Creative Reflection in Action

This (Students as Academic Partners) project aimed to explore the potential of a creative approach to reflection. Developing approaches to reflective practice is directly relevant for teachers and those who are training to become teachers. Individual reflections were produced by project participants based on several very short video clips of children in a nursery school. These individual reflections were extended into a collaborative reflection highlighting common themes. This broader focus seeks to contribute to an encompassing discourse related to early years practice. The poster aims to show how critical reflection and speculation can develop an understanding of the child, their development and potential barriers to this development. Through observing stills from the video footage, viewers of the poster are challenged to speculate about the child’s body language, what they might be doing or whether the learning environment is suitable to develop and progress their knowledge and understanding further?

Reducing Social Isolation in a Rural Community Through Participation in Creative Arts Projects

This article reports the initial findings from the evaluation of four creative arts projects involving groups of older people living in a rural community. The purpose of the projects was to reduce social isolation among participants through providing direct access to arts and social activities. The view was that these activities would improve life skills and independence, increase levels of activity and improve the health, wellbeing and quality of life of participants. Evaluation of these projects demonstrated increased levels of self-worth and self-esteem among participants, and many of the older people involved agreed that they had made new friends while having the opportunity to try out a new activity.

Drawing in Duos: The Journeys and Intersections Collaboration Project Between Istanbul and Worcester

This paper focuses on a collaborative drawing project carried out between two undergraduate drawing courses, one in İstanbul and the other in Worcester, during the Fall 2015 semester. Duos -teams of two working remotely- took turns to work on the same drawing in correspondence for three months by means of communication and sharing the changing images on-line with one another. The project introduced a collaborative method of learning based on drawing, initiated cultural exchange and cooperation. The role of drawing in the project was critical due to the direct but gradual nature of transmitting meaning onto paper. Outcomes of this project consisted of a flexible and playful creation process for students making use of the element of chance. They sought alternate ways to finalize a drawing and experienced the benefits of artistic co-production. The project has the capacity to inspire artists, instructors and others interested in creative partnership in different disciplines and can be of value as an educational model.

‘The Emergence of the Operatic’

The chapter discusses the notion of the ‘operatic’ with particular reference to movement. Through observation of singers in rehearsal and through interviews with singers over two years, the research posits that ‘operatic’ movement may be identified and explored as a discrete quality of movement in performance and recognised as an, albeit underappreciated, aspect of the artistry of the opera singer. The paper explores the effects of the demands of singing on the dramatic expressivity of the body and the strategies employed by singers to navigate, the sometimes conflicting demands of the composer and the director. ‘Operatic’ movement is regarded as that which is not generated through character or narrative (positioned as a normative approach to acting) but through the negotiation of the physical constrictions and artificiality of breath associated with operatic singing, combined with sensitivity towards opera’s non-normative performance conventions. This position is aided by an interrogation of opera through the lens of gender theory. The chapter makes two propositions, that the ‘operatic’, which does not form part of the formal pedagogy of singers, is an emergent property, especially evident at the intersection of the various creative disciplines that contribute to opera, such as when the orchestra is introduced to the rehearsal process, and that ‘operaticness’ is acquired and passed on through a process of kinaesthetic empathy.

Elite Rugby Union Players Perceptions of Performance Analysis

This study provides an in depth insight into the current views and opinions of elite level rugby union players regarding the use of performance analysis as a tool for improving their own playing performance and in highlighting the strengths and weaknesses of upcoming opponents. A total of seventy-three elite level rugby union players from two clubs in Great Britain completed a semi-structured questionnaire. Additionally, four players completed a semi-structured interview and following inductive content analysis, four key themes emerged: (1) the use of video for player development, (2) preparing for a match, (3) using video for player reflection in addition to other psychological tools and (4) players suggestions for improvements to the clubs current performance analysis programme. The main finding of the study concludes that players viewed performance analysis as a beneficial and useful tool to support their development and preparation. As a result the study provides an insight into the use of performance analysis within professional rugby union, enabling rugby coaches and practitioners to gain an understanding and appreciation of the players views towards the clubs current provision. Additionally, the findings help build and strengthen the on-going knowledge coaches, analysts and researchers currently have regarding how players perceive performance analysis.