The Collaborative Innovation and Entrepreneurship professorship focuses on the collaborative paradigm in economic transformation - the ways diverse organizations in globalvalue chains innovate and act in partnerships to address ecological and social grand challenges. Collaboration with multiple and diverse stakeholders is complex and challenging. Stakeholders have different interests, may compete with each other, or are just not ready to move as fast or as radically as others. Yet, we know that grand challenges are too complex and systemic for any one organization to address alone. Business leaders have an important role to play in transforming economic ecosystems and catalysing change among stakeholders and industry actors. They must move from linear thinking, where sustainability is a market for green or social products, to circular and inclusive thinking, where regeneration of natural ecosystems occurs and economic profits are equally distributed.The Collaborative Innovation and Entrepreneurship professorship aims to contribute knowledge, support organizations, and facilitate learning about collaborative organizational forms and practices - what we call collaborative organizing - for a more sustainable, regenerative and thriving 21st century economic system.
Educational innovations often tend to fail, mainly because teachers and school principals do not feel involved or are not allowed to have a say. Angela de Jong's dissertation shows the importance of school principals and teachers leading 'collaborative innovation' together. Collaborative innovation requires a collaborative, distributed approach involving both horizontal and vertical working relationships in a school. Her research shows that teams with more distributed leadership have a more collaborative 'spirit' to improve education. Team members move beyond formal (leadership) roles, and work more collectively on school-wide educational improvement from intrinsic motivation. De Jong further shows that school principals seek a balance in steering and providing space. She distinguished three leadership patterns: Team Player, Key Player, Facilitator. Team players in particular are important for more collaborative innovation in a school. They balance between providing professional space to teachers (who look beyond their own classroom) and steering for strategy, frameworks, boundaries, and vision. This research took place in schools working with the program of Foundation leerKRACHT, a program implemented by more than a thousand schools (primary, secondary, and vocational education). The study recommends, towards school principals and teachers, and also towards trainers, policymakers, and school board members, to reflect more explicitly on their roles in collaborative innovation and talk about those roles.
Designers move more and more in the direction of Service Design, in which frequently a participatory or co-design approach is used to involve service providers in the design process. The designerprovider relationship in such Service Design processes differs in four aspects from traditional client-relationships: The relationship is 1) more dynamic and interactive, 2) based on collaboratively evolving ideas and ambitions, 3) focusing on the process of innovation, rather than on the outcome, and 4) frequently based on extrinsic motivation for innovation or on fuzzy starting points. Designers experience difficulties in persuading service providers of the importance of such a collaborative approach, while providers are not familiar with this kind of approach and their organizations are not ready for such a kind of collaboration. This paper positions designer-provider relationship in Service Design processes in literature and describes a research proposal for the development of an efficient and effective participatory design intervention that stimulates collaboration between designers and service providers.
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.
The denim industry faces many complex sustainability challenges and has been especially criticized for its polluting and hazardous production practices. Reducing resource use of water, chemicals and energy and changing denim production practices calls for collaboration between various stakeholders, including competing denim brands. There is great benefit in combining denim brands’ resources and knowledge so that commonly defined standards and benchmarks are developed and realized on a scale that matters. Collaboration however, and especially between competitors, is highly complex and prone to fail. This project brings leading denim brands together to collectively take initial steps towards improving the ecological sustainability impact of denim production, particularly by establishing measurements, benchmarks and standards for resource use (e.g. chemicals, water, energy) and creating best practices for effective collaboration. The central research question of our project is: How do denim brands effectively collaborate together to create common, industry standards on resource use and benchmarks for improved ecological sustainability in denim production? To answer this question, we will use a mixed-method, action research approach. The project’s research setting is the Amsterdam Metropolitan Area (MRA), which has a strong denim cluster and is home to many international denim brands and start-ups.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities.The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.Societal issueThe specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. Benefit to societyWe will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. Collaborative partnersChassé Theater N.V., Parkstad Limburg Theaters N.V.
