It has become a topic at Dutch educational institutes to feel not only responsible for improvement of theoretical and practical skills, but also of 'competences' in a broader sense. The curriculum of the Electrical and Electronic (E&E) Department has been changed enormously in the past decade. Fewer lessons and many more projects were introduced. We have choosen to let the students work on competences especially in the projects they are in. With the introduction of competences and the aid of a student portfolio we have given the tools to the students to improve their competences in a broader way. At the E &E department we introduced two different ways of working on competences. In the first years of their study students choose different roles in our projects every time. We have described all the roles and the related tasks for each specific role. While working on a role, the students indirectly work on different competences. This way of working inforces a broader educational level (a student shouldn t work on things he already knows or is able to handle) and the hitch hiking behaviour is banned out. Students now do take responsibility while contributing to the project teams. Inquiries amongst the students confirm these results. The second way is working on the specific competences in their traineeship and thesis work in the last part of their study. This will be introduced in autumn 2004 in the E&E department. In this paper we will show you how we are implementing the integration of competences, like the E&E department did, for IPD projects as well. This implementation is planned to start in autumn 2004.
The Research Group International Cooperation investigates the acquisition of international competencies by internships or study abroad, the international competencies of lecturers, the needs and demands for international competencies of alumni and employers and which factors are important to attract international students to stay and work in the Netherlands. Sending students abroad is, by itself, not enough to develop international competencies, just as bringing students of different nationalities together in an international classroom is, by itself, not enough. The Research Group International Cooperation has therefore developed a training module to prepare students for the purposeful acquisition of international competencies (PREFLEX, Preparation for your Foreign Learning Experience). The Hague University of Applied Sciences wishes to be and to present itself as an international institute of higher education. That requires both a whole package of interventions to strengthen its international character and a clear message to Dutch and foreign partners and to prospective international and Dutch students. In order to bring policy, implementation, profiling and research together, The Hague University of Applied Sciences organized on 15 March 2013 an international conference for team leaders and directors, for internationalization and internship coordinators, for researchers and foreign partners and for international Dutch and foreign students. The aim was to sharpen the vision and the profile of The Hague University of Applied Sciences and to equip the participants with the ideas and the tools to engage all lecturers and students in international cooperation. After the introduction by Susana Menéndez and the keynote lecture by Lisa Childress, the workshops gave the participants an opportunity to go deeper into various aspects of internationalization and to engage actively in discussions with the workshop chairs, who introduced the topics. I hope that these proceedings will give all participants an insight in all workshops and also that non-participants can taste the fruits of this most inspiring and informative gathering.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
