"Looking for Ariadne's Thread: Greece's Public Service Workforce in Transition" (original) (raw)
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MAKING SENSE OF PERCEPTION AND POWER IN PARTICIPATORY PERFORMANCE. Horizons of Change and Politics of the Sensible in Lois Weaver’s What Tammy Needs to Know, Tellervo Kalleinen and Oliver Kochta-Kalleinen’s Complaints Choir, and Claudia Bosse’s dominant powers. was also tun?, 2020
This study discusses the transformative potential of contemporary participatory performance practice and the possibilities for locating and interrogating it through performance analysis that pays special attention to the dynamic of human perception. The writer suggests that the crucial ideological assumptions, power relations, as well as the processes of exclusion and inclusion of participatory projects, are not to be seen solely in their “goals” or “themes”, but, even more distinctly, in the modes of bodily participation that they employ. The study consists of a theoretical part and three case study analyses. In the theoretical part, the writer presents a novel analytical framework for addressing the ways in which artistic performances engage and affect their participants, and for understanding the culture-bound dynamic of perception, power, knowledge and the body both in participatory performance situations and in our everyday lives. This framework provides a detailed account of the material-performative human perceptual apparatus, a theme less explored in the field of theatre and performance studies. Drawing especially on the views of human perception, power, and experience of Jacques Rancière, Marcel Mauss, and Michel Foucault, the main concepts of this framework are “sensory fields”, “experience fields” and “body techniques”. As for the verbalization of experiences through performance analysis, the framework draws on Joe Kelleher’s and Alan Read’s notions of “theatre images”. Based on the analytical framework, the writer locates and interrogates “politics of the sensible” i.e. modes of participation; underlying assumptions regarding the participants and the efficacy of the chosen participatory strategy; potential inclusions and exclusions; and horizons of change in Lois Weaver’s What Tammy Needs to Know (2006) and What Tammy Needs to Know about Getting Old and Having Sex (2008), the Complaints Choirs of Helsinki (2006), Singapore (2008) and Vienna (2010 –) based on the Complaints Choir project concept by Tellervo Kalleinen and Oliver Kochta-Kalleinen, and dominant powers. was also tun? (2011) by Claudia Bosse and her group, theatercombinat. This study also shows how all of these projects embody features of post-Fordist work and how they relate to the ethos of de-alienation in participatory art practice. Besides locating productive transformatory potential and tendencies in all of these performances, this study brings about critical perspectives and notions that have not been addressed in previous research on Weaver’s, Kalleinens’ and Bosse’s projects. In Weaver’s performances, being introverted, shy or reluctant appeared as an “inhibition” that needed to be cured. Sexuality – and the belief that we can learn to enjoy it more through facilitated taboo-breaking speech – was conveyed as a given fact, which can be seen as othering shy and introvert spectator-participants, and spectator-participants in whose lives sex, and sexuality do not play a central role and who do not adhere to the therapeutic undertone of the performances. That said, Weaver’s performances challenged social myths and taboos around and about the elderly, sex problems and sex toys. The performances also highlighted identities as social and performative processes and may thus have affected the world-view of some participants and helped them to understand our own position in the processes of social passing. These performances also hinted at the possibility of coalitional feminist identity politics that emphasizes dialogue between individuals and groups with different identities to locate grounds for alliance-making and co-operation. Simultaneously, they can be seen as productive feminist and LGTBQ+ consciousness-raising and community-building events. The Kalleinens’ Complaints Choir relies strongly on the assumption of the therapeutic power of harmonic and affirmative group-based action; however, this study suggests that the project may risk a proto-totalitarian dynamic through performances built on spectacularity and a uniform mode of performance. Furthermore, while the project relies on a grounding open-access policy, its basis in choir singing – a skill and practice not familiar to everyone but adopted in formal and informal learning situations – and its references to demographic representation, have an exclusionary tendency. On the other hand, Complaints Choirs have political potential in that they give complaints audibility and visibility through attention-raising choral performances at public sites. The wide Internet presence of the project contains much potential for distribution; for devising new Complaints Choirs; for fighting censorship; and for linking people concerned about similar issues at a grassroots level, beyond the frames of national and local politics. As a concept, the Complaints Choir can also be seen as eschewing the problematic assumption about a pre-existing community with a shared set of interests to be activated and included in the project, prevalent in much community-based practice. In Claudia Bosse’s and theatercombinat’s dominant powers. was also tun?, the reliance on proactivity, navigating on one’s own on the performance site, and the decentral non-theatre location, give rise to an potentially exclusive ambience that limits its audience base to art aficionados. Moreover, while the performance de-stabilized and challenged glib classifications of “nation” and “democracy”, it problematically hinted at demographic representation at the level of video interviews and the naming of the volunteers’ choir that were part of the performance. This said, dominant powers. was also tun? may have affected the participants’ ways of viewing and interpreting news stories and, more broadly, media representations of revolutions as critical media consumers and art audiences. The performance can be seen as a novel form of critical immersive performance practice that employed immersive strategies without offering its participants any consumerist spectacle in which to immerse themselves. The writer suggests that the analytical framework presented in this study provides new insights into perception, power and the body in performance theory and analysis, and may also offer productive inputs for artist-researchers, curators and art educators in planning and reflecting on their projects, and for scholars in areas such as epistemology, semiotics, and political science. Doctoral Dissertation, University of Helsinki, 2020 ISBN 978-951-51-6418-6 (paperback) ISBN 978-951-51-6419-3 (PDF) Open access PDF also available at the HELDA Database/University of Helsinki: https://helda.helsinki.fi/handle/10138/320573?locale-attribute=en
Näringslivsledares arbete i nätverk : identitetsskapandets dynamik
1994
This thesis is concerned with the work of business leaders. The interest lies in the holders of positions as Chairpersons, Boardmembers and Managing Directors. This study, however, goes beyond the position holder to consider the actions of actors, as they operate within networks with concurrent multiple business activities. The purpose is to generate knowledge and understanding of the activities and relations of multibusiness leaders involved in managing small and medium-sized companies. Major schools of thought on the manager's job are described. The review relates the scientific debate about different schools and emphasises the need for more inductive research. The call for processual and contextual analysis leads to an epistemological position grounded in understanding through interpretation. The method used in this study adopts such an approach, and thus aims to discover qualities of the studied phenomenon based on social constructivism. Empirical reality is approached by means of intensive studies of a few cases. Case descriptions of the work of multibusiness leaders in the National, Regional, Intermediary, Independent, and Developing Networks are undertaken, where the inter action processes of the different actors are described according to the working life his tory of the actor, and to the networking and work activities carried out. The analysis is based upon four themes (the actor's 'task legitimacy', 'economic legi timacy', 'idea development' and 'network'). The first two themes have been given the generic term 'legitimacy concept', not only to reflect the interactive and changeable aspects of work, but also to illustrate how work in itself is intimately interwoven in an institutional context. The creation of 'task legitimacy' and 'economic legitimacy' of the leaders is analysed. The analysis of the actors' idea development results in a description of differing visions in the individual networks. This description takes up visions covering long-term industrial leadership, regional cooperative leadership, restructuring leadership, flexible market-adaptive leadership and network-based leadership. In a survey of the existing literature, the role of a leader is seen as one of many managerial roles, a view that is based upon the work of Mintzberg (1973). This study contrasts with the above picture, by discussing a reciprocal dependency between the leader's leadership role and his/her other roles. This reciprocity and concurrency is dealt with by introducing the concept of identity as a theoretical aid, thus reflecting in a more appropriate way the complex and interactive actor. The social identity concept (Tajfel, 1982) is used, in order to answer more profoundly the research questions. As leaders are reciprocally dependent on a network for their own existence, we must both look inward in order to be able to understand at a deeper level the actors' motives, and look outward to be able to look at identity creation in a wider industry context. What I have termed näringslivsledaridentitet (the Identity of Multibusiness Leaders), is a substantial part of this study's findings. The concept is used in order to be able to describe how the actors' inner and outer motives merge in identity creating processes. The actors' different patterns of interaction are absorbed into a composite whole.
Nordic Journal of Educational History
Whose responsibility? The organization of teaching in Swedish for Immigrants and the qualifications of teachers, 1960–1998. The importance of people with a foreign background learning Swedish and establishing themselves at the labour market, in order to become part of the society, has for a long time been a political goal. Education in Swedish for immigrants and labor market measures have in this context been seen as important components. Nevertheless, the following article shows that the organization and management of education in Swedish for Immigrants and the competence requirements for teachers working in the field, have been an unregulated history with many temporary solutions and without any consensus from the actors involved. The purpose is to investigate why and how it comes about that the responsibility for the educational has varied over time.
Journal of interprofessional care, 2016
Professionals in healthcare, social services, and schools often collaborate when addressing children and adolescents with complex psychosocial needs. Based on theory of social representations, we investigated how professionals in the mentioned organizations perceived each other through their experiences of collaboration. Twenty-nine unit managers and 35 staff members were interviewed in 12 focus groups, and the data collected were subjected to content analysis. Most social representations indicated complex and problematic interprofessional collaboration, although some were positive in nature. We also found social representations regarding ignorance of each other's organizations, distrust, unavailability, and uncommunicativeness. Conceptions of the other party's way of thinking appeared to include adverse attitudes and low expectations from the other side. Concurrently, there was mutual understanding of the limited room to maneuver and heavy workloads. The professionals' ...