Law, governance and risk: deconstructing the public-private divide in climate change adaptation

The article focuses on the public–private divide in law and which organizes principles for and governance. It analyzes the governance model of public–private divide regarding for climate change adaptation in context to a case study of water governance and flood risk. It compares the relationship between state and individual laws which helps in policy setting.

"It's about freedom": contesting dominant representations of devout Muslim women in the space of the nation

Since September 11 there has been a rise of Islamophobia in Australian public discourse, matched by a growth of racialised attacks on visibly identifiable Muslims in public space. These cultural racisms have arisen in a context where Islamic religious signifiers and practices have come to be read as signs of fundamentalism, terrorism and threat to national political traditions and cultural values. In particular, the hijab has become a symbol of these tensions, with the veiled woman being read as the embodiment of a ‘repressive and fundamentalist religion’. However, as some Muslim and feminist scholars have proposed, these readings rob Muslim women of their ability to articulate the reasons why wear the veil or engage in gendered religious practices. This paper argues that this enacts a form of disembodiment, whereby Muslim womens’ ability to comfortably inhabit their bodies and assert themselves in the public sphere is limited. In particular the paper draws upon two case studies which express this disembodiment, whilst highlighting the counter-strategies that devout Muslim women are adopting to reinsert their bodies and narratives in the national frame. The first refers to the recent media backlash which followed a public lecture held at Melbourne University by Islamic organization Hikmah Way, where the audience was segregated along gender lines. The second draws upon interviews conducted with veiled Muslim women in Sydney, following the Cronulla riot. These interviews show how Muslim women are contesting dominant representations of the hijab in western popular discourse by recoding it as a signifier of religious and national identity, and as an expression of democratic freedom.

Finding the edge : online persona creation by fringe artists

Self-presentation through the creation of profiles and pages on digitally networked spaces is becoming ever more ubiquitous. In order to develop greater depth of understanding of the place of social media in our self-identification practice, my dissertation investigates the experiences of online persona creation by eight artists. Drawing on sociological and cultural studies approaches to understanding identity as performance, I tie current artists’ presentational and representational practices to historically grounded, socio-culturally constructed discourses of ‘artistness’. Through this connection, I argue that the creation of online persona has not radically changed notions of what it means to be an artist, or how artistness is represented and understood by audiences of fans or followers, but rather that digital technology has allowed for renegotiation of the boundaries of artistness that still draws from historical understandings of the role and persona of the artist. This shifting of boundaries, allowing for more inclusivity within the art world, is demonstrated by my focus on ‘fringe’ artists: those whose creative practice places them outside of the traditional art world and its existing structures of representation, distribution and consumption. The eight fringe artists who participated in this study are drawn from street art, performance poetry, craftivism and tattoo.

Interpretative Phenomenological Analysis drives the methodological focus on the experiences of the artists. Rather than a consideration of behaviour and habit, or what the artists do, this phenomenological approach allowed me to instead focus on what it is like for the artists to create persona, what drives particular types of representational practices. Using unstructured interviews, and online listening as an extension of participant observation, the artists’ narratives of experience are expressed through transcript extracts and screenshots: both are necessary to fully explore the nature of online persona creation.

My analysis of the artists experiences has demonstrated that there are three somewhat distinct registers of performance with which an artist’s persona can engage: the professional register, where one demonstrates ones proficiency, experience, popularity, and professionalism; the personal register, where one connects with
wider social and political interests and activities; and the intimate register, where one allows the audience in to one’s private world. These three registers occupy the same performance space, but are implicitly or explicitly for different segments of the digitally networked audience of fans, followers, friends and family. The complexity of the performance and reception of these registers is influenced by the shared nature of the performance space – where previously different roles would be performed for different audiences without reference to one another, the networked nature of online social media influences decisions of how much, and when, to share with whom.

Interpreted here using themes of strategy|happenstance, specialisation|diversification, visibility|self-protection,
self|others and work|play, the professional, personal and intimate registers of performance enable us to see the consideration and care with which each participant creates their artists persona. The experiences of performing the self in these three registers, as presented here, provides an insight into the complexities involved in creating online persona, while also demonstrating that this type of presentation of self is, in itself, no different from the types of role play and performance of self that has arguably always occurred in our physical world. Despite focusing on the role and performance of artistness, this dissertation speaks to the creation and performance of online persona more broadly. 

Viewpoints, creativity and embodied learning : developing perceptual and kinaesthetic skills in non-dancers studying undergraduate university drama

Viewpoints are a structural approach to training and directing for theatre. Originating from the innovative, inventive and exploratory approach of Mary Overlie and the self- confessed scavenger approach of Anne Bogart, Viewpoints offers a practical philosophy of working. As a training approach it begins with a disciplined engagement  of the body in space and time. The tangible elements of the Viewpoints provide a set of tasks on which the student can focus, thus freeing the imagination and spirit to  create. Yet at the same time the systematic logic of Viewpoints supports novice practitioners to begin to question their perception, invest in creative practice that demands action and exploration, and to deconstruct, re-organise and rebuild scores and sequences in the pursuit of theatre that is visceral and visual. This essay reports on undergraduate student experiences of learning Viewpoints. It interrogates the demands of embodied learning of the movement/structural system on non- ancers and examines student-actor experiences of embodied learning from multiple of subject positions – observer/participant/creator/reflector/actor.  

Points in mental space: an interdisciplinary study of imagery in movement creation

As part of a programme of research that is developing tools to enhance choreographic practice, an interdisciplinary team of cognitive scientists, neuroscientists and dance professionals collaborated on two studies examining the mental representations used to support movement creation. We studied choreographer Wayne McGregor's approach to movement creation through tasking, in which he asks dancers to create movement in response to task instructions that require a great deal of mental imagery and decision making

Creating a space and place for culture bearers within tertiary institutions: Experiencing East African dance songs in South Africa

This paper highlights the intersections between formal and informal African music and dance within a tertiary setting. Reflective practice, journaling and survey data within case study methodology provide a snapshot of the teaching and learning that took place at North West University in South Africa in October 2012. I argue for the inclusion of informal pedagogy of indigenous musics within the formal context of university courses. The experience provided a pathway to connect local community and university to celebrate the rich diversity of African music and culture. The teaching and learning experiences served as onsite professional development for tertiary students, music staff and myself.

The Harbour outdoors: Investigating how children and educators engage with the outdoor learning space at the Harbour Family and Children's Centre

The aim of the research was to carry out an in-depth case study of the outdoor space at a purposively designed outdoor learning space in a demonstration childcare program in an Australian city. The design of the outdoor space emphasises natural elements and sustainability, while the program uses an indoor/outdoor approach with multi-age sharing of the space. The report included staff, management and researcher perspectives on how the outdoor space worked for children and staff, and provided findings that could inform the ongoing professional processes of reflection on the learning environment at the centre. In addition, the researchers also sought the views of the original designers of the outdoor space, and od centre management at the time when outdoor space was being designed and built. The researchers considered that their perspectives, along with those of current management and staff, could assist in addressing questions of long-term sustainability and practicality in the design of outdoor spaces in childcare centres.

Critical Indigenous pedagogy meets transformative education in a third space learning experience

This paper explores the philosophical and theoretical foundations of a first year unit in Aboriginal Studies offered at the University of Notre Dame in Fremantle. It explains how the current approach is inclusive of transformative and critical Indigenous pedagogies and taught from an evolving ‘third space’. Each philosophical underpinning is considered briefly, with reference to informal feedback received from students in 2014. What is suggested is that AB100 is indeed transformational for students in ways that are potentially ongoing in both professional and personallives. Given the focus of the University of Notre Dame on training students for the professions this has implications for potential ways of teaching and learning that may require uncapping the usual teaching and learning frameworks to actively incorporate transformative and Indigenous pedagogies. Recommended is the need for further investigation and research into the impact of this approach to learning via an evaluation framework based upon the authors PhD outcomes

The third space: The poetry of Sudesh Mishra & the paintings of John Forrest

This book consists of two chapters that document and analyse the context and development of a collaboration between two writers, a poet and a painter, 33 poems and 33 paintings. The poems and paintings are placed in a dialogical relationship with each other. The book attempts to do more than present poetry and paintings serving merely as an illustration of each other. Instead the authors/artists have experimented with how each art-form can bring further significance to another and make new meaning. The two chapters and introduction set up for the viewer a means of exploring a novel form of making meaning. Furthermore these chapters discuss aesthetic, philosophical, historical and political questions endemic not only to the selected art and poetry but to questions governing creative art processes. In this sense it deals with what we have termed 'a third space'.