Quantitative study using Values-Beliefs-Norms theory focusing on sustainability of pre-COVID-19 travel behaviour and projected travel behaviour
Purpose: It has been established that values, beliefs and norms are good predictors of pro-environmental behaviour; however, it is less explored how these constructs can be influenced. The purpose of this paper is to assess whether the COVID-19 pandemic, as a shock event, was a “game changer” or it had limited impacts on deep-rooted travel patterns. Design/methodology/approach: To understand whether the pandemic has influenced people’s value orientations with regards to sustainable travel, the authors have made use of the value–belief–norm (VBN)theory of environmentalism and conducted a large-scale survey in Germany, Italy, France, The Netherlands and UK (N = 1545). Findings: The findings showed that the pandemic caused only temporary change in deep-rooted travel patterns as (self-reported) pre-pandemic behaviour of respondents align with their value orientations and proved to be a good predictor of projected travel behaviour. Based on projected travel behaviour and value orientations, four market segments were identified – Frontrunners, Laggards, Comfortable Crowd and Entitled Stewards. While all segments showed willingness to adapt, the authors found variations in the extent of adaption and in the phases of the customer journey where travellers are likely to make changes. Originality/value: According to our knowledge, using the VBN theory of environmentalism to understand the impact of shock events on deep-rooted travel patterns represents a new perspective. Moreover, to the best of authors’ knowledge, this study is one of the first, written in the midst of the COVID-19 pandemic, which looks at the impact of the health crisis on deep-rooted travel patterns, instead of the commonly studied risk perception.
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Sustainability transitions are not hindered by technological barriers but above all by the lack of well-qualified people. Educating the next generation of engineers and product designers is therefore more important than ever. However, a traditional widely used model of instruction and evaluation is not sufficient to prepare this next generation for the demands of society. It is appropriate that curricula should be adapted. If necessary, in a disruptive way. The question was how to develop an education module in which students are agents in their learning. In which students decide what and how they will learn, and in which they can prepare for a role in society that is in shock. To propel them in a new direction a disruptive education innovation has been designed and tested. This new method turns the traditional education model upside down. Students and lecturers are transformed in equal partners in aninnovation consultancy firm with a passion for engineering, product design, and with a focus on sustainability transition. Students explore their emotionally intrinsic values that enables them to accomplish great things, to experience meaning in their lives and work, and leads to a significant learning experience.Purpose of this paper is to give individuals and organisations involved in higher education insight into a new method of education based on new values such as student agency, equal partnership, partnership learning communities, significant learning experience, and the strong belief students have the capacity and the willingness to positively influence their own lives and environment
The precarity in the cultural sector became exposed during the COVID-19 pandemic. With the lockdowns, the sources of income for cultural venues and cultural workers vanished overnight, intensifying an already challenging labour market. Particularly freelance cultural workers were hit hard. While the immediate shock of the pandemic on the cultural sector has been well documented, the effects on the sector in the aftermath of the pandemic are still to be revealed and repaired. This project tackles these issues by zooming in on the case of the performing arts scene in Groningen. This scene constitutes the part of the cultural sector that was affected the most by the lockdowns. Currently, venues and event organizers in Groningen lack qualified freelance staff as many left the industry during the pandemic. At the same time, self-employed cultural workers find it difficult to generate sufficient incomes and develop sustainable careers in the city. The municipality is eager to support the industry, including freelancers, but is unsure about how best to do so. With a consortium composed of the university, the municipality, a knowledge organisation specialised in cultural entrepreneurship, and a network for creative freelancers in the North of the Netherlands the project is well-equipped to reach its two-fold aims of investigating this current situation and coming up with suggestions for solutions. The core component of the project is an interview study with three groups of self-employed cultural freelancers: experienced production staff, experienced performers, and nascent freelancers (both production staff and performers). Based on data from this study, the project provides a multifaceted picture of the cultural ecosystem in Groningen, highlighting how this system is experienced. This establishes a solid foundation for staging discussions on working conditions in the sector, enabling the project to eventually conclude with recommendations on how to improve the situation.
