Using Kaleidoscopic Pedagogy to Foster Critically Reflective Learning About Management and Leadership

Abstract

She has long experience in teaching and training both on the public and the private sector. In the academia she has acted as an organizer/facilitator in workshop sessions at the Academy of Management conferences for CMS, MED and TLC and at the International Doctoral Consortium in Halifax, Canada. Pedagogically and through research she wants to foster critical, reflexive and dialogical approaches that take both organizational and human interests seriously.

Producing liminal spaces for change interventions: the case of LEGO serious play workshops

“…A construction of a specific type of space, and need for such a space, is often mentioned in the change intervention literature; especially so when it comes to change interventions that utilize artistic or playful elements. For example, these interventions are argued to create ambiguous interpretive spaces (Barry and Meisiek, 2010), afford aesthetic workspaces (Sutherland, 2013), create safe spaces for learning (Pässilä et al. , 2019), convert everyday spaces into “serious play” rooms (Roos et al.…”

“…, 2015), the existing change intervention literature tends to treat the spaces of change interventions as somewhat passive containers, even though the need for having a specific type of space is often mentioned (Elmholdt et al. , 2018; Pässilä et al. , 2019; Roos et al.…”

“…These rules especially tend to lower the normal hierarchical structure of the organization in order to allow the participants to interact more freely (Roos et al. , 2004; Pässilä et al. , 2019).…”

“…, 2015, p. 42) in the change intervention research. Yet those researchers who do acknowledge the spatiality of change interventions suggest that change interventions require and produce a very specific type of space (Pässilä et al. , 2019; Roos et al.…”

Reimagining Creative Democracy: ReCreaDe the Book

“…articulate in different forms what has been seen, thought or felt; and, thirdly, to be critically creative about the implications of this metaphor, not just a story of a niece and her uncle, but of creativity education and democracy(Owens, Korhonen, Pässilä, 2020). The levels do not operate separately but kaleidoscopically(Pässilä, Malin, Owens, & Kuusipalo-Määttä, 2019), and this is where the skill of the drama educator comes into play, in knowing when and how to turn between them.In total, the pretext-activity can take around two hours, shorter or longer depending on the context. It has been conceptualised for groups that can range in size from around 40 students down to 8, but numbers can be larger or smaller.…”