This was the first time I attended a Pop and Jazz Platform meeting of the AEC. My involvement with AEC goes back for some time now. My first experience dates from 20 years ago, when I witnessed Yehudi Menuhin standing on a staircase addressing the delegates of the AEC Conference in Brussels. I think at that conference the number of delegates was lower than the 170 people that have been present these two days. The AEC has grown. The number of pop, jazz, world and folk music schools and departments has grown. Its importance within the sector has grown. And that shows in this meeting.
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Education plays a major role in this paradox: the cultural diversity that is increased by immigration is eliminated by successful education: education aims to maximise the opportunities for every child within the emerging global culture and thus reduce cultural diversity. The road from the Enlightenment that would bring us a better world is increasingly proving to be a dead end, especially with regard to the climate and the depletion of the resources the planet can provide (ecology). Just now that a global culture has emerged into which all those other cultures are assimilated, the question is whether cultures that deal more sustainably with ecology and have problems accommodating to global culture, should not be given more voice in the transition to a more sustainable global culture. It is argued that in popular music forms an example in which successful productions have a multitude of cultural styles, from world music to hip-hop to rock. In fact, almost everyone from various cultural backgrounds can relate to a certain style. Pop music therefore does not necessarily work as an institution that reduces diversity. Education does just that, unconsciously, and often with extensive inclusion programs. She could learn from pop music!
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Co-creation as a concept and process has been prominent in both marketing and design research over the past ten years. Referring respectively to the active collaboration of firms with their stakeholders in value creation, or to the participation of design users in the design research process, there has arguably been little common discourse between these academic disciplines. This article seeks to redress this deficiency by connecting marketing and design research together—and particularly the concepts of co-creation and co-design—to advance theory and broaden the scope of applied research into the topic. It does this by elaborating the notion of the pop-up store as temporary place of consumer/user engagement, to build common ground for theory and experimentation in terms of allowing marketers insight into what is meaningful to consumers and in terms of facilitating co-design. The article describes two case studies, which outline how this can occur and concludes by proposing principles and an agenda for future marketing/design pop-up research. This is the peer reviewed version of the following article: Overdiek A. & Warnaby G. (2020), "Co-creation and co-design in pop-up stores: the intersection of marketing and design research?", Creativity & Innovation Management, Vol. 29, Issue S1, pp. 63-74, which has been published in final form at https://doi.org/10.1111/caim.12373. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Use of Self-Archived Versions. LinkedIn: https://nl.linkedin.com/in/overdiek12345
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As the Dutch population is aging, the field of music-in-healthcare keeps expanding. Healthcare, institutionally and at home, is multiprofessional and demands interprofessional collaboration. Musicians are sought-after collaborators in social and healthcare fields, yet lesser-known agents of this multiprofessional group. Although live music supports social-emotional wellbeing and vitality, and nurtures compassionate care delivery, interprofessional collaboration between musicians, social work, and healthcare professionals remains marginal. This limits optimising and integrating music-making in the care. A significant part of this problem is a lack of collaborative transdisciplinary education for music, social, and healthcare students that deep-dives into the development of interprofessional skills. To meet the growing demand for musical collaborations by particularly elderly care organisations, and to innovate musical contributions to the quality of social and healthcare in Northern Netherlands, a transdisciplinary education for music, physiotherapy, and social work studies is needed. This project aims to equip multiprofessional student groups of Hanze with interprofessional skills through co-creative transdisciplinary learning aimed at innovating and improving musical collaborative approaches for working with vulnerable, often older people. The education builds upon experiential learning in Learning LABs, and collaborative project work in real-life care settings, supported by transdisciplinary community forming.The expected outcomes include a new concept of a transdisciplinary education for HBO-curricula, concrete building blocks for a transdisciplinary arts-in-health minor study, innovative student-led approaches for supporting the care and wellbeing of (older) vulnerable people, enhanced integration of musicians in interprofessional care teams, and new interprofessional structures for educational collaboration between music, social work and healthcare faculties.
De uitbraak van het coronavirus heeft in Nederland geleid tot ongekende maatregelen, waarbij het maatschappelijke verkeer voor een groot deel werd stilgelegd op 15 maart 2020. Onder meer alle scholen, universiteiten, bibliotheken, cafés, kapperszaken, musea, bioscopen en restaurants sloten op last van de landelijke overheid hun deuren. Ook voor de podiumkunsten hebben de beperkende Coronamaatregelen geleid tot drastische veranderingen. Het was een aantal maanden niet toegestaan voor dansers, musici en circusartiesten om op te treden en het repeteren werd ook bemoeilijkt door de 1,5 meter richtlijnen. Studenten van kunsthogescholen konden niet gezamenlijk studeren en waren aangewezen op online onderwijs. Dit was een uitdaging, omdat juist de fysieke interactie bij podiumkunsten (dans, muziek en circus) essentieel is voor het leerproces van deze specifieke studentenpopulatie. Codarts (hogeschool voor de kunsten Rotterdam) wil juist in deze roerige tijden haar sterke positie op het gebied van praktijkgericht onderzoek binnen de podiumkunsten continueren en waar mogelijk versterken. Dit is een uitdaging, omdat door de pandemie het praktijkgericht onderzoek onder druk staat. Huidige onderzoekprojecten lopen vertraging op en het blijkt lastiger om nieuwe onderzoekstrajecten op te starten, doordat samenwerkingspartners prioriteit geven aan andere, Coronagerelateerde activiteiten. Codarts wil de SPRONG-impuls middelen inzetten om het praktijkgerichte onderzoek te versterken door intensiever samen te werken in bestaande netwerken en nieuw kansen aan te boren middels het oprichten van nieuwe samenwerkingsverbanden. Dat gebeurt aan de hand van drie werkpakketten: 1. Werkpakket 1: Continueren samenwerking binnen het Rotterdam Arts and Sciences Lab (RASL); 2. Werkpakket 2: Borging onderzoekslijn door oprichting van nieuwe fieldlabs. 3. Werkpakket 3: Uitbreiden onderzoekslijn door het uitwerken van een SPRONG aanvraag;
This project aims to develop a measurement tool to assess the inclusivity of experiences for people with varying challenges and capabilities on the auditory spectrum. In doing so, we performed an in-depth exploration of scientific literature and findings from previous projects by Joint Projects. Based on this, we developed an initial conceptual model that focuses on sensory perception, emotion, cognition, and e[ort in relation to hearing and fatigue. Within, this model a visitor attraction is seen as an “experienscape” with four key elements: content, medium, context, and individual. In co-creative interviews with experts by experience with varying challenges on the auditory spectrum, they provided valuable insights that led to a significant expansion of this initial model. This was a relevant step, as in the scientific and professional literature, little is known about the leisure experiences of people with troubled hearing. For example, personal factors such as a person’s attitude toward their own hearing loss and the social dynamics within their group turned out to greatly influence the experience. The revised model was then applied in a case study at Apenheul, focusing on studying differences in experience of their gorilla presentation amongst people with varying challenges on the auditory spectrum.Societal issueThe Netherlands is one of the countries in Europe with the highest density of visitor attractions. Despite this abundance, many visitor attractions are not fully accessible to everyone, particularly to visitors with disabilities who sometimes are not eligible to ride due to safety concerns, yet when eligible generally still encounter numerous barriers. Accessibility of visitor attractions can be approached in various ways. However, because the focus often lies on operational and technical aspects (e.g., reducing stimuli at certain times of the day by turning o[ music, o[ering alternative wheelchair entrances), strategic and community-focused approaches are often overlooked. More importantly, there is also a lack of attention to the experience of visitors with disabilities. This becomes apparent from several studies from Joint Projects, where visitor attractions are being visited together with experts by experience with various disabilities. Nevertheless, experience is often being regarded as the 'core product' of the leisure sector. The right to meet, discover, develop, relax and thus enjoy this core product is hindered for many people with disabilities due to a lack of knowledge, inaccessibility (physical, digital, social, communicative as well as financial) and discrimination in society. Additionally, recreation entrepreneurs still face a significant gap in reaching the potential market of guests with disabilities and their networks. Thus, despite the numerous initiatives in the leisure sector aimed at improving accessibility on technical and operational fronts, often people with disabilities are still not being able to experience the same kind of enjoyment as those without. These observations form the pressing impetus for initiating the current research project, tapping into the numerous opportunities for learning, development and growth on making leisure offer more inclusive.Benefit to societyIn total, the current project approach comes with a number of enrichments in terms of both knowledge and methodology: a mixed-methods approach that allows for comparing data from different sources to obtain a more complete picture of the experience; a methodological co-design process that honours the 'nothing about us without us' principle; and benchmarking for a group (i.e., people with challenges on the auditory spectrum) that despite the size of its population has thus far mostly been overlooked.
