Processes of collective learning are expected to increase the professionalism of teachers and school leaders. Little is known about the processes of collective learning which take place in schools and about the way in which those processes may be improved. This paper describes a research into processes of collective learning at three primary schools. Processes of collective learning are described which took place in small teams in these schools. It is also pointed out which attempts can be made in order to reinforce these processes in the schools mentioned.
The gradual aging of western society during the twentieth century, including its causes and consequences, has become one of the dominant themes of demography and sociology. This study tries to shed more light on the recent past of older individuals emphasizing the socio-economic strategies they employed in order to maintain their standard of living after reaching the age of 60. Theories concerning different elements within these strategies (work, savings, the family and the collectivity) are discussed. The last part of this study considers the impact of these strategies in the context of a case study using a variety of sources on the lives of a selected group of elderly people living in the civil parish of Winterswijk over the periode 1880-1938.
In my PD research, I want to focus on how collectivity is practiced in the arts, by learning from the Indonesian multidisciplinary art collective ruangrupa’s use of [the international art exhibition] ‘documenta’ as a tool, and the potential of continuing the experiences outside this group and context. The art practices programmed by ruangrupa can be understood as complex and ambiguous where art is not at the center of attention but part of a larger communal productivity. And where it is not sufficient to be merely critical, and merely voice opposition, but to engage, and create alternatives in everyday life [without being problem-solving or social design]. My research concerns the potential of continuing these practices and experiences outside this particular artist group and exhibition context. Ruangrupa’s work reveals problems of the current Western art system, how it is (hierarchically) organized, the implicit rules, norms and values it is based on. Ruangrupa's practice thus serves as an exercise and point of departure to answer questions about forms of self-organization within the art field. Its collective and multidisciplinary art practice implies the question whether it also can serve as a model for living together on a larger scale (also outside the arts), beyond hierarchies of social and professional structures. There is currently a lack of research on these particular art practices, so that they are not easily accessible for non-participants. For the art field in particular, this concerns the question whether contemporary art can and needs to take place outside established Western gallery/museum, art/curatorial paradigms and what can be learned from ruangrupa's and documenta fifteen's blending of art practice with daily life practice. This is also an urgent practical issue for art schools (including my school Willem de Kooning Academy) that increasingly develop art study programs outside the studio and gallery art paradigm.
