Body shrinkage due to Arctic warming reduces red knot fitness in tropical wintering range

Reductions in body size are increasingly being identified as a response to climate warming. Here we present evidence for a case of such body shrinkage, potentially due to malnutrition in early life. We show that an avian long-distance migrant (red knot, Calidris canutus canutus), which is experiencing globally unrivaled warming rates at its high-Arctic breeding grounds, produces smaller offspring with shorter bills during summers with early snowmelt. This has consequences half a world away at their tropical wintering grounds, where shorter-billed individuals have reduced survival rates. This is associated with these molluscivores eating fewer deeply buried bivalve prey and more shallowly buried seagrass rhizomes. We suggest that seasonal migrants can experience reduced fitness at one end of their range as a result of a changing climate at the other end.

Hampered performance of migratory swans: intra- and inter-seasonal effects of avian influenza virus

The extent to which animal migrations shape parasite transmission networks is critically dependent on a migrant's ability to tolerate infection and migrate successfully. Yet, sub-lethal effects of parasites can be intensified through periods of increased physiological stress. Long-distance migrants may, therefore, be especially susceptible to negative effects of parasitic infection. Although a handful of studies have investigated the short-term, transmission-relevant behaviors of wild birds infected with low-pathogenic avian influenza viruses (LPAIV), the ecological consequences of LPAIV for the hosts themselves remain largely unknown. Here, we assessed the potential effects of naturally-acquired LPAIV infections in Bewick's swans, a long-distance migratory species that experiences relatively low incidence of LPAIV infection during early winter. We monitored both foraging and movement behavior in the winter of infection, as well as subsequent breeding behavior and inter-annual resighting probability over 3 years. Incorporating data on infection history we hypothesized that any effects would be most apparent in naïve individuals experiencing their first LPAIV infection. Indeed, significant effects of infection were only seen in birds that were infected but lacked antibodies indicative of prior infection. Swans that were infected but had survived a previous infection were indistinguishable from uninfected birds in each of the ecological performance metrics. Despite showing reduced foraging rates, individuals in the naïve-infected category had similar accumulated body stores to re-infected and uninfected individuals prior to departure on spring migration, possibly as a result of having higher scaled mass at the time of infection. And yet individuals in the naïve-infected category were unlikely to be resighted 1 year after infection, with 6 out of 7 individuals that never resighted again compared to 20 out of 63 uninfected individuals and 5 out of 12 individuals in the re-infected category. Collectively, our findings indicate that acute and superficially harmless infection with LPAIV may have indirect effects on individual performance and recruitment in migratory Bewick's swans. Our results also highlight the potential for infection history to play an important role in shaping ecological constraints throughout the annual cycle.

Fostering cultural diversity in Australia: a case study of teaching, learning and assessing African musical arts

Australia is forged by ongoing migration welcoming a range of cultures, languages and ethnicities thus celebrating a diverse range of musical arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in particular where authentic teaching and learning is facilitated may help foster understandings of culture in educational settings and the wider society. As a migrant forming part of the African Diaspora in Melbourne, I am strongly connected to my ancestral homeland (South Africa) when teaching African music to Australian tertiary students. Having gained ethical clearance to undertake the two research projects at Deakin University in Melbourne (Attitudes and perceptions of Arts Education Students: preparing culturally responsive teachers and Pre-service teacher attitudes and understandings of Music Education), I discuss tertiary students experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview, questionnaire, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into themes. By offering a discussion of assessment and evaluation, I explore and invite international dialogue in regards to how best we can prepare, assess and evaluate our students to improve the quality of musical arts education.

The multicultural experiment: premises, promises, and problems

This introductory chapter reflects on current debates about the challenges faced by multicultural societies in coming to grips with the interrelated societal tasks of facilitating migrant settlement, nurturing cultural diversity and pursuing inclusive citizenship. In doing so, the chapter will explore the development and deployment of the concept of ‘multiculturalism’ from a comparative and historical point of view and will proceed to discuss its key assumptions, achievements and challenges. The chapter will also touch upon the key theoretical paradigms debated in this book and will attempt to synthesise conceptually how its three sections interconnect dialectically and empirically.

Migration and ethno-architecture

Whereas academic studies within the humanities have addressed migration through frameworks of culture, belonging and mobility, in national, political and media discourse, migration is represented as problematic to the nation-state. Increased security of the geopolitical borders and the foreclosure of internal borders preserving the homogeneity of dominant cultures reinforce popular terms, such as 'alien' and 'foreigner', conveying the sense that migration is temporary and entails an invasion. Experts in migration studies note a discursive and theoretical gap between the developments in cultural studies and the blatant protests related to territory and rights in political discourse (Castles and Miller 2009). But neither focuses on the role of the architecture. The enduring and physical nature of architecture and building that has evolved from migrant individuals and communities, however, provides compelling evidence that these structures are neither temporary nor transient, nor that their migrant inhabitants, adaptors and makers lack belonging. The ethnoarchitecture of migrants defines and articulates a history of agency, making and expression that reframe the question of the politics of migration.

Ethnically differentiated architecture in a global world

Cities have been substantially affected and many transformed by increasing cultural diversity resulting from waves of migration. The central role and dynamism of cultural diversity evident in retail and commercial streetscapes has dominated the debates on global and contemporary urban culture (Sandercock 2003). Architecture has been implicit as the background to these debates, but restaurants, residential, religious, institutional and community buildings, ethnic clubs and reception centres, constructed and adapted by migrant communities, provide evidence of the material change of the architecture of localities and neighbourhoods.

Hien's shed: (re)framing images of female immigrant home-based clothing workers

Campaigns in support of home-based clothing workers (or ‘outworkers’ as they are more commonly known in Australia) deploy powerful images of the exploitative underside of fashion. The migrant woman huddled over her machine has become the quintessential image of campaigns directed against this exploitation. This article engages critically with the politics of such image-making. By examining how frames simultaneously shrink and magnify the image produced it raises questions about what these images exclude or expel and whether and how this matters. It also offers an alternative frame of the female immigrant outworker – an up-close portrait of Hien, a Vietnamese woman who works at home sewing clothes in her suburban shed. The article introduces Hien through a condensed collection of her self-narratives, before moving on to consider how a trade union and community-based movement against outworker exploitation mobilised images of suffering and injured Vietnamese women to promote its cause. It asks how these images speak for and represent women like Hien and suggests that their political ‘success’ relies to some extent on the women being ‘unseen’ and made to ‘unspeak’. Finally, through the metaphor of space, it proffers an expanded dimension to the already framed images invoking Hien’s shed as a space that both produces and disciplines her: ultimately, a ‘transitional space’ between the external and internal worlds that shape and constrain her.

A tissue of denials: film retrospective (1979-2016)

My abstract moving image making has provided a foundation for my practice since I first started processing and solarizing my own 16mm film in one of those LOMO Russian processing tanks in 1973. Feyers, Zoomfilm (1976) and Running (1976) rework some of those early strips of black and white film. Whenever funding dried up I always fell back on my abstract direct on film work. It was cheap. Like knitting, it gave me a space to process the dilemmas and incongruities of daily life and to escape its clutches. I also began to understand that these forces were still there, embedded implicitly in the work. Now, more than ever, I understand this as a survival response to corporate doublespeak. I would never throw anything away. New scratching, painting, taping or bleaching strategies could be added later. Intensive cluster editing of single frames became an obsession. The translated difference between what you saw over a light-box and what was projected drew me in. Like the migrant position I was allocated from childhood I survived in the space between these two territories. As well as an archive of images and movement I collect optical effects. The flash frame. The trail of afterimages resulting from flickering between positive and negative images. At their liveliest these images float above the screen. Now the digital allows me to amplify the material presence of 16m and 35mm film and a whole new world opens up before me. I cobble together found footage films from my own archive of discarded data and unfinished sentences.