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“It’s one of the most important things we do”: How advisors facilitate learning among workers in Permanent Adapted Employment (PAE)
No full textThis qualitative interview study explores how ten advisors facilitate learning among workers in Permanently Adapted Employment (PAE). The data were analysed using reflexive thematic analysis. The findings show that advisors regard learning as a central part of their work and that conditions for learning are essential for the workers’ development. Formal education is supported but considered realistic only for a few. Therefore, informal learning is emphasised, with competency goals from vocational education and the regular labour market serving as reference points. The advisors highlight the workers’ right to define their own goals, even when these diverge from established expectations. Work in PAE is described as equivalent to ordinary employment. The findings point to a significant shift in learning opportunities for workers in PAE and illustrate how advisors contribute to expanding these opportunities. The study is theoretically grounded in Dewey’s philosophy of learning and Wolfensberger’s Theory of Social Role Valorization, offering new insights into how learning is understood and practised in adapted work contexts.Denne kvalitative intervjustudien utforsker hvordan 10 veiledere tilrettelegger for læring blant arbeidstakere i Varig tilrettelagt arbeid (VTA). Datamaterialet er analysert med refleksiv tematisk analyse. Funnene viser at veilederne betrakter tilrettelegging for læring som en sentral del av arbeidet og at gode læringsbetingelser er avgjørende for arbeidstakernes utvikling. Formell utdanning støttes, men vurderes realistisk kun for et fåtall. Som referansepunkter for tilrettelegging for uformell læring vektlegges derfor kompetansemål fra yrkesutdanning og hvordan arbeid utføres i ordinært arbeidsliv. Veilederne understreker arbeidstakernes rett til å definere egne mål, også når disse avviker fra etablerte forventinger. Arbeidet i VTA beskrives som likeverdig ordinært arbeid. Funnene peker på en betydelig endring i læringsmulighetene i VTA og synliggjør hvordan veilederne bidrar til å utvide disse. Studien er teoretisk forankret i Deweys filosofi om læring og Wolfensbergers teori om verdsetting av sosiale roller, og bidrar med ny innsikt i hvordan læring forstås og praktiseres i tilrettelagte arbeidskontekster
Wind and Words
No full textThis visual essay is an example of what I call an ‘ethnographic making-of’: a film that deconstructs the production of anthropological films (see The Image That Never Ends: A Journey Through Visual Anthropology, Berghahn Books, 2025). Wind and Words discusses the production process of the film Chasing Shadows (2019), a portrait of a prophetic movement in Guinea-Bissau. In Wind and Words, I use poetic and reflective language to highlight what is usually implicit in ethnographic films: the ethical, methodological and aesthetic dilemmas and choices that ethnographers face during filming and editing, as well as issues relating to translation, distribution and subtitling. The film therefore attempts to de-naturalize ethnographic films by showing how they are crafted and how they are rooted in a complex network of social relationships. By establishing a homology between cinema and prophetism, the film suggests that, as an art of shadows, cinema is consubstantially related to imagination, myth and the world of doubles
De humanistiske uddannelser på universiteterne: kvalifikationer og niveau: Oplæg til mødet med fakultetets studieledere 12. oktober 1995
Full text linkTeksten blev forberedt til Staf Callewaerts deltagelse i et møde med fakultetets studieledere. Der er tale om det humanistiske fakultet på Københavns Universitet. Anledningen var den nye "Bekendtgørelse om humanistiske uddannelser på universiteterne" fra marts 1995. Husk i sammenhængen på at i Danmark ligger faget pædagogik på det humanistiske fakultet. Teksten er ikke kun interessant som et historisk dokument. Den er også interessant fordi der i teksten foregribes eller forudses og advares imod en række ødelæggelser som siden er sket på området, og fordi det desuden ses hvordan stort set alt som foreslås for at kompensere for ødelæggelserne, ikke blev til noget
Negro Canto: El Arte y la Musicoterapia Como Forma de Hacer Frente al Racismo
No full textEn este trabajo exploramos cómo el arte y la musicoterapia se encuentran como instrumentos de resistencia y lucha contra el racismo, centrándonos en la experiencia de las mujeres negras. Como personas negras, observamos la soledad y los retos que supone estar en espacios académicos y profesionales predominantemente blancos, donde nuestra piel siempre llega primero. A partir de estas intersecciones, analizamos cómo el arte, la performance y la musicoterapia pueden servir como estrategias de resistencia, afirmación y emancipación de identidades socialmente marginadas. La performance “Negro Canto,”inspirada en Elza Soares, Conceição Evaristo y Lélia Gonzalez, se presenta como un acto político que transforma el dolor individual en denuncia social, enfrentando la violencia y el silenciamiento. De esta manera, más que una denuncia, este artículo defiende una musicoterapia descolonial y emancipadora, que valore las experiencias de vida de las poblaciones marginadas, reforzando la necesidad de prácticas que utilicenla música para reconstruir narrativas, fortalecer identidades y promover la justicia social.
Comentario Editorial
Desde el corazón de sus propias vivencias, Mirandah y Junio nos preguntan por las respuestas que damos a la presencia del racismo en el campo de la formación y las prácticas musicoterapéuticas. Sus experiencias son las del extrañamiento, la injusticia y la violencia. Pero, además de ayudarnos a hacer explícitas algunas cuestiones incómodas, ellos nos recuerdan el inmenso poder de la voz, el grito y el canto, la danza y la música, cuando se los comparte con otros. ¡Gracias!Neste trabalho exploramos como a arte e a musicoterapia se encontram como instrumentos de resistência e enfrentamento ao racismo, com foco na vivência de mulheres negras. Enquanto pessoas negras, observamos a solidão e os desafios de estarmos em espaços acadêmicos e profissionais predominantemente brancos, onde nossa pele sempre chega antes. A partir destes atravessamentos, analisamos como a arte, a performance e a musicoterapia podem servir como estratégias de resistência, afirmação e emancipação de identidades socialmente marginalizadas. A performance “Negro Canto,”inspirada em Elza Soares, Conceição Evaristo e Lélia Gonzalez, é apresentada como um ato político que transforma a dor individual em denúncia social, confrontando a violência e o silenciamento. Desta maneira, mais que uma denúncia, este artigo defende umamusicoterapia decolonial e emancipatória, que valorize as experiências de vida de populações marginalizadas, reforçando a necessidade de práticas que usem a música para reconstruir narrativas, fortalecer identidades e promover a justiça social.
Comentário Editorial
A partir do coração de suas próprias experiências, Mirandah e Junio nos questionam sobre as respostas que damos à presença do racismo no campo da formação e das práticas musicoterapêuticas. Suas experiências são de estranhamento, injustiça e violência. Mas, além de nos ajudar a tornar explícitas algumas questões incômodas, eles nos lembram do imenso poder da voz, do grito e do canto, da dança e da música, quando compartilhados com outras pessoas. Obrigado!In this paper, we explore how art and music therapy serve as instruments of resistance and confrontation against racism, focusing on the experiences of Black women. As Black people, we observe the loneliness and challenges of being in predominantly white academic and professional spaces, where our skin color always arrives first. Based on these experiences, we analyze how art, performance, and music therapy can serve as strategies for resistance, affirmation, and emancipation of socially marginalized identities. The performance “Negro Canto,”inspired by Elza Soares, Conceição Evaristo, and Lélia Gonzalez, is presented as a political act that transforms individual pain into social denunciation, confronting violence and silencing. Thus, more than a denunciation, this article advocates for a decolonial and emancipatory music therapy that values the life experiences of marginalized populations, reinforcing the need for practices that use music to reconstruct narratives, strengthen identities, and promote social justice.
Editorial Comment
From the heart of their own experiences, Mirandah and Junio ask us about the responses we give to the presence of racism in the field of music therapy training and practice. Their experiences are those of alienation, injustice, and violence. But, in addition to helping us bring some uncomfortable issues to light, they remind us of the immense power of voice, shouting and singing, dance and music, when shared with others. Thank you
Hvilke faktorer gir det beste utgangspunktet for korttidshukommelsen?
Full text linkDenne rapporten undersøker hvilken effekt lydlandskapene stillhet, klassisk musikk og egenvalgt musikk med tekst har på korttidshukommelsen hos elever i videregående skole. Deltakerne gjennomførte en hukommelsestest som gikk ut på å memorere en tolvsifret sekvens under de tre nevnte lydforholdene. Et spørreskjema ble brukt for å kartlegge demografiske opplysninger, søvnvaner og subjektive oppfatninger av musikkens effekt på konsentrasjon, i tillegg til å samle inn svarene på memoreringstesten. Funnene indikerer at egenvalgt musikk har en negativ innvirkning på korttidshukommelsen, mens klassisk musikk ikke har en statistisk signifikans forskjell som bekrefter dette. Videre viser resultatene ingen tydelig forskjell mellom gruppen som opplever musikk som konsentrasjonsfremmende og dem som er uenige i påstanden. Undersøkelsen gir derfor innsikt i hvordan lyd påvirker læringsprosesser og konsentrasjon, og kan danne et grunnlag for anbefalinger om lydforhold som optimaliserer korttidshukommelsens kapasitet for videre bearbeidelse av informasjon
Minding Sand
No full textAs a seemingly cheap, abundant and easy to extract resource, sand is a key ingredient in many construction materials, most notably concrete. Minding Sand follows the sand mining industry along the beaches of Sierra Leone and the struggles associated with managing resource extraction. How do miners navigate a city’s demand for concrete while facing an eroding beach? The film unravels the complex entanglements involved in both the making and unmaking of beaches, reminding us how ecological and social concerns are inextricably interwoven. It shows how miners and fishermen alike are deeply connected to and in constant dialogue with their environment as they strive to protect the future of both the beach and the industry that it provides.
Laura van Erp is a Dutch filmmaker and anthropologist who received her master’s degree in Visual Anthropology from the University of Amsterdam. Her debut film, Minding Sand, explores the sand-mining industry in Sierra Leone and won Best Student Film at the International Festival of Ethnological Film in Belgrade. Her interests lie in how ecological and social concerns are often two sides of the same coin. In her work, she aims to highlight the complexities of living in the Anthropocene through visual storytelling.
Interactivity that matters
No full textSkilfully applied, interactivity is an ingredient that may boost engagement and enhance the performance experience of a young audience. However, it can also lead to confusion, banalisation and even embarrassment. What are the parameters for interactivity to be experienced as meaningful, and when is it unproductive?
In this article I shall address how conceptions of artistic quality are challenged by contemporary practices of interactivity and audience participation in theatre for young audiences. The question will be discussed in relation to three performing arts productions presented in The Cultural Schoolbag (TCS): one participatory theatre performance and two interactive digital productions. The latter two were developed as part of Kulturtanken – Arts for Young Audiences Norway’s 3-year development project in digital mediation, FoNT (Formidling og Ny Teknologi/Mediation and New Technology). Equipped with theories of games and play, I shall discuss how the three projects succeed in presenting the kids with opportunities for meaningful interaction. I conclude by pointing out some of the parameters that are vital in order to provide meaningful interaction in performing arts aimed at a young audience – interactions that matter
“We Could Play Nicely Together—Instead of Just Chaos”: A Parent’s, a Child’s and a Music Therapist’s Perceptions of Music Therapy as a Tool in a Reunification Process in Child Protection
No full textFor families where abuse or neglect has led to the child being taken into care, support can be vital for the child’s future life. This qualitative, interpretive study aimed to explore a child’s and parent’s experience of music therapy as a supportive intervention following a period of the child’s placement in foster care. The study is based on a semi-structured collaborative interview in which a family dyad, consisting of a parent and a child aged 15 years, were invited to a post-therapy interview two years after the completion of music therapy. We used reflective thematic analysis (Braun & Clark, 2019) to analyse the interview. The findings suggest that the parent-child dyad experienced music therapy positively and contributed to the parent-child relationship. Music therapy was experienced as a safe environment where they felt validated and at home. The dyad described the music as representing the family’s culture and as helpful in transferring knowledge from sessions to everyday life. Using music to create a safe atmosphere, express emotions, and strengthen attachments when children return home after a period in foster care can benefit child protection
Tapped In: A Collaborative Thought Approach on Reimagining Positionality, Hip Hop, and Therapy Education
No full text“Tapped In: A Collaborative Thought Approach on Reimagining Positionality, Hip Hop, and Therapy Education” explored the processes of three Black therapy educators in predominantly white higher education programs and professions. Two occupational therapistsand one music therapist posed the research question: How does Hip Hop identity influence educational practice and praxis for Black therapy educators? The authors collaborated in acquiring autoethnographic data revealing their stance as tapped-in, tapped-out, and untapped educators. Tap-in, a Hip Hop colloquialism, signifies connection. As tapped-in educators, the authors described their experiences in connectedness with Hip Hop culture while doing, being, and becoming within academia; the progression of life as occupational beings in the role of educators. Findings from thematic analysis exposed collaborative Hip Hop associated themes of Black identity, Black intellectualism, theory, and pedagogy. This article provides considerations for Black academics; toreimagine Hip Hop Futurism as Hip Hop Futurism for Therapy Education. With Hip Hop Futurism for Therapy Education, educators seek to create a more inclusive, diverse, and just future that will empower therapy students, educators, and stakeholders to shapetheir destinies in the face of rapid social change
