This chapter focuses on some of the opportunities and challenges of shifting power relations for musicians, through the particular lens of western classical musicians engaged in researching a participatory music practice in a hospital in the Netherlands. It provides some context to power relations in the field of professional music making. From such a holistic perspective, power relations that musicians experience are likely to shift as they move from the conventions of the concert stage to the context of a hospital ward. Power relations in the western classical music tradition, and professional education associated with it, are clearly strongly embedded within the cultural systems, albeit often at tacit levels and partly obscured by a dominating focus on “artistic quality”. The co-existence of such authorial and collaborative strategies to help steer through the power relations appears throughout the rest of the visit, to the point where it is hard to distinguish between them.
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In Nordic countries, as well as in the Netherlands, schools have high school autonomy. In schools there are both horizontal and vertical working relations and all teachers and school principals within a school are expected to take responsibility for collaborative-innovation practices (CIP). In this paper, we describe a study investigating how both horizontal and vertical working relations relate to CIP. We used longitudinal questionnaire (2036 teachers, 157 schools) and interview data (53 teachers, 20 schools). These data were gathered in Dutch schools participating in the large-scale ‘LeerKRACHT’ program. The results show that teachers perceive horizontal and vertical factors to enhance CIP. Furthermore, especially school principals and coach-teachers seem to be able to strengthen horizontal and vertical factors which leads to more CIP. We discuss implications for research and schools in the Netherlands and beyond. Schools operate in demanding and rapidly changing environments. As a result, teachers and school principals are expected to continuously improve their school practices to maintain the quality of the education they provide. In literature on school development, change, and reform, there is an increasing emphasis on investigating how various educational interventions turn out. Some of these studies highlighted that interventions are sometimes an isolated activity of one teacher or a small group of teachers According to Vangrieken et al. in education, a strong-rooted culture of individualism, autonomy, and independence appears to be dominant. A ‘culture of collaboration’, however, has many advantages. This is also shown in research traditions of whole-school improvement. It can result in more ‘school democracy’ and more appropriate ideas and solutions for the challenges faced by schools. A growing number of schools have begun to initiate types of teacher collaboration, such as ‘professional learning communities’ and ‘data teams’. Such collaborations of teachers in schools can be called horizontal working relations. Researchers from Nordic countries for instance studied the horizontal forms of accountability and responsibility in schools. Consequently, international scholars have called for more ‘networked’ and ‘collaborative’ approaches. In the organizational literature, the notion of collaborative innovation is used for such approaches, which is characterized by both horizontal and vertical working relations. This notion fits within the broader field of school development research that approaches development as a collaborative process as well. Here both teachers’ working relations (horizontal) and working relations between teachers and school principals are studied (vertical). Studying both fits with the culture of The Netherlands and Nordic countries, which are found to be in the same cultural clusters, appreciating team-oriented and participative leadership, including horizontal and vertical working relations. However, in daily school practice it seems that breaking with the individualistic culture and changing to more collaborative-innovation practices is hard. We have an unique opportunity to study the relationship between horizontal and vertical working relations and the degree of collaborative-innovation practices (CIP). Since, in the Netherlands there is a large-scale program called LeerKRACHT that aims to stimulate CIP in schools (LeerKRACHT means “Learning force” and also “Teacher” in Dutch). The program expects from both teachers and school principals to collaborate and share resources, knowledge, and ideas and it thus asks for at least one manner of working together. The program is used by over a thousand schools in the Netherlands, and the data used in the current paper are gathered as part of a larger research project in which this program was evaluated. We study the degree of CIP in primary, secondary, and vocational schools with a mixed method approach both at the start and when working on collaborative-innovation practices in a structured way with the program ‘leerKRACHT’.
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In recent years, ArtEZ has worked on a broadly supported strategic research agenda on the themes New Ecologies of Matter (ecological challenges), Social Equity (social-societal issues), (Un)Learning Practices (educational innovations) and (Non)CybernEtic Fabric (technological developments). Building on these strategic themes, the ArtEZ Research Collective as developed an international research strategy to become a valuable partner in the relevant Horizon Europe (HEU) areas of Environment, Industry and Social science and humanities. With its specific knowledge position and approach from arts and creativity, ArtEZ is convinced that it can play a distinctive role in European consortia to tackle various challenges in these areas, in particular from the perspective and research topics of the professorships Fashion and Tactical Design. To achieve its ambitions and goals in its targeted research topics, ArtEZ is convinced that a combination of international connections and local applications is key for successful impact. Building upon existing relations and extending the international research position requires extra efforts, e.g., by developing a strong international framework of state-of-the-art research results, impacts and ambitions. Therefore ArtEZ needs to (further) build on both its international network and its supportive infrastructure. With this proposal ArtEZ is presenting its goals and efforts to work on its international recognition as a valuable research partner, and to broaden its international network in cutting-edge research and other stakeholders. With regards to its supporting infrastructure, ArtEZ has the ambition to expand the impact of the Subsidy Desk to become a professional partner to the professorships. This approach requires a further professionalization and extension of both the Subsidy Desk organization and its services, and developing and complementing skills, expertise and competences to comply to the European requirements.
Collaborative networks for sustainability are emerging rapidly to address urgent societal challenges. By bringing together organizations with different knowledge bases, resources and capabilities, collaborative networks enhance information exchange, knowledge sharing and learning opportunities to address these complex problems that cannot be solved by organizations individually. Nowhere is this more apparent than in the apparel sector, where examples of collaborative networks for sustainability are plenty, for example Sustainable Apparel Coalition, Zero Discharge Hazardous Chemicals, and the Fair Wear Foundation. Companies like C&A and H&M but also smaller players join these networks to take their social responsibility. Collaborative networks are unlike traditional forms of organizations; they are loosely structured collectives of different, often competing organizations, with dynamic membership and usually lack legal status. However, they do not emerge or organize on their own; they need network orchestrators who manage the network in terms of activities and participants. But network orchestrators face many challenges. They have to balance the interests of diverse companies and deal with tensions that often arise between them, like sharing their innovative knowledge. Orchestrators also have to “sell” the value of the network to potential new participants, who make decisions about which networks to join based on the benefits they expect to get from participating. Network orchestrators often do not know the best way to maintain engagement, commitment and enthusiasm or how to ensure knowledge and resource sharing, especially when competitors are involved. Furthermore, collaborative networks receive funding from grants or subsidies, creating financial uncertainty about its continuity. Raising financing from the private sector is difficult and network orchestrators compete more and more for resources. When networks dissolve or dysfunction (due to a lack of value creation and capture for participants, a lack of financing or a non-functioning business model), the collective value that has been created and accrued over time may be lost. This is problematic given that industrial transformations towards sustainability take many years and durable organizational forms are required to ensure ongoing support for this change. Network orchestration is a new profession. There are no guidelines, handbooks or good practices for how to perform this role, nor is there professional education or a professional association that represents network orchestrators. This is urgently needed as network orchestrators struggle with their role in governing networks so that they create and capture value for participants and ultimately ensure better network performance and survival. This project aims to foster the professionalization of the network orchestrator role by: (a) generating knowledge, developing and testing collaborative network governance models, facilitation tools and collaborative business modeling tools to enable network orchestrators to improve the performance of collaborative networks in terms of collective value creation (network level) and private value capture (network participant level) (b) organizing platform activities for network orchestrators to exchange ideas, best practices and learn from each other, thereby facilitating the formation of a professional identity, standards and community of network orchestrators.
Connecting Otherwise is an artistic/design research project initiated by The Hmm and the research department of the Gerrit Rietveld Academy and the Sandberg Instituut, alongside a consortium of invited stakeholders from the creative industries and research institutions such as Small File Media Festival, Hackers & Designers, and Stichting LINK. It focuses on the development of interdisciplinary workshop formats exploring regenerative aesthetics and the materiality of digital technologies through hands-on and collective research approaches. Drawing on feminist and decolonial hacking principles and critical making, the project's aim is to make tangible and reimagine digital materiality while resisting extractive tendencies. Promoting regenerative design principles, it addresses the environmental impact of digital technologies and resource depletion, emphasizing art and design’s role in tackling these challenges. We believe the intersectional character of such challenges requires collective and interdisciplinary approaches to design and art making, which are rarely fostered conceptually and practically within the creative industries and educational institutions. The workshops build upon the expertise of the collaborating partners, who bring together art, design, technology, and education and have been instrumental in bridging art and science, supporting artists and designers in contributing to interdisciplinary research environments. Via a series of interconnected workshops the project will engage art and design professionals, educators, and students in material-based research around the social and environmental impact of digital technologies. Participants will explore circuit-making through community craft traditions, embrace ‘slowness’ and ‘lowness’ as frugal and regenerative principles for digital design and art making, and use weaving as a framework for exploring interconnected digital and territorial relationships. The aim is to creatively and critically examine the challenges that (future) art and design practitioners in the creative industries face when building and participating in contemporary digital culture in ways that are both sustainable and equitable.
