Reflective Roleplaying in the Development of Dialogic Skill

Whether an organization prospers depends importantly on the relationships among its participants, and central to the success of relationships is the process of dialogue. This article describes an action-based educational practice for enhancing dialogical and relational skills among members of an organization. The effort draws on concepts of participatory research, collaborative learning, and dramatic acting. Specifically, the practice combines collaborative role-playing, polyphonic reflection, goal articulation, and facilitator cooperation to achieve educational ends. The project was carried out together with approximately 60 organizational members over a period of 18 months. Results suggest that this combination of practices enhanced dialogic, relational, and reflective skills among leaders and employees of the organization. Among the various results, particular attention is here paid to the outcomes of reflective role-playing for acquiring bodily awareness, changing and expanding perspectives, developing critical self-reflection, and enhancing relational consciousness. </jats:p

Behind the Scenes of Artistic Creativity

Throughout the literature of creative learning, many assumptions and even stereotypes about the artists’ creativity are nurtured, often according to myths going back to the Romanticism. The authors have been investigating and describing outstanding artists’ creativity and learning/working processes, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes

Behind the Scenes of Artistic Creativity

Throughout the literature of creative learning, many assumptions and even stereotypes about the artists’ creativity are nurtured, often according to myths going back to the Romanticism. The authors have been investigating and describing outstanding artists’ creativity and learning/working processes, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes

Co-Production and Co-Creation: Critical Examination of Contemporary Dominant Participatory Discourses

Over the past decade, co-production and co-creation have become central buzzwords throughout society. The terms engender a fundamental participatory ethos, entailing an increasing involvement in decision-making processes of a variety of people across diverse contexts, who should be given a voice in a wide range of practices to a higher degree than previously done. To a large extent, this participatory wave thus creates new challenges and dilemmas for employees in contemporary organizations. For instance, many public employees (frontline workers) experience challenges regarding translating (and/or enacting) co-creative/co-productive policy objectives into (in) their practices. A central obstacle seems to be the fact that existing organizational frameworks and conditions are often rooted in contradictory management paradigms and reified institutionalized practices, complicating participatory aspirations and processes in various ways. In different ways, the contributions in this issue critically address and discuss a variety of challenges related to co-production and co-creation in contemporary society