4. voordelen van op
krukken lopen
mensen, wild vreemden, houden
de deur voor je open
in de bus praten (oudere) mensen
graag even tegen je
behulpzaam met iets voor je
(op)pakken
langzaam lopen, meer zien
bewondering
even vragen wat er aan de hand
is, en dus zomaar tegen je praten
andere kant van lopen zien
andere kant van een stad zien
op andere dingen letten dan
normaal anders kijken naar andere
mensen met krukken en/of in een
rolstoel
met de auto overal heen moeten/
worden gebracht
5. het staren van
andere mensen
naar jou
(ouderen) mensen praten sneller
tegen je
wensen je succes
vinden dat je je aansteld
rolstoel is erger dan krukken
vaak zelf ook meegemaakt, of een
bekende. Kunnen zich indenken
hoe erg het is
nieuwschierig
buggy
krukken
puppy
kindje
aanspraak
mensen houden de deur voor je
open
verbaasd
medelijden
6. waarderen van je
lichaam, het niet
voor lief nemen
als je verkouden bent geweest,
waardeer je daarna enorm dat je
“normaal” kan ademhalen
wat als
- je nog maar 1 hand had?
- je niet meer kon lopen?
- je blind was?
- je in een rolstoel moest zitten?
- je doof was?
- je iets breekt?
Hoe ga je verder?
bewust maken
lichaam is een mooi stukje
techniek, die als er iets
uitvalt je het meteen
merkt. kan niet zonder.
als je keelontsteking hebt, dan
ben je daarna weer heel blij dat je
“normaal” kunt slikken
je denkt er niet eens over na, als je
weer beter bent.
7. praat tegen de persoon in de
rolstoel
niet tegen degegen wie de rolstoel
duwt
8. Break a leg
FromWikipedia, the free encyclopedia
For other uses, see Break a leg
(disambiguation).
“Break a leg” is a well-known idiom in
theatre which means “good luck.” It is
typically said to actors and musicians before
they go on stage to perform.The origin of
the phrase is obscure.
The expression reflects a theatrical
superstition in which wishing a person “good
luck” is considered bad luck.The expression
is sometimes used outside the theatre as
superstitions and customs travel through
other professions and then into common
use. Among professional dancers, the
traditional phrase is not “break a leg”, but
“merde”.
Origins
The earliest known example in print is from
Edna Ferber’s 1939 A PeculiarTreasure in
which she writes about the fascination of the
theater, “...and all the understudies sitting
in the back row politely wishing the various
principals would break a leg”.In Bernard
Sobel’s 1948TheTheatre Handbook and
Digest of Plays, he writes about theatrical
superstitions: “...before a performance
actors never wish each other good luck,
but say ‘I hope you break a leg.’”There is
anecdotal evidence from theatrical memoirs
and personal letters as early as the 1920s.
There are several theories behind the
origin of the phrase. Few are supported
by contemporary writings.The theories
listed below are some of the more popular
explanations.
Opposite meaning
People in theatre consider it bad luck to wish
an actor good luck, so instead they wish the
opposite, by saying “break a leg!”.
On October 1, 1921 in the New Statesman,
a British liberal political and cultural
magazine, an article was published, “A
Defence of Superstition”, written by urbane
Irish nationalist RobertWilson Lynd. Lynd
said that the theatre was the second-most
superstitious institution in England, after
horse racing. In horse racing, Lynd asserted,
to wish a man luck is considered unlucky, so
“You should say something insulting such
as, ‘May you break your leg!’” Lynd did not
attribute the phrase in any way to theatre
people, though he was familiar with many
of them.
Bowing
To “break the leg” or “break a leg” is archaic
slang for bowing or curtsying; placing
one foot behind the other and bending at
the knee “breaks” the line of the leg. In
theatre, pleased audiences may applaud
for an extended time allowing the cast to
take multiple curtain calls, bowing to the
audience.
Greek origin
In the time of Ancient Greece, people
didn’t clap. Instead, they stomped for their
appreciation and if they stomped long
enough, they would break a leg. Or, some
would have it that the term originated
during Elizabethan times when, instead of
applause the audience would bang their
chairs on the ground—and if they liked it
enough, the leg of the chair would break.
Roman origin
In the time of Ancient Rome, gladiators
would fight to the death as a form of popular
entertainment in the colosseum.Spectators
would sometimes shout “quasso cruris,”
the Latin equivalent of “break a leg.”This
essentially would be wishing them “good
luck” by requesting they keep their lives and
only cripple the other opponent by breaking
his leg.
Yiddish origin
Some etymologists believe it to be an
adaptation from theYiddish translation
into German.The phrase “Hatsloche un
Broche” (“success and blessing”) had been
calqued from the German phrase “Hals-
und Beinbruch” (“neck and leg fracture”),
because of near similar pronunciation.
That seems even less likely than the “folk
etymology” that it comes from theYiddish
theater’s “mitn rekhtn fus, “[get off on] the
right foot”, which is not opposite in sense.
Supposedly “break a leg” is a mistranslation
confusing “rekhtn” (“right”) and “brekhn”
(“break”).
German origin
The phrase has been adopted from German
into Polish language as “połamania
nóg,” “breaking of legs,” with the word
“połamanie,” meaning fracturing,
“połamania” being the genitive case. In
Polish, “życzyć” “to wish,” governs the
genitive case, thus the underlying structure
is “życzę ci połamania nóg,” roughly
translated as “I wish you a fracture of the
legs.” Both in German and Polish, the phrase
is most typically used to wish an actor good
luck before a performance, or a student
good luck before an exam.
Pilots of the German Air Force in the
FirstWorldWar are recorded in the
autobiography of Manfred von Richthofen
as using the phrase “Hals- und Beinbruch”
(breaking of the neck and leg) to wish each
other luck before a flight.
Lincoln theory
One popular, but false, etymology derives
the phrase from the 1865 assassination
of Abraham Lincoln.[15]The story goes
that JohnWilkes Booth, the actor turned
assassin, claimed in his diary that he
broke his leg leaping to the stage of Ford’s
Theatre after murdering the President.
While Booth’s roles as an actor are not well
remembered, wishing an actor to “break a
leg” is to wish them a performance worthy
of remembrance. However, the fact that
actors did not start wishing each other to
“break a leg” until the 1920s (more than 50
years later) makes this an unlikely source.
[6][16] Furthermore the phrase has distinct
origins in other languages that well predate
the late 19th century. Also, some historians
contend that he broke his leg when he fell
from his horse trying to escape.They also
cite that Booth often exaggerated and
falsified his diary entries to make them more
dramatic.
Non-literal
There are many non-literal references this
expression could be referring to.
Another popular alternative theory
concerning the physical “legs,” or side
curtains, of the theatre proposes that the
company of actors should rush onstage
through the curtains to take a considerable
amount of bows, thus “breaking a leg (side
curtain)” in the process.To get a leg up, and
catch your big / lucky break.
Richard III theory
Some attribute the line to a performance of
Shakespeare’s Richard III, where the famed
18th century British actor, David Garrick,
became so entranced in the performance
that he was unaware of a fracture.
9. Alternate terms
Professional dancers do not wish each other
good luck by saying “break a leg”; instead
they say “Merde!”, the French word for
“shit”. In turn, theater people have picked
up this usage and may wish each other
“merde”, alone or in combination with
“break a leg”.
Opera singers use “ToiToiToi,” an idiom
used to ward off a spell or hex, often
accompanied by knocking on wood, and
onomatopoeic, spitting (or imitating the
sound of spitting). It was said that saliva had
demon-banishing powers. From Rotwelsch
tof, fromYiddish tov (“good”, derived from
the Hebrew and with phonetic similarities
to the Old German word for “Devil.”One
explanation is that “toi toi toi” is the
onomatopeic rendition of spitting three
times. Spitting three times over someone’s
head or shoulder is a gesture to ward off evil
spirits. (see Standard Dictionary of Folklore,
Myth & Legend)
In Australia, the term “chookas” can be used
instead. According to one oral tradition, one
of the performers would check audience
numbers. If there were not many in the
seats, the performers would have bread
to eat following the performance. If the
theatre was full they could then have
“chooks” — Australian slang for chicken —
for dinner.Therefore, if it was a full house,
the performer would call out “Chookas!” It
is now used by performers prior to a show
regardless of the number of patrons; and
may be a wish for a successful turnout.
http://en.wikipedia.org/wiki/Break_a_leg
Meaning
Said to actors for good luck before they go
on stage, especially on an opening nights.
Origin
Theatrical types are well-known for their
belief in superstitions, or at least for their
willingness to make a show of pretending
to believe them.The term ‘break a leg’
appears to come from the belief that one
ought not to utter the words ‘good luck’ to
an actor. By wishing someone bad luck, it is
supposed that the opposite will occur. Other
superstitions are that it is bad luck to whistle
in a theatre, to say the final line of a play
during dress rehearsal, or to say the name of
‘the Scottish Play’ in a theatre’s green room.
The word ‘break’ has many meanings - the
OED lists 57 distinct uses of it as a verb
alone.That gives considerable scope for
speculation over what is meant by the
phrase.The most common interpretation
of ‘break’ in this context is, ‘to deviate
from a straight line’, as in the cricketing
term, ‘off break’.That is, unstraighten the
leg by bending at the knee, by bowing or
curtseying.
‘Break a leg’ also means, ‘make a strenuous
effort’.There are many references to the
phrase used that way, which pre-date the
earliest theatrical good luck charm meaning;
for example, fromThe HammondTimes,
Indiana, 1942:
“Whatever the army or navy want, the
Continental Roll [and Steel Foundry] will
turn out ... Or break a leg trying.”
From the Evening State Journal, Nebraska,
1937:
“With all the break-a-leg dancing there are
many who still warm to graceful soft shoe
stepping.”
So, it is possible that when an actor is told
to ‘break a leg’, he/she may just be being
exhorted to put on an energetic, exciting
performance.
There are many other possible derivations
in circulation, mostly referring to the ‘good
luck’ message. In diminishing order of
plausibility, ‘break a leg’ these are:
Put on a performance good enough that
you will have to bend your knee in a bow or
curtsey to acknowledge the applause.
Impress the audience so much that you will
need to bend down to pick up the coins they
throw onto the stage.
Pass out onto the stage to receive a curtain
call (the side curtains on a stage are known
as legs).
Go on stage and have your ‘big break’.
Evoke the powers of the celebrated actress
Sarah Bernhardt, who had one leg.
A reference to JohnWilkes Booth, who
broke his leg when jumping on stage,
attempting to flee after shooting President
Lincoln.
It is tempting to believe the phrase to be
ancient and to imagine it whispered to
Tudor minstrels as they went on stage at
Shakespeare’s GlobeTheatre.There was
an earlier meaning of ‘break a leg’ of that
vintage (1670), which was ‘to give birth to
a bastard’.This is now entirely out of use
and is not related to the theatrical version.
The current meaning is nothing like as old.
The term originates in the American theatre
in the 20th century and all the earliest
references to its use are from US sources.
The earliest citation we can find in print is
from as late as 1948, from an edition of the
US newspaper,The Charleston Gazette, in
May that year.This is from their ‘AskThe
Gazette’ column:
Q.What are some of the well-known
superstitions of the theatre?
A. Superstitions of the stage are numerous
and many are particular to individual actors
and actresses.That it is bad luck to whistle in
a dressing room is a widely accepted belief.
Another is that one actor should not wish
another good luck before a performance but
say instead ‘I hope you break a leg.’
That pretty much rules out the Sarah
Bernhardt and JohnWilkes Booth
interpretations which, as well as being
rather fanciful, date from too far before any
printed version.
There is a German saying, ‘Hals und
Beinbruch’, meaning ‘break your neck and
leg’, which dates back to at leastWWII, as
Luftwaffe slang, and is therefore earlier than
any known English version. It may be that
this is a corruption of the Hebrew blessing,
‘hatzlakha u-brakha’, meaning ‘success and
blessing’.
German andYiddish were commonly used
languages of the large Jewish contingent of
the US theatre world.We can’t be certain of
the origin of the phrase, but it’s highly likely
to have migrated to English from the earlier
German and Hebrew versions.
http://www.phrases.org.uk/meanings/break-
a-leg.html
10. Break A Leg
This phrase dates back to the 1920’s and is
superstition against wishing an actor good
luck. Many people think the origin comes
from when in 1865 JohnWilkes Booth, who
was an actor, broke his leg while leaping
to kill President Linoln during a play at the
Ford’sTheatre. But, this does not really
seem like it is related to good luck. Some
stage actors think it has to do with bending
your knee when you bow, like at the end of a
successful play.
A site visitor wrote the following reguarding
this idiom:
In a short view of your idiom site came up
with a couple of errors at once. Break a leg-
--Booth didn’t jump to kill Lincoln, Booth,
having shot Lincoln, jumped to the stage to
escape and in doing so broke his leg.
This from another website visitor:
Break a leg is cited as superstition against
good luck, which is what I originally thought
it meant, too. Recently, however, I was
informed that “leg” refers to the side
curtains and it suggests that the applause
ought to be so great that the legs fall break
from the stage. I can’t say how truthful
this necessarily is.The side curtains are,
however, called legs, so it’s entirely possible.
This from another website visitor:
i would like to make a comment about
“break a leg.”The original origins of “break
a leg,” began in theatre ballet productions
where they came out for curtain calls.The
rod that allows for the curtain to be raised
and lowered is called the “LEG”. So “break
a leg,” means truly to get so many curtain
calls that the leg breaks in two. Might want
to put that out there and correct your site.
This from another website visitor:
I’m heavily involved in theatre, and so have
heard of several theories of the origin of the
term. Here is the most persistent one that I
hear: Any time a person or an object moves
through or past a drop, they are said to be
“Breaking Curtain.”The thin curtains that
mask the wings are referred to as “legs”
Therefore, to enter from the wings, an actor
must first “Break a leg.”Back in the day,
particularly in the era of vaudville, variety
shows consisting of assorted talent acts
were fairly common, and often the
crowd’s reaction led to a person being
either allowed to finish their act, or forced
off the stage, but even a few minutes in the
limelight was good exposure for an actor.
Ergo, even if their performance wasn’t great,
or if the actor was shot down before he got a
chance to perform, he still had managed to
get his name and face out there by
breaking the legs.
http://www.idiomsite.com/breakaleg.htm
Break a leg
letterlijke vertaling: Breek een been
Betekenis: Doe het goed (werd gezegd
tegen acteurs die het toneel opgingen
om op te treden. Het uiten van een
gelukswens zou namelijk ongeluk brengen.
Tegenwoordig wordt deze ‘verwensing’ ook
buiten de toneelwereld gebruikt.)
http://nl.wikiquote.org/wiki/Engelse_
spreekwoorden
Beweging (sociologie)
(Doorverwezen vanaf Sociale beweging)
Een beweging in de sociologie is een
diffuus netwerk van groepen mensen en
organisaties die sympathie hebben voor
een bepaald ideaal, met name om een
verandering te bewerkstelligen. Leden
van een beweging kunnen een tamelijke
grote verscheidenheid aan overtuigingen
hebben. Een organisatie die deel uitmaakt
van een beweging heet in het Engels een
“movement organization”.Voorbeelden
van bewegingen zijn het feminisme en de
new age. Een voorbeeld van een movement
organization in het feminisme is het
tijdschrift Opzij.
Het is niet altijd duidelijk wie er tot een
beweging hoort: men kan lid van een
beweging zijn zonder lid te zijn van een
movement organization. Het is zelfs
mogelijk dat sociologen iemand zien als lid,
alhoewel de persoon dat zelf ontkent. Zo
nemen sommige vrouwen afstand van het
feminisme, alhoewel sociologen hen daar
op grond van hun contacten, interesses en
overtuigen wel als lid van de feministische
beweging zien.
http://nl.wikipedia.org/wiki/Sociale_
beweging
11. Social movement
Social movements are a type of group
action.They are large informal groupings
of individuals or organizations which focus
on specific political or social issues. In other
words, they carry out, resist or undo a social
change.
ModernWestern social movements became
possible through education (the wider
dissemination of literature), and increased
mobility of labor due to the industrialization
and urbanization of 19th century societies.
It is sometimes argued that the freedom of
expression, education and relative economic
independence prevalent in the modern
Western culture are responsible for the
unprecedented number and scope of various
contemporary social movements. However,
others point out that many of the social
movements of the last hundred years grew
up, like the Mau Mau in Kenya, to oppose
Western colonialism. Either way, social
movements have been and continued to be
closely connected with democratic political
systems. Occasionally, social movements
have been involved in democratizing
nations, but more often they have flourished
after democratization. Over the past 200
years, they have become part of a popular
and global expression of dissent.
Modern movements often utilize technology
and the internet to mobilize people globally.
Adapting to communication trends is
a common theme among successful
movements.
Political science and sociology have
developed a variety of theories and
empirical research on social movements.
For example, some research in political
science highlights the relation between
popular movements and the formation of
new political parties as well as discussing the
function of social movements in relation to
agenda setting and influence on politics.
http://en.wikipedia.org/wiki/Social_
movement
The commons as a strategic perspective
for social movements
Von Benni Bärmann
The power of social movements lies in their
heterogeneity. Because of it, they achieve
longer lasting and more fundamental
change than other societal actors. But it
makes them confusing, too. In addition
to fighting for change, they are subject to
fights themselves. From parties over NGOs
to trade unions and churches, they all fight
to play a role in social movements.
We can somewhat order this chaos
by looking at the relation between
worldviews, strategies and tactics of the
players involved. Most often strategies
are employed which match the respective
worldview. For example, the social
democratic strategy of seizing state
power and softening the impertinences
of capitalism is expression of a socialistic
worldview; the strategy of demanding value
based decisions is based on a conservative
worldview, etc. Here, the respective
notion of societal change becomes
visible as well. Experience shows that
communication between actors that have
different worldviews is almost impossible.
Across strategic borders understanding
is difficult.This is one of the reasons why
communication within social movements
often is so exhausting.
Societal change works (in my worldview)
through a dialectical relation between
theory and practice, which are mutually
dependent.You cannot develop a theory
about the world and how it should be
and then deduce a practice from this. On
the other hand, theory has to continually
incorporate the experiences from practice.
Permanent communication between
practitioners and theoreticians is necessary
to change society (the union of both in one
person is desirable but seldom the case).
Furthermore, change should encompass
at least in principle the whole of society
instead of only being enacted in niches.The
multiple crises of today show that this all-
encompassing change is needed.
Now, I could now work towards the goal
that everyone joins my worldview and
strategy of change (which is: expansion
of commons based peer production). And
this will surely be necessary in the long
run. However, as experience shows, this
could only happen very slowly, because
worldviews are deeply anchored in the
individuals’ manifold experiences. A person
who has have never experienced that self-
organization and self-regulation works will
have problems grasping these concepts
(and will in turn hardly be able to experience
that these concepts work). For this reason
the heterogeneity of social movements
is essential for medium term results. And
medium term results are desperately
needed in times of multiple crises.
Unfortunately, social movements in
their conventional form have a grave
disadvantage: Because of their internal
diversity it is very hard for them to come to
a common denominator – even in tactical
questions. For example, right now because
of different worldviews and strategies it is
almost impossible to formulate a common
answer to the financial crises: For liberals the
financial crisis is a sign for too little market
and for social democrats a sign for too little
state. In the end, the common denominator
between these world views became: “We
don’t pay for your crisis!” (german) – which
12. is not completely wrong but somewhat
helpless.
But there is another even more serious
problem, which I will tentatively call “the
strategic barrier”. Experiences of social
movements will be interpreted very
differently in terms of theory depending
on this structure.Theoretical classification
can only happen at a strategic level.This
is because I can only apprehend practices
theoretically in relation to a formulated
strategy. And I can only correct or discard a
strategy in light of a practical experiences.
For this reason, differences in strategies are
a serious problem for the dialectics of theory
and practice. Difference is desirable on the
level of woldviews, but they pose serious
problems on the strategic level.
How could we possibly avoid this dilemma?
I propose to seek an agreement at
the strategic level in spite of different
worldviews. For that we would need a
strategic platform with the following
characteristics:
* it allows to keep different worldviews,
* it can in principle be used in the whole of
society,
* it allows application through many existing
social movements and room for new ones,
* it allows the search for answers to the
multiple crises of our time,
* it allows common reflection of different
practices,
* … and enables therefore a common
theory-practice-process within all kinds of
movements and worldviews.
Impossible? Surprisingly, it is not. In my
opinion, the commons approach, which
we have discussed here repeatedly, meets
all these demands. Conservatives like that
it is conserving and community-oriented,
liberals like its distance to the state and
that it is not completely incompatible
with market economies, anarchists like its
focus on self-organisation, and socialists
and communists embrace that it promises
to control property commonly.The
applicability of commons theory reaches to
nearly all kinds of contemporary movements
and commons play a fundamental role in
all crises of today. Finally, there exists a
multitude of theories around the commons,
so we do not have to start from scratch.
It is not essential that every single activist
in every social movement can live with this
platform. More important is achieve support
for it through a critical mass of movements
with as many different worldviews as
possible. If this is accomplished, a new
dynamic in the medium and long term
unfolds due to productive relations between
theory and practice. Commons-based
movements also mix well with traditional
multi-strategic movements.
I do not mean to implement a new ruling
agenda or “party line” for social movements,
which only would produce new exclusions.
It is just meant to give social movements
new strategic options and to enable better
exchanges between theory and practice.
To succeed it will hardly be enough to just
abstractly acknowledge that what was
proposed here is a good thing and then to
implement it. A commons-strategy can
only work if it has convincing answers to
the antagonisms of our time. It has these
answers because of two reasons:
The commons are more threatened than
ever. In my opinion this is because of the
hegemonic crisis (german) of capitalism.
It cannot realize enough value any longer
and is therefore thrown back to primitive
accumulation.
The commons are more powerful than ever.
This is because of structural changes within
the public sphere (german), which is more
and more organized around commons
principles and is more and more dependent
on working commons.
For this reason it is not only necessary to
move the strategic barrier, but also possible.
This does not remove all differences
of worldviews in social movements,
but it makes longer lasting and more
comprehensive cooperation possible
without ignoring still existing barriers of
different worldviews.
http://keimform.de/2009/the-commons-
as-a-strategic-perspective-for-social-
movements/
13. solution to the problem
Motivational frame: the movement
organization frames a “call to arms” by
suggesting and encouraging that people
take action to solve the problem
American Civil Rights Movement is one of
the most famous social movements of the
20th century. Here, Martin Luther King is
giving his “I Have a Dream” speech, in front
of the Lincoln Memorial during the 1963
March onWashington for Jobs and Freedom
http://en.wikipedia.org/wiki/Social_
movement
http://vimeo.com/13782027
Structural strain theory
Social strain theory, also known as value-
added theory, proposes six factors that
encourage social movement development:
structural conduciveness - people come to
believe their society has problems
structural strain - people experience
deprivation
growth and spread of a solution - a solution
to the problems people are experiencing is
proposed and spreads
precipitating factors - discontent usually
requires a catalyst (often a specific event) to
turn it into a social movement
lack of social control - the entity that is to
be changed must be at least somewhat
open to the change; if the social movement
is quickly and powerfully repressed, it may
never materialize
mobilization - this is the actual organizing
and active component of the movement;
people do what needs to be done
This theory is also subject to circular
reasoning as it incorporates, at least in part,
deprivation theory and relies upon it, and
social/structural strain for the underlying
motivation of social movement activism.
However, social movement activism is, like
in the case of deprivation theory, often
the only indication that there was strain or
deprivation.
Culture theory
More recent strains of theory understand
social movements through their cultures -
collectively shared beliefs, ideologies, values
and other meanings about the world.These
include explorations into the “collective
identities” and “collective action frames” of
movements and movement organizations.
Culture theory builds upon both the political
process and resource-mobilization theories
but extends them in two ways. First, it
emphasizes the importance of movement
culture. Second, it attempts to address the
free-rider problem.
Both resource-mobilization theory and
political process theory include a sense
of injustice in their approaches. Culture
theory brings this sense of injustice to the
forefront of movement creation by arguing
that, in order for social movements to
successfully mobilize individuals, they must
develop an injustice frame. An injustice
frame is a collection of ideas and symbols
that illustrate both how significant the
problem is as well as what the movement
can do to alleviate it, “Like a picture frame,
an issue frame marks off some part of the
world. Like a building frame, it holds things
together. It provides coherence to an array
of symbols, images, and arguments, linking
them through an underlying organizing
idea that suggests what is essential - what
consequences and values are at stake.We
do not see the frame directly, but infer its
presence by its characteristic expressions
and language. Each frame gives the
advantage to certain ways of talking and
thinking, while it places others out of the
picture.”
Important characteristics of the injustice
frames include:
Facts take on their meaning by being
embedded in frames, which render them
relevant and significant or irrelevant and
trivial.
People carry around multiple frames in their
heads.
Successful reframing involves the ability to
enter into the worldview of our adversaries.
All frames contain implicit or explicit appeals
to moral principles.
In emphasizing the injustice frame, culture
theory also addresses the free-rider
problem.The free-rider problem refers to
the idea that people will not be motivated
to participate in a social movement that
will use up their personal resources (e.g.,
time, money, etc.) if they can still receive
the benefits without participating. In other
words, if person X knows that movement
Y is working to improve environmental
conditions in his neighborhood, he is
presented with a choice: join or not join the
movement. If he believes the movement
will succeed without him, he can avoid
participation in the movement, save his
resources, and still reap the benefits - this is
free-riding. A significant problem for social
movement theory has been to explain why
people join movements if they believe the
movement can/will succeed without their
contribution. Culture theory argues that, in
conjunction with social networks being an
important contact tool, the injustice frame
will provide the motivation for people to
contribute to the movement.
Framing processes includes three separate
components:
Diagnostic frame: the movement
organization frames what is the problem or
what they are critiquing
Prognostic frame: the movement
organization frames what is the desirable
14. WHAT
Make people more aware
of their wellbeing and body
capability.
WHO
People that have never been
sick or have something to do
with a bad wellbeing.
WHY
Because we think to easy
about our own body and
wellbeing.
HOW
By showing that all the
normal daily activities we do
are not that normal.
23. De voordelen van je been breken
1. overal met de auto heen
2. de deur wordt voor je open gehouden
3. geen boodschappen hoeven/kunnen doen
4. met de lift i.p.v met de trap
5. voor de deur afgezet worden
6. niet hoeven/kunnen werken
7. niet hoeven/kunnen koken
8. de afwas niet hoeven/kunnen doen
9. in een speciaal bed slapen
10. verplichte “vakantie”
24. 100 % 100 %
50 % 50 %
0 % 0 %
januari februari maart april mei juni juli augustus
breek een been,
daar word je
gelukkig van!
25. 100 %
50 %
0 %
breek een been,
daar word je gelukkig van!
28. You know the expression “break a leg” in the
theatrical world?Well, some of our celebs
seems to take this a little too literally.That
has left them walking around in Hollywood
with crutches and a large cast. It doesn’t
look too fun! Just ask ReeseWitherspoon or
VenusWilliams!
But at least we know that our celebrities can
slip and be clumsy just like us. It’s nice to
have some proof that their actually human,
because with all their glitz, glam, and
unbelievable beauty, sometimes you start to
wonder...
http://www.posh24.com/hollywood_
celebrity/break_a_leg
29. stand om er achter te komen hoe moeilijk het
is om dagelijkse taken uit te voeren als je een
(tijdelijke) handicap hebt
dagelijke handelingen;
- afwas doen
- trap lopen
- (zware) deur openen
- de was ophangen
- uit bed stappen
- schoonmaken
- eten maken
- douchen
- boodschappen doen
handicap;
- met krukken > been gebroken
- in een rolstoel > (plaatselijk)verlamd
- met een zwarte bril > blind
- met mitella > gebroken arm
*video opnamen van jou “race”
*snelste persoon wint een prijs
*erna zonder handicap doen
start
finish
30. HOE SNEL BEN JIJ?! in het dagelijks leven
KIES EEN HANDICAP
krukken > been gebroken
rolstoel > (plaatselijk)verlamd
bril > blind
mitella > gebroken arm
tijd
met handicap
zonder handicap
ervaring
moeilijk
zwaar
anders
bewustwording
jou dagelijks leven is
zo zwaar nog niet...
klaar voor de start...
doe alle dagelijkse
handelingen zo snel
mogelijk
31.
32. dagelijks lichaam / daily body
bewegend lichaam / moving body
licgaa / BODYVALUE
BODYVALUE
appreciate your
body more
48. Bent u ook zo moe
van het winkelen?
Stelt u zich eens voor,
hoe het winkelen zou zijn in een rolstoel...
ga naar www.mooifijnlijf.nl voor meer informatie
49. Bent u ook u ook
zo moe van het
winkelen?
Stelt u zich eens voor,
hoe het winkelen zou
zijn in een rolstoel...
ga naar www.mooifijnlijf.nl voor meer informatie
50. Gaat het lezen van
de krant niet meer
zonder bril?
Stelt u zich eens voor,
hoe het lezen van de krant
zou zijn als u blind was...
ga naar www.mooifijnlijf.nl voor meer informatie
51. Ziet u ook elke
dag weer op
tegen die berg
afwas?
Stelt u zich eens voor,
hoe het zou zijn om de
afwas te doen met één
gebroken arm...
ga naar www.mooifijnlijf.nl voor meer informatie
52. Ziet u ook elke
dag weer op
tegen die berg
afwas?
Stelt u zich eens voor,
hoe het zou zijn om de
afwas te doen met één
gebroken arm...
ga naar www.mooifijnlijf.nl voor meer informatie
68. Bent u ook zo
moe van het
winkelen?
Stelt u zich eens voor,
hoe het winkelen zou
zijn in een rolstoel...
69. Bent u ook zo
moe van het
winkelen?
Stelt u zich eens voor,
hoe het winkelen zou
zijn in een rolstoel...
ga naar www.fijnlijf.nl voor meer informatie
70. week 1 poster campagne
week 2 poster campagne
week 3 brievenbus actie
week 4 stand
week 5 reminder - posters
MOVEMENT.
1. poster campagne
2. radio reclame
3. tv reclame
4. social media
5. brievenbus actie
6. stand
visueel inspelen op fantasie, doormiddel
van duidelijke en sterke beelden. In
deze campagne is het doel, de sociale
beweging , nog niet bekend. De
bekend making komt later pas. Bij deze
campagne spelen fantasie en inleven een
grote rol.
bij de radio reclame wordt ook ingespeeld
op fantasie en inleven. De boodschap is
nog niet duidelijk, maar er kan al wel een
beeld bij gevormd worden. Niet visueel
maar in gedachten.
de tv reclame speelt net als bij de poster
campagne in op fantasie en inleven,
doormiddel van duidelijke en sterke
beelden. Deze beelden krijgen extra
kracht door geluid eraan toe te voegen.
bij social media kan zowel visueel als
met geluid de boodschap over worden
gebracht. Fantasie en inleven spelen ook
hier een grote rol.
de brievenbus actie is een echte fysieke
actie. Hierbij komt gewaarwording
en inleven erg bij van pas. Er wordt
ingespeeld op de fysieke toestand van de
doelgroep.
net als bij de brievenbus actie is de stand
een fysieke actie. Hier kan de doelgroep
in real life ervaren hoe het dagelijks leven
is met een handicap.
NAAM.
FIJN LIJF
Waardeer je lichaam, elke dag.
GREAT BODY
Apriciate your body, daily.
71. WEEK 1.
week 1 poster campagne
tags fantasie
inleven
visueel
verwarring
het doel, de beweging, is nog ONBEKEND roept
verwarring op en speelt in op fantasie van de
voorbijganger.
72. week 2 poster campagne bekend making
WEEK 2.
‘fijn lijf’ is nu overal te zien, nog steeds verwarring...
het doel, de beweging, is BEKEND gemaakt. De
voorbijgangers kunnen nu meer te weten komen over
wat de beweging drijft.
tags fantasie
inleven
visueel
verwarring
ga naar
www.mooifijnlijf.nl
voor meer informatie
73. week 4 stand
WEEK 4.
sTAND om er achter te komen hoe moeilijk het is om dagelijkse taken uit te voeren
als je een (tijdelijke) handicap hebt
dagelijke handelingen;
- afwas doen
- trap lopen
- (zware) deur openen
- de was ophangen
- uit bed stappen
- schoonmaken
- eten maken
- douchen
- boodschappen doen
handicap;
- krukken > been gebroken
- rolstoel > (plaatselijk)verlamd
- zwarte bril > blind
- mitella > gebroken arm
* video opnamen van jou “race”
* snelste persoon wint een prijs
* erna zonder handicap doen
week 3 brievenbus actie
WEEK 3.
tags fantasie
inleven
visueel
verwarring
het masker is tevens een flyer als pROMOTIE van de
stand die in elke grote stad zal komen.
74. ga naar
www.mooifijnlijf.nl
voor meer informatie
Volg de stappen en kom er
achter hoe snel je bent!
hoelang
deed je
er over?
HOESNELBENJIJ?!
PROBEER NU
THUIS!
PROBEER NU
THUIS!
75. HOE sNEL BEN JIJ?!
in het dagelijks leven
KIEs EEN HANDIcAp KLAAR VOOR DE sTART...
krukken > been gebroken doe alle dagelijkse
rolstoel > (plaatselijk) verlamd handelingen zo snel
bril > blind mogelijk!
mitella > gebroken arm
TIJD ERVARING BEWUsTWORDING
met handicap moeilijk jou dagelijks leven is
zonder handicap zwaar zo zwaar nog niet...
anders
HOE sNEL BEN JIJ?!
76. Waardeer je lichaam,
elke dag.
ga naar www.fijnlijf.nl voor meer informatie
Waardeer je lichaam,
elke dag.
ga naar www.fijnlijf.nl voor meer informatie
week 5 reminder - posters
WEEK 5.
