.As the current Coordination and Support Action for the CIVITAS Initiative, MUSE primarily engages in support activities to boost the impact of CIVITAS Community activities on sustainable urban mobility policy. Its main objectives are to:- Act as a destination for knowledge developed by the CIVITAS Community over the past twenty years.- Expand and strengthen relationships between cities and stakeholders at all levels.- Support the enrichment of the wider urban mobility community by providing learning opportunities.Through these goals, the CIVITAS Initiative strives to support the mobility and transport goals of the European Commission, and in turn those in the European Green Deal.Breda University of Applied Sciences is the task leader of Task 7.3: Exploitation of the Mobility Educational Network and Task 7.4: Mobility Powered by Youth Facilitation.
Energy transition is key to achieving a sustainable future. In this transition, an often neglected pillar is raising awareness and educating youth on the benefits, complexities, and urgency of renewable energy supply and energy efficiency. The Master Energy for Society, and particularly the course “Society in Transition”, aims at providing a first overview on the urgency and complexities of the energy transition. However, educating on the energy transition brings challenges: it is a complex topic to understand for students, especially when they have diverse backgrounds. In the last years we have seen a growing interest in the use of gamification approaches in higher institutions. While most practices have been related to digital gaming approaches, there is a new trend: escape rooms. The intended output and proposed innovation is therefore the development and application of an escape room on energy transition to increase knowledge and raise motivation among our students by addressing both hard and soft skills in an innovative and original way. This project is interdisciplinary, multi-disciplinary and transdisciplinary due to the complexity of the topic; it consists of three different stages, including evaluation, and requires the involvement of students and colleagues from the master program. We are confident that this proposed innovation can lead to an improvement, based on relevant literature and previous experiences in other institutions, and has the potential to be successfully implemented in other higher education institutions in The Netherlands.
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.
