Does extensive free narrative prompting minimise the effect of mental reinstatement on children's recall of events?

The effect of mental reinstatement on children's recall is unclear. One factor that may impact its effectiveness is the degree to which interviewers prompt children during an interview. We examined whether interviewers’ degree of narrative prompting moderated the effect of mental context reinstatement during children's recall of a staged event. Younger and older children were interviewed 7–10 days after the event. Half were told to mentally reinstate the context and half were not. In a fully crossed design, half also received extended narrative prompting during the interview and half did not. We predicted that extensive narrative prompting should reduce any observable benefit of mental reinstatement, especially for older children. However, mental reinstatement had no beneficial effect on recall performance. It is possible that methodological differences, low statistical power, and a small effect size may have reduced the observable benefit of mental reinstatement in comparison to other studies. Overall, the findings of this study suggest that until further research can clearly define the parameters in which mental reinstatement is useful, and therefore produce findings with greater consistency across studies, there is little support for its use in investigative interviews with child witnesses.

Prosecutors' perceptions of the utility of 'relationship' evidence in sexual abuse trials

For successful prosecution of sex offences, defined elements that comprise each charge (such as the acts that occurred and offenders’ identities) need to be established beyond reasonable doubt. This study explored the potential benefit (from a prosecution perspective) of eliciting another type of evidence; evidence regarding the relationship between the victim and perpetrator that may explain the victim’s responses.

Fourteen prosecutors representing every major Australian jurisdiction participated in individual interviews or a focus group where they were asked to reflect on the perceived relevance of relationship evidence in sex offence trials, and the potential impact of this evidence on court process and outcomes.

All prosecutors gave strong support for the premise of including relationship evidence in victim and witness statements, as well as in suspect interviews; however, this type of evidence was not routinely being included in interviews or admitted in trials.

The majority of the discussion centred on:

Cuban thrills of a dance revolution

Review : Ballet Revolucion performed at State Theatre, Arts Centre Melbourne

Virtuosos of violence

Review : Larissa McGowan's Skeleton at Beckett Theatre, The Malthouse

A bit of a yawn for the cast and audience

Review of Sleeping Beauty by the Imperial Russian Ballet Company at Her Majesty's Theatre, 2012

Boats on the roof of the house: the shadowy flux of alterity

Freud’s ‘The Interpretation of Dreams’ focuses upon the relationship between the signs, in the surface content of the dream, and the operation of thought that produces these signs, in the latent content of the dream. Freud’s analysis is a means for tangling with a discontinuous narrative style because Freud’s analysis provides a methodological approach to the question: how does the novel bear witness to the writer’s subjective consciousness?

A prosecutor's guide to improving child witness interviews about alleged sexual abuse: a view from the Australian context

Child sexual abuse (CSA) cases are often not prosecuted because of poor evidential quality of the investigative interview, the central plank of CSA investigations and prosecutions. The current paper addresses the need for further direction about how investigative interviews can better meet the needs of prosecutors by presenting a transcript of interview with an experienced Crown prosecutor. In the interview, we asked the prosecutor to explain what information is required, and how information should be elicited from a prosecution perspective. The transcript was then distributed to nine Crown prosecutors who were invited to reflect on the propositions made in the transcript and indicate any areas where the prosecutor’s views were not consistent with their own. The nine prosecutors then met as a group and agreed on amendments to the transcript to ensure it was representative of their views. We present the final transcript (with amendments) as a tool for interviewers and trainers.

No one likes me : theatre review

 Review of 'No One Likes Me', created and performed by Darren Vizer.

Intimacy at work: Playback theatre and corporate cultural change in Mercedes Benz, Brazil

On the back of a faltering economic year in 2007 and a major merger of motor car and truck dealerships, international motor car giant Mercedes Benz adopted a radical approach to re-aligning the company vision for their Brazilian business. Adopting a people-centred approach to change, they integrated participatory theatre and personal stories into a nationwide cultural development programme producing twelve performances in twelve cities. The central content of the performances came from employees who told personal stories that were then performed onstage. Each event acted as a unique expression of workplace values that would be led by employee attitudes and behaviour. Through the dialogic process, the company established a new code of conduct for customer care for the next phase of company activity. This article critiques various aspects of the programme and considers the value and limitations in the person-centred approach facilitated through theatre.

Refugee performance: aesthetic representation and accountability in playback theatre

This essay seeks to unpack some of the issues concerning representation when performing refugee stories using playback theatre. It questions the reductive influence of narrative structure and, using the framework of artist as ethnographer, it argues that strong aesthetic production is required to overcome the dampening effect of empathy when performing personal stories in refugee/asylum contexts. The tension that emerges among the key imperatives of accountable, accurate and aesthetic representation in refugee performance is then explored as a dialogic space.