Educational programs teaching entrepreneurial behaviour and knowledge are crucial to a vital and healthy economy. The concept of building a Communities of Practice (CoP) could be very promising. CoP’s are formed by people who engage in a process of collective learning in a shared domain of human endeavour (Wenger, McDermott and Snyder, 2002). They consist of a group of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly. Normally CoP’s are rather homogeneous. Saxion institute Small Business & Retail Management (SB&RM) started a CoP with entrepreneurs September 2007. Typical in the this community, are the differences between the partners. The Community consists of students, entrepreneurs and members of an institution for higher education. They have different characteristics and they don’t share the same knowledge. Thus, building long-lasting relations can be complicated. Solid relations for longer periods are nevertheless inevitable in using CoP as a mean in an educational concept that takes approximately 4 years. After one year an evaluation took place on the main aspects of a lasting partnership. The central problem SB&RM in Deventer faces is to design the CoP in a way possible members will join and stay for a longer period and in a way it ensures entrepreneurial learning. This means important design characteristics have to be identified, and the CoP in Deventer has to be evaluated to assess whether it meets those design characteristics in an effective and efficient way. The main target of the evaluation is to determine which key factors are important to make sure continuity in partnership is assured and entrepreneurial learning is best supported. To solve the problem, an investigation on how a CoP works, what group dynamics take place, and how this can be measured has to be conducted. Furthermoreusing the CoP as a tool for entrepreneurship means key aspects of entrepreneurial learning have to be identified. After that the CoP in Deventer has to be examined on both aspects. According to literature CoP’s define themselves along three dimensions: domain (indicating what is it about), community (defining how it functions), and practice (indicating what capabilities it has produced) (Wenger, 1998). This leads to meaningful, shared and coordinated activities (Akkerman et al, 2007): Key aspects of a successful CoP lie in both hard and soft sides of creating a partnership. It means on one hand a CoP has to deal with defining their own overall vision, formulating long term goals and targets on the short term. They have to formulate how to achieve those targets and create meaningful activities (reification). On the other hand a CoP has to deal with relations, trust, norms and values (participation). Reification and participation as design characteristic can provide indicators on which the CoP in Deventer can be evaluated. A lasting partnership means joining the CoP and staying. Weick provides us with a suitable model that enables us to do research and evaluate whether the CoP in Deventer is successful or not, Weick’s model of means convergence. To effectively ensure entrepreneurial learning the process in the CoP has to provide or enable actionoriented forms through Project-based activity, accompanied by reflection, with high emotional exposure (or cognitive affection) preferably caused by discontinuities to be suitable as a tool in entrepreneurial learning. Furthermore it should be accompanied by the right preconditions to work effectively and efficiently. The evaluation of the present CoP in Deventer is done by interviewing all participants at the end of the first year of the partnership. In a structured interview, based on literature studies, all participants were separately questioned
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For German-speaking tourists, an Oriental market (in Arabic: souq) is an exotic place representing the ‘Otherness’. Referring to this Oriental context, the article aims to answer the following questions: What are the tourists’ imaginaries and social narratives and what is the role that cultural brokers play? Gaining insight into the imaginaries and on-site performances of German-speaking tourists of a mega-cruise liner will contribute to the discussion of imaginaries and embodied performances in general as well as the mediation and the construction of space. The research reported upon in the article is part of a larger field study (2012–2014) in Souq Muttrah, the oldest and formerly main market in Oman. Participant observation, photography and in-depth interviews with different types of tourists, local customers, cultural brokers and on-board employees were conducted and marketing material was analysed. Results indicate that in the marketing material, the tourists are already beginning to travel backwards in time. During their visit to the souq, the multi-sensory performances and embodied imaginaries are enhanced by stories of the Arabian Nights. Cultural brokers play an essential role in ‘localizing’ the tourist experience. They adjust their own identities and direct the tourists’ performances at different stages, similar to an Oriental theme park, for example, they stop at a frankincense shop.
Despite the consequences for women’s health, a repeat cesarean section (CS) birth after a previous CS is common in Western countries. Vaginal Birth After Cesarean (VBAC) is recommended for most women, yet VBAC rates are decreasing and vary across maternity organizations and countries. We investigated women’s views on factors of importance for improving the rate of VBAC in countries where VBAC rates are high. We interviewed 22 women who had experienced VBAC in Finland, the Netherlands, and Sweden. We used content analysis, which revealed five categories: receiving information from supportive clinicians, receiving professional support from a calm and confident midwife/obstetrician during childbirth, knowing the advantages of VBAC, letting go of the previous childbirth in preparation for the new birth, and viewing VBAC as the first alternative for all involved when no complications are present. These findings reflect not only women’s needs but also sociocultural factors influencing their views on VBAC.
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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
