Development sites in the empty city : from picture book to performance

Picturebooks invite performance every time they are read. What happens to them when they’re adapted for live performance? This ongoing practice led research project (2008-) regenerates and transforms picturebook The Empty City (Hachette/Livre 2007) by David Megarrity and Jonathon Oxlade into a live experience. In this rebuilding, interanimation of text and illustration on the picturebook page suddenly open up into a new and complex structure incorporating composition of music, animation, live action, projected image and performing objects. The presenter is the creator of both the source text and writer/composer of the adaptation, providing a unique vantage point that draws on sources from both within and without the creative process up to and including audience reception. From the foundations up, this paper’s focus is on deep, muddy sites of development in the adaptation process, unearthed treasures, and how perceptions of fear and safety push, sway and stress the building of a new performance work for children in content, form and process.

Towards learner autonomy : an assessment for learning approach

Using Assessment for Learning (AfL) may develop learner autonomy however, very often AfL is reduced to a set of strategies that do not always achieve the desired outcome. This research adopted a different approach that examined AfL as a cultural practice, situated within influential social relationships that shape learner identity. The study addressed the question “What are the qualities of the teacher-student relationship that support student learning autonomy in an AfL context?” Three case studies of the interactions of Queensland middle school teachers and their classes of Year 7, 8 and 9 were developed over one year. Data were collected from field notes and video recordings of classroom interactions and individual and focus group interviews with teachers and students. The analysis began with a close look at the field data. Interpretations that emerged from a sociocultural theoretical understanding were helpful in informing the process of analysis. Themes and patterns of interrelationships were identified through thematic coding using a constant comparative approach. Validation was achieved through methodological triangulation. Four findings that inform an understanding of AfL and the development of learner autonomy emerged. Firstly, autonomy is theorised as a context-specific identity mediated through the teacher-student relationship. Secondly, it was observed that learners negotiated their identities as knowers through AfL practices in various tacit, explicit, group and individual ways in a ‘generative dance’ of knowing in action (Cook & Brown, 2005). Thirdly, teachers and learners negotiated their participation by drawing from identities in multiple communities of practice. Finally it is proposed that a new participative identity or narrative for assessment is needed. This study contributes to understandings about teacher AfL practices that can help build teacher assessment capacity. Importantly, autonomy is understood as an identity that is available to all learners. This study is also significant as it affirms the importance of teacher assessment to support learners in developing autonomy, a focus that challenges the singular assessment policy focus on measuring performance. Finally this study contributes to a sociocultural theoretical understanding of AfL.

Judge George W Paul's Japanese house : a case study

In the late 1880s a pre-fabricated Japanese house was shipped from Kobe, Japan, to Brisbane, Australia, and erected in the up-market suburb of New Farm by Japanese tradesmen. This paper is developed from a broader project researching the life of G W Paul, the man who had the house built and subsequently lived in it for the remainder of his life. Paul’s motivation in importing the house represented a unique, but unfulfilled effort to develop a future, hybrid culture for Queensland. This effort took the form of a commercial venture to construct Japanese houses as desirable and climatically suitable dwellings. Against the backdrop of this ambition, this paper presents new research to elucidate and extend previous knowledge, assesses the reception of the house by its nineteenth century Brisbane audience, and considers possible reasons for the limited response which signalled the cancellation of the commercial venture.

Different inflections

Australia has often been defined by its landscape – actual, romanticized, imagined – iconic images and experiences taken up by artists in a myriad of ways. This paper examines inter/intra cultural practices of three Australian dance companies and their directors, and how they inflect images of Australia in different ways. Each artist brings perspectives from their particular hybridized cultural and ethnic backgrounds as well as their formative dance experiences. In their practices, notions of landscape embrace physical, metaphorical and spiritual dimensions. Kai Tai Chan, who founded the One Extra Company in 1976, pioneered accessible and confronting intercultural dance theatre in Australia from the 1970s to the 1990s, challenging our notions of what it is to be Australian. A Chinese Malay who came to Australia to study architecture, he stayed to create a significant body of work in which different cultural frameworks became lenses through which to explore stories of ordinary lives and experiences, revealing complexities of the human condition and larger social-political issues. Spiritual connections feature strongly in the practice of another Chinese Malay Australian, Tony Yap. Here the landscape is an inner one influenced by a form of Malaysian trance dance known as the sen-siao (“spirit cloud”) tradition. Yap has forged a unique space in the Australian dance and theatre scene, exploring a movement language informed by psycho-physical research, Asian shamanistic trance dance, Butoh, voice and visual design. Whilst primarily a solo performer, his practice includes collaborations with Asian diasporic as well as Anglo Australian cross-cultural visual and sound artists. His work is situated in a metaphysical rather than socio political context. In contrast, the newest company to emerge on the intercultural Australian stage is Polytoxic, reflecting a Pacific rather than Asian inflection. Key members, Fa’alafi and Efeso Fa’anana (both of Samoan descent) and Leah Shelton (of Anglo-Saxon descent), aim to critique the exoticism and cultural kitsch that often accompanies representations of the Pacific islands, with a pastiche of street dance, cabaret and contemporary techniques, blended with traditional Polynesian vocabulary. A parallel aim is to provide audiences with insights into the traditions and history of Samoa from the perspective of the artists as contemporary Australians. This examination, spanning three decades of inter/intra cultural practices, reveals stylistic, generational and philosophical differences with a commonality of variously inflected notions of landscape, spirituality and identity.

Awakening the spirit : telling the stories

Stephen Page talking with Cheryl Stock Stephen Page is one of the most significant dance artists working in Australia today, unique in his ability to forge and sustain a company of Indigenous artists through his seminal leadership of Bangarra Dance Theatre, which celebrated its 20 year anniversary in 2009. Together with the many artists who have contributed to the Bangarra vision, Stephen has created a distinctive contemporary Indigenous dance style and approach, celebrated for the stories it tells of the Aboriginal and Torres Strait Islander experience. Fusing the traditional with the contemporary through a connection to the spirit of the land and its people, Stephen has inspired and influenced a generation of Aboriginal and Torres Strait Islander dance and theatre artists as a choreographer, director and mentor. His down to earth humour, his passion and his sensitivity draw us as audience, Indigenous and non-Indigenous alike, to his theatrical stories of place and spirit – both ancient and modern – in ways that simultaneously transcend and reaffirm the particular cultural experience which informs them. This conversation covers the early years of growing up with his 'urban clan', discovering dance and politics and his spiritual awakening at Yirrkala. Stephen then describes moving in and out of different realities as a member of Sydney Dance Company whilst simultaneously exploring his Indigenous dance voice, the transition from dancer to choreographer, creating the Bangarra identity and the intercultural experiment of 'Rites' with the Australian Ballet. The last section looks at his various roles as an artistic director and nurturing the next generation of Indigenous artists.

Detection of bacteriophage and respiratory viruses in droplets

Influenza is a widespread disease occurring in seasonal epidemics, and each year is responsible for up to 500,000 deaths worldwide. Influenza can develop into strains which cause severe symptoms and high mortality rates, and could potentially reach pandemic status if the virus’ properties allow easy transmission. Influenza is transmissible via contact with the virus, either directly (infected people) or indirectly (contaminated objects); via reception of large droplets over short distances (one metre or less); or through inhalation of aerosols containing the virus expelled by infected individuals during respiratory activities, that can remain suspended in the air and travel distances of more than one metre (the aerosol route). Aerosol transmission of viruses involves three stages: production of the droplets containing viruses; transport of the droplets and ability of a virus to remain intact and infectious; and reception of the droplets (via inhalation). Our understanding of the transmission of influenza viruses via the aerosol route is poor, and thus our ability to prevent a widespread outbreak is limited. This study explored the fate of viruses in droplets by investigating the effects of some physical factors on the recovery of both a bacteriophage model and influenza virus. Experiments simulating respiratory droplets were carried out using different types of droplets, generated from a commonly used water-like matrix, and also from an ‘artificial mucous’ matrix which was used to more closely resemble respiratory fluids. To detect viruses in droplets, we used the traditional plaque assay techniques, and also a sensitive, quantitative PCR assay specifically developed for this study. Our results showed that the artificial mucous suspension enhanced the recovery of infectious bacteriophage. We were able to report detection limits of infectious bacteriophage (no bacteriophage was detected by the plaque assay when aerosolised from a suspension of 103 PFU/mL, for three of the four droplet types tested), and that bacteriophage could remain infectious in suspended droplets for up to 20 minutes. We also showed that the nested real-time PCR assay was able to detect the presence of bacteriophage RNA where the plaque assay could not detect any intact particles. Finally, when applying knowledge from the bacteriophage experiments, we reported the quantitative recoveries of influenza viruses in droplets, which were more consistent and stable than we had anticipated. Influenza viruses can be detected up to 20 minutes (after aerosolisation) in suspended aerosols and possibly beyond. It also was detectable from nebulising suspensions with relatively low concentrations of viruses.

Idyll number eleven

This is a short horror story formulated in the research process for the novel "That Blackfella Bloodsucka Dance!"

Analysis of multiple shared channel cooperative routing in OFDM based wireless networks

Diversity techniques have long been used to combat the channel fading in wireless communications systems. Recently cooperative communications has attracted lot of attention due to many benefits it offers. Thus cooperative routing protocols with diversity transmission can be developed to exploit the random nature of the wireless channels to improve the network efficiency by selecting multiple cooperative nodes to forward data. In this paper we analyze and evaluate the performance of a novel routing protocol with multiple cooperative nodes which share multiple channels. Multiple shared channels cooperative (MSCC) routing protocol achieves diversity advantage by using cooperative transmission. It unites clustering hierarchy with a bandwidth reuse scheme to mitigate the co-channel interference. Theoretical analysis of average packet reception rate and network throughput of the MSCC protocol are presented and compared with simulated results.

Unlocking black box models of leadership effectiveness: Exploring alternative research and policy metaphors

There is an intimate interconnectivity between policy guidelines defining reform and the delineation of what research methods would be subsequently applied to determine reform success. Research is guided as much by the metaphors describing it as by the ensuing empirical definition of actions of results obtained from it. In a call for different reform policy metaphors Lumby and English (2010) note, “The primary responsibility for the parlous state of education... lies with the policy makers that have racked our schools with reductive and dehumanizing processes, following the metaphors of market efficiency, and leadership models based on accounting and the characteristics of machine bureaucracy” (p. 127)

Dancelines series

Dancelines was a body of work commissioned by Bangarra Dance Company and The Arts Centre, Melbourne. The artist was invited to produce a body of work that responded to the dance company's production of 'Boomerang'. The result was a body of photographs that applied the artist's interest in layering as a photographic technique and her interest in indigenous subjectivity and sprituality. The works drew correspondences between Rheannan Port, the subject's, own biography and character and the artist's voluminous archive of iamges of the natural world. The result complemented and formalised the collaborative processes that the artist had previously only explored in the video medium. The work was shown at the George Adams Gallery of the Arts Centre as part of Melbourne 2006 Commonwealth Games Arts Festival. 'Rheannan Port, #1' was selected for the 2006 Archibald Photographic Portrait Prize, at the Art Gallery of New South Wales. The work was reviewed in The Age newspaper.

Badge : Brisbane Office

This two-storey office building and upper floor interior fit-out, completed for the 25th anniversary of Adelaide-based construction firm, Badge Constructions, is a signature building for the client, and its recently established Brisbane-based operations, and a showpiece for their commercial and industrial construction prowess and dynamic, collaborative and transparent work ethic. Situated in the industrial precinct of Bulimba’s Oxford Street, the building is a continuation of the street’s nearby commercial heart, whilst its architectural language references the adjacent industrial structures. The building’s shed-like skillion roof and western wall have been considered as a folded plane, allowing space to be considered as the inhabitation of the inner surface of this plane. The analogy of a lined garment, tailored to suit its wearer, clarifies the relationship between the western façade plane’s unadorned, monochromatic outer surface and the coloured and patterned inner surface, celebrating inhabitation. The use of typically external construction materials are re-positioned as an integral part of the building’s interior fit-out, alluding to Badge’s construction repertoire, and weakening traditional barriers between interior and exterior commercial space. In reference to its Queensland context, the external glazed line of the building is pulled back from the street, providing an eastern verandah edge and a northern court, as a part of the public realm. The upper floor office incorporates a cantilevered outdoor mezzanine within the northern court, whilst the adjacent reception area and stairwell utilises clear glazing in order to visually connect to the street. The building is designed to take advantage of natural light to the east, whilst shading habitable spaces from the north, a building strategy that reduces solar heat gain and energy consumption. Placement of the building’s amenities core to the west provides substantial bracing and allows maximum activation of the north and east street edge. A collaborative design process has resulted in an affordable commercial building with a high level of design resolution and relationship to its Brisbane context, while also challenging the traditional relationships between exterior and interior commercial space, and informed client and consultant team of allied disciplines.

Folk opera and theatre for development

The research field was intercultural theatre, specifically adapting indigenous performance forms for applied theatre purposes. The context was the rich performative traditions of Papua New Guinean cultures, which have remained largely untapped over several decades of "theatre for development" and "entertainment education". Papua New Guinean company Raun Raun Theatre developed Folk Opera from a similar concept in African theatre in the 1970s. The form incorporates elements of song, dance, ritual, chant, metaphor, music, and body adornment from traditional cultures. The form’s spectacular scope suited international touring in large theatrical venues, and the themes of emerging nationalism with which Raun Raun was concerned. The research team made three key innovations in the use of Folk Opera: adapting the form from theatres to community contexts, using the form to address issues of individual choice for health promotion, and emphasising experiential education over entertainment. Field-testing in Karkar Island showed community members gained clearer understandings of relevant health issues through participating in the folk opera form than through other educational approaches. The significance of the research was recognised by the members of the cross-cultural workshop team and the community of Karkar Island including the local Member of Parliament. The success of the Folk Opera form as an approach to sexual health promotion was recognised through the provision of AUD$74,000 funding by the National AIDS Council Secretariat of Papua New Guinea for a train-the-trainer program incorporating this innovative form of applied theatre. The research has been presented at a number of national and international conferences including the 6th International Research in Drama Education conference in 2009.