The use and usefulness of a parent questionnaire to help schools identify disability

The Equality Act 2010 will be implemented in full in 2011, and schools in the UK will have to provide special aids or services for children with disabilities where this provision is considered reasonable. This paper reports on staff perspectives on the use and usefulness of a parental questionnaire on disability from a sample of 49 schools (mainstream and special) located in 12 local authorities. Most schools found the process of administering the parent questionnaire undemanding; just under half of the sample indicated that they would take some action as a result of the data collected from the parental questionnaire (e.g., to inform plans for targeting or monitoring support for children, and to contact parents and follow-up issues they had mentioned); and about one-third of schools recorded unanticipated findings from the parental questionnaire, that is, the identification of children whose disabilities were not previously known to the school. Implications for schools are discussed.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

The kommuna impulse: collective mechanisms and commune-ists in the early Soviet State

This study examines the creation of the urban kommuna (commune) and the ideals that stimulated this social phenomenon – the kommuna impulse of the nascent Soviet state. Collective idealism affected Soviet housing, architecture and even urban planning, but little is known of social experiments in commune‐ism. As a result, these collective cells have been dismissed as utopian anomalies or the product of a housing shortage. Here it is argued that these discursive assessments are unsatisfactory and isolated from the historical narrative. While utopian ideals and domestic necessity were central to the formation of collective living, the kommuna was also involved in an active discourse with collectivism and socialist ideology. The kommuna cell was a dynamic entity that required considerable formative planning. The activists who forged these cells – the self‐identified ‘communards’ – turned their everyday domestic life into a socialist battleground, in which they struggled with the key debates of the early Soviet state. This article examines the communard as a social activist in order to better understand this phenomenon. It clarifies the coexistence of ideological and idealist trends among Soviet youth with practical contingencies for socialism. Furthermore, it reveals the process by which the kommuna impulse and these contingencies developed throughout the 1920s and early 1930s.