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The purpose of this study is to understand the meaning of the term well-being as conceptualised by parents, grandparents, principals and teachers in the Irish primary education system.

A hermeneutic phenomenological approach was adopted to understand the nature and meaning of the phenomenon of well-being. Interviews were carried out with 54 principals, teachers, parents and grandparents from a representative sample of primary schools in Ireland. Each participant was asked the same, open, question: “What does well-being mean to you?” Responses were transcribed verbatim and analysed using a combination of the principles of the hermeneutic circle and Braun and Clarke’s framework for thematic analysis.

Three conceptualisations of well-being were identified (1) well-being is about being happy, (2) well-being is about being healthy and safe and (3) well-being is something you “do”.

To the best of our knowledge this paper is the first of its kind to describe how well-being is conceptualised by adults in Irish primary school contexts. In particular it highlights how neoliberal conceptualisations of well-being as a “thing”, a commodity exchanged on assumptions of individualism, moralism and bio-economism, have crept into the education of our youngest citizens.

In 2021, Dr Shang-Ying Chen, chair of the Department of Theatre Arts at National Sun Yat-sen University, invited me to teach in Taiwan for the 2022 academic year. I taught six 16- to 18-week courses, including creativity, marketing, theater management, and research methods, to 100 undergraduate and graduate college students in English.

As a published sociologist and practitioner of accessibility, diversity, equity, and inclusion (ADEI), I seek to center ADEI in every aspect of my own life, which includes my teaching. My chapter “Teaching ADEI in Taiwan” is an autoethnographic study, utilizing participant observation in documenting the ways in which inclusive pedagogies of ADEI impact teaching and learning in Taiwan. As a Jewish white English-speaking researcher-teacher, I also interrogate my own racial awareness and the impact it has on my efforts to provide my Taiwanese students with an education that is culturally responsive. ¹

A central tension in routine dynamics is the paradox of the [n]ever-changing world: how can we consider each routine performance as unique, when it is simultaneously a recognizable variant of the behavior from the past? Emergent from this paradox is the question of how we can consider routines to be the “same” over time, even as they change. Organizational traditions, which often persist over decades, present a potentially informative case of this paradox as their core rituals are simultaneously recognizable and recognizably in significant flux over the long-term. In this paper, the author draws on a case history of “the Unicorn,” a tradition at a US summer camp that began as a quiet activity for a few children in 1985 and by 2017 had become a weekly spectacle witnessed by hundreds of campers. By drawing on routine dynamics and tradition literatures, the author shows how action visibility and influence by different organizational constituencies over time slowly enabled these changes. This longer-term lens helps illuminate the under-researched, mutually constitutive relationship between routines and traditions, and their long-term dynamics.

Established in 1906, the Melbourne Symphony Orchestra (MSO) is a cornerstone of Victoria, Australia. Through the shared language of music, it creates meaningful experiences for its audiences, delivered to the highest possible standard. Considered one of Australia's preeminent cultural ambassadors, the MSO performs in Australia and internationally while attracting guest artists from around the world. Annually the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international and regional tours, recordings, and education programs. In 2021, the MSO launched its digital platform MSO.LIVE engaging with an audience in 58 countries. The pandemic brought many challenges to the Orchestra but also some extraordinary opportunities. Pre-pandemic the MSO board, management, staff, and musicians worked to transform the Orchestra. The many lockdowns created the perfect occasion to redefine the vision. It became an opportunity to transform. Equity and diversity, in a world of classic music where traditionally white men dominate, were identified as the way forward. MSO aspires to lead the way for equality across its Board, staff, and musicians, and throughout its artistic programming. The MSO was the first professional Australian orchestra to join the Keychange movement in early 2020. The MSO is committed to promoting a culture that celebrates and supports the diversity of its people and community. Diversity in its people, its music, and its audience is a specific goal and a plan has been developed to achieve by 2024.

In this first chapter of the book, we present our perspective of the cultural sector along with the terminological choices we have made. Subsequently, we provide a brief literature review on issues of accessibility, diversity, equity, and inclusion (ADEI) in the cultural sector. Finally, we outline the structure of the book, which is divided into five sections. The first four sections group chapters that discuss ADEI initiatives in specific sectors. The first section focuses on the performing arts sector and includes three chapters presenting cases from a theater, the opera sector, and a dance organization. The second section delves into the music sector, with four chapters covering cases from an orchestra, the electronic music sector, musicians from South Africa, and hip hop in Haiti. The third section comprises three chapters presenting cases from the visual arts sector, including Canadian and Chilean museums and a cultural organization. The fourth section explores the events sector, presenting three chapters, two of which discuss festivals and one focuses on the Super Bowl. The final section presents two chapters not tied to a specific discipline. The first chapter shares an experience of teaching ADEI in art in Taiwan, while the second chapter deals with policies related to ADEI from a federal cultural administration in Canada.

This study aims to fabricate the acrylic-based polymeric composite coating with a hydrophobic surface associated with natural oil polyol (NOP) and polydimethylsiloxane with the incorporation of 3 Wt.% SiO₂ nanoparticle (SiO₂np) against the corrosive NaCl media.

The structural properties of the formulated polymeric composite coatings were investigated by using Fourier transform infrared spectroscopy, ultraviolet-visible spectroscopy, water contact angle (WCA) and cross-hatch (X-Hatch) tests. The WCA measurement was used to study the surface wettability of the formulated polymeric composite coatings. The corrosion protection performance of the nanocomposite coated on the mild steel substrate was studied by immersing the samples in 3.5 Wt.% NaCl solution for 30 days using electrochemical impedance spectroscopy.

The enhanced polymeric composite coating system performed with an excellent increase in the WCA up to 111.1° which is good hydrophobic nature and very high coating resistance in the range of 10¹⁰ Ω attributed to the superiority of SiO₂np.

The incorporation of SiO₂np into the polymeric coating could enhance the surface roughness and hydrophobic properties that could increase corrosion protection. This approach is a novel attempt of using NOP along with the addition of SiO₂np.

This analysis of chat reference transcripts assesses differences in how librarians and graduate assistants (GAs) incorporate teaching strategies in responding to chat reference inquiries in social sciences, health sciences, humanities, STEM and business/economics at a large, public R1 university in the United States.

Researchers with disciplinary assignments in five different subject domains conducted qualitative analysis of a purposive sample of 982 transcripts of chat interactions during four semesters in 2021 and 2022.

Some form of information literacy instruction (ILI) occurred in 58% of the transcripts, with slightly less teaching occurring in social sciences inquiries than in other subject areas. Of transcripts that included teaching strategies, search procedures predominated, followed by a mix of concepts and procedures, and the least with concepts only. Chat providers taught concepts specific to social sciences, health sciences and humanities, but not to STEM or business.

The study compares transcripts at one institution; findings may be most applicable to large, research institutions that seek to incorporate ILI in online reference services.

Chat reference training should include best practices for ILI relevant to specific subject domains for providers without background in those disciplines and recommendations for referrals to subject specialists.

Existing ILI literature does not address the question of how chat providers teach concepts rooted in a specific subject domain or offer a comparison of teaching strategies employed in different disciplines, by librarians versus GAs or staff.

Though scholarship has documented Black opera leaders' contributions to the art form in the United States (André, 2018; Caplan, 2017; Cuyler, 2021; Southern, 1997; Turner, 2015), they have received scant attention in rubrics that theorize a definition of Black opera (André, 2018; Cheatham, 1997; Schmidt & Schroeder, 1999). However, as their recent advocacy for racial justice (Cuyler, 2022) through their Letter to the Opera Field in 2020 revealed (Cuyler, 2023), Black opera leaders play a powerful and unique role in shaping audiences' appreciation, engagement with, and understanding of Black opera (André, 2018; Cuyler, 2023; Floyd & Cuyler, 2023). In addition to their positionality as observers of and participants in opera companies' decision-making processes, their advocacy for racial justice can compel an opera company to program Black opera, or not (Cuyler, 2021, 2022, 2023). Therefore, in this chapter, I explore the research question, what is the role of Black opera leaders in Black opera? Lastly, I propose a theory of the dynamic process that includes artistic programming and casting, hiring, community engagement, and audience development which enables the development of an audience for Black opera when Black opera leaders view their leadership of these areas of work through the lens of racial justice.

In Canada today, Francophone minority communities (FMCs) outside Québec exist in every province and territory and cross all sectors of Canadian Francophonie (French-Canadians, Francophone immigrants, Francophone Métis as well as Francophile anglophones). Besides their linguistic immersion in primary, secondary, and postsecondary educational institutions, these Francophones living outside Quebec counter linguistic assimilation and affirm their place in Canada's bilingual and multicultural society through their cultural productions (music, theatre, dance, cuisine, literature). In this study, we take up the case of L'Association, La Girandole d’Edmonton, a cultural association dedicated to the teaching and promotion of French-Canadian dance in Edmonton (Alberta) to examine the multiple challenges such organizations face despite the crucial role they play in ensuring the vitality of linguistic minority communities in Canada.

Since its inception in the 1980s, solidarity has been one of the structuring elements of Haitian hip-hop. In this sense, what an artist could not do on his own for lack of financial means, peer groups enable him to achieve. Given Haiti's precarious socioeconomic context, the possibility of mobilizing more friends and colleagues makes it easier to cope with financial worries and other difficulties. Drawing on material from 36 in-depth semi-structured interviews, this chapter examines practices of solidarity and mutual aid in the world of hip-hop in Port-au-Prince. Drawing on Becker's theory of the art world and Soulet's theory of solidarity, this chapter analyzes the artistic practices through which rappers develop forms of solidarity and mutual aid to cope with various financial and social difficulties. I seek to understand the way rappers organize themselves, which can be likened to the Haitian konbit, a form of solidarity that emerged in the aftermath of independence and continues to this day. This study shows that hip-hop strengthens the social bonds between rappers in working-class neighborhoods, where lifestyles are based on solidarity and mutual aid.