Dancing with inter-disciplinarity: strategies and practices in higher education dance drama and music

The rise of inter-disciplinarity has not occurred without debate and controversy. Often responding to government agendas, it is not uncommon for university research strategies to include inter-disciplinarity by default, by supporting multidisciplinary collaborations across the institution, nationally and internationally – industry and business being a particular focus. Beginning from the premise that Inter-disciplinary is where students/staff from more than one discipline learn with, from and about one another through a common activity, usually in the context of practice, this report documents the findings of a recent research project aimed to document ways in which inter-disciplinary approaches were active in universities, how they were resourced, what made them effective, and in what ways they are limited.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

Poetry as a starting point for drama: learning to tolerate ambiguity

This article explores the use of process drama in an English classroom to explore issues raised by 'A poem for the Rainforest' by Judith Nicholls. The drama is used to explore both the themes and forms of the poem, the episodic nature of the drama reflecting the episodic form of the poem. The work engages the students, and the process drama works to layer complexity onto the issues rather than simplifying them.

The waterhole : using educational drama as a pedagogical tool in a foreign language class at a public primary school in Japan

This study investigates Japanese primary school students’ and teachers’ responses to educational drama as a pedagogical tool in their English language classes. Along with the participants’ responses, the applicability of educational drama as a teaching method for the Japanese teachers is also discussed. The study was conducted in Japan as ateacher-researcher using participatory action research methods. The participants of the study are three Year Six classes and their teachers in a public primary school in Japan. Educational drama is introduced as an alternative teaching and learning method to these participants who have had no experience of drama in education.

Designing online role plays with a focus on story development to support engagement and critical learning for higher education students

Online role plays, as they are designed for use in higher education in Australia and internationally, are active and authentic learning activities (Wills, Leigh & Ip, 2011). In online role plays, students take a character role in developing a story that serves as a metaphor for real-life experience in order to develop a potentially wide range of subject-related and generic learning outcomes. The characteristics of these stories are rarely considered as factors in the design―and success―of these activities. The unspoken cultural assumptions, norms and rules in the stories that impact on the meanings students make from their experiences are also rarely scrutinised in the online role play literature. This paper presents findings from a case study of an asynchronous text-based online role play involving politics and journalism students from three Australian universities. The findings highlight the centrality of students’ collaborative story-building activity to their engagement and learning, including their development of critical perspectives. The study underlines the importance of certain aspects of the role play's design to support students' story-building activity.

Arts education partnerships in Australia: spaces and places for teaching and learning

The arts over the centuries have continued to pervade, direct and define our societies. In Australia, they are seen as an important and influential mechanism of pedagogies. In arts education students explore and express their identity and build understanding of their worlds through learning by doing and social interaction. This long-established position is endorsed by contemporary arts education pedagogies that encourage students to look, listen, learn, think, and work as artists in new places and spaces. The forthcoming Australian Curriculum: The Arts (dance, drama, media arts, music, and visual arts) will require consideration of the students’ own cultures and the cultures of their communities, region, and the wider world. Interaction between the students and the wider arts community are central to this approach. Using narrative inquiry, reflective practice, and document analysis as our methodologies, we describe ways of seeing, knowing, and learning between artists, students, schools, education authorities, and universities in the Australian state of Victoria. The authors contend that collaborative partnerships take many forms and provide opportunities for exploration of pedagogies that foster strong relationships between arts education and the arts industry.

Video technology as pedagogy: past teacher education students speak to current students through performed research

This paper reports the use of video representations of first-year teachers’ experiences in teacher education workshops that focus on the transition to teaching. This use of video technology is a responsive act that draws on the notion of looking back, where graduates ‘speak to’ current students. Video footage of the performed research ‘The First Time’ shaped activities and discussions in the unit. Workshop/video themes included teacher identity discourses; epiphanic and revelatory moments of transition to becoming a teacher; and preparing for job applications and interviews. A range of data including semi-structured interviews with undergraduate students upon completion of the workshops were analysed within a phenomenographic paradigm, with the aim of describing variations of conception that people have of a particular phenomenon (Sin, 2010). The investigation of the use of video technology as a pedagogical approach to promote critical thinking about the transition to teaching revealed a range of conceptual meanings. These meanings were classified into categories according to their similarities and differences concerning the effectiveness of the technological tool in assisting undergraduates in their transition to teaching. Participants’ conceptions of the phenomenon are individual and relational, and as such results were quite varied. Emergent varied themes include: ‘I now know what it is that I need to learn’; ‘Is this theory or practice?’; and ‘I don’t do drama’. Similarities include: ‘Preparing for the unexpected’. The use of video technology was deemed effective in creating workshop content from the past, in order to teach for tomorrow.

Surf and turf: music education riding the wave and/or planted firmly in teacher education arts courses across two Australian universities

Tertiary Arts educators are exhorted to offer The Australian Curriculum: The Arts (Dance, Drama, Media Arts, Music and Visual Arts) in their teacher education programs. This paper situates itself across two interstate universities (Deakin in Victoria and Griffith in Queensland) where both authors are music educators at these institutions. They discuss the two different ways that primary Arts education is offered at their universities by focusing on the Bachelor of Primary course (program/degree). The focus at Griffith University is on integrating the Arts whereas at Deakin University, the Arts are taught as a discipline within the unit (subject). Across both universities two teaching units for primary Arts education is core within the four-year program. Drawing on the author’s narrative reflection, observation, student questionnaire data, anecdotal feedback and student end of semester evaluations we discuss two different methods of delivery, assessment and challenges the units present to the authors and students. Though tertiary Arts educators are challenged to be inclusive of a rich and diverse arts curriculum as music educators we question whether the students are merely surfing the crest of the wave or being firmly planted in the ground to effectively implement music education in their future primary classrooms. We invite dialogue with other music educators who face similar situations where the delivery of music education is not located within the Arts and is dependent on staffing, resourcing and time limits and in some situations is almost drowning.

Some of these girls can be real drama queens : issues of gender, sexual harassment and schooling

Since the 1970s many feminists working for gender justice in education have highlighted the predominance and seriousness of sexual harassment in schools and condemned the enduring trivialization of such behaviours. This paper develops this body of work by focusing on how issues of sexual harassment are located within prevailing contemporary western educational contexts that position boys as 'victims' of feminism and 'girl-friendly' schooling. It is argued here that such contexts draw attention away from the powerful spaces that many boys continue to inhabit in schools. Counter to the popular notion that girls no longer face problems in relation to their schooling, the paper foregrounds the voices of four (14-year-old) Grade Eight girls from Tasmania, Australia who detail their disturbing experiences of sexual harassment. Pointing to the grave inadequacies of common remedies used to address these behaviours, such as prescriptive discipline systems that ignore issues of gender and power and boy-friendly remedies that collude in the perpetuation of inequitable gender relations, the paper highlights the imperative of disrupting the erasure of these issues from current dominant equity debates and the urgency of better addressing this problem in schools. Along these lines, the paper calls for teacher practice that acts against the grain of broader anti-feminist and performative school cultures to transform the masculinities of entitlement that contribute to these unacceptable behaviours.

‘Some of those girls can be real drama queens’: issues of gender, sexual harassment and schooling

Since the 1970s many feminists working for gender justice in education have highlighted the predominance and seriousness of sexual harassment in schools and condemned the enduring trivialization of such behaviours. This paper develops this body of work by focusing on how issues of sexual harassment are located within prevailing contemporary western educational contexts that position boys as ‘victims’ of feminism and ‘girl‐friendly’ schooling. It is argued here that such contexts draw attention away from the powerful spaces that many boys continue to inhabit in schools. Counter to the popular notion that girls no longer face problems in relation to their schooling, the paper foregrounds the voices of four (14‐year‐old) Grade Eight girls from Tasmania, Australia who detail their disturbing experiences of sexual harassment. Pointing to the grave inadequacies of common remedies used to address these behaviours, such as prescriptive discipline systems that ignore issues of gender and power and boy‐friendly remedies that collude in the perpetuation of inequitable gender relations, the paper highlights the imperative of disrupting the erasure of these issues from current dominant equity debates and the urgency of better addressing this problem in schools. Along these lines, the paper calls for teacher practice that acts against the grain of broader anti‐feminist and performative school cultures to transform the masculinities of entitlement that contribute to these unacceptable behaviours.