Negotiating differences: stimulating creative geographical thinking through critical engagement.

This thesis explored how differences of opinion, associated with student's perspectives about earthquakes; impacts, influenced the level of geographical thinking displayed during group conversation. The findings formulated a Model for Geographical Reasoning which could be used by teachers to support their translation of the concepts and skills outlined in the Australian Curriculum for Geography into their pedagogical decisions.

Louise Hanson-Dyer : leading by example

The article provides an example of music patronage, which can be sustained and realized in challenging conditions and focuses on the contribution of music publisher Louise Hanson-Dyer (1884-1962) . Her example demonstrates how patronage inspires confidence in music, elevates standards, and generates more creativity.

Genome - wide association study identifies novel breast cancer susceptibility loci

Breast cancer exhibits familial aggregation, consistent with variation in genetic susceptibility to the disease. Known susceptibility genes account for less than 25% of the familial risk of breast cancer, and the residual genetic variance is likely to be due to variants conferring more moderate risks. To identify further susceptibility alleles, we conducted a two-stage genome-wide association study in 4,398 breast cancer cases and 4,316 controls, followed by a third stage in which 30 single nucleotide polymorphisms (SNPs) were tested for confirmation in 21,860 cases and 22,578 controls from 22 studies. We used 227,876 SNPs that were estimated to correlate with 77% of known common SNPs in Europeans at r² > 0.5. SNPs in five novel independent loci exhibited strong and consistent evidence of association with breast cancer (P < 10^-7). Four of these contain plausible causative genes (FGFR2, TNRC9, MAP3K1 and LSP1). At the second stage, 1,792 SNPs were significant at the P < 0.05 level compared with an estimated 1,343 that would be expected by chance, indicating that many additional common susceptibility alleles may be identifiable by this approach.

Women's struggle for top jobs in the news media

This chapter provides an overview of the rise of women and women leaders in the Australian news media and outlines aspects of newsroom culture that continue to hamper women's career progression. The chapter draws on a recent global survey and literature on the status of women in the news media. The most recent and wide ranging global data shows that while women's positions in the news media workforce (including reporting roles) has changed little in fifteen years, women have made small inroads into key editorial leadership positions. Nevertheless, the relative absence of women in these senior roles remains glaring, particularly in the print media, and points to a hegemonically masculine newsroom culture that works to undermine women's progress in the industry

Louise Lightfoot : in search of India

 Louise Lightfoot, a trained architect by profession and an ardent balletomane, is best known for moving away from pure Western classical Ballet to a fusion of classical technique and romantic emotion in Australia through her First Australian Ballet group and school. During late 1920s, she was impressed by the performances of Anna Pavlova and Uday Shankar and to bring more appropriateness and authenticity to her own Indian classical dance style that she was trying to experiment with, virtually unknown and unseen in Australia till then in its original form, Lightfoot took a few weeks stopover in India. This short holiday eventually stretched to months and then eight years as she travelled to Tamil Nadu and Kerala’s Kalamandalam, where she began her study of the complex traditions of Kathakali and Bharata Natyam dance. Here she also became a Stage Manager cum Artistic and Publicity director for local troupes and artistes in residence. She was so thrilled by the whole experience of learning Kathakali – involving poetry, song, acting and dance – that soon she started appealing to the British in India to not only appreciate the Indian dance but also to Indian parents to allow their sons and daughters to dance. Lightfoot, as Dance Director of Shivaram, Janaki Devi, Priyagopal Singh and Lakshman Singh, supported by an ensemble of Australian dancers including Ruth Bergner, Moya Beaver, Leona Welch, Pat Martin and Betty Russell, successfully toured and promoted a range of Indian classical dance forms, like Kathakali, Manipuri, Bharatanatyam, throughout Australia, New Zealand, and Fiji. As an early image-maker, she also paved the way for many other noted Indian dancers and troupes. In spite of decades of hard work and dedication to Indian dancing and creating awareness about India in Australia her work and life is little known! Her journey is fascinating because of the workings of race relations not just in Australia but also India – existing prejudices against “Whites.” In this paper I try to chart out through Australian and Indian newspaper reports her search for India.

Louise Lightfoot and Rajkumar Priyagopal Singh: the first Manipuri dance tour of Australia, 1951

Manipur, a small state in the North-Eastern corner of India, is traditionally regarded as the home of gandharvas (the celestial dancers). Manipuri is one of the 11 dance styles recognized by the Ministry of Culture of India that have incorporated various key techniques mentioned in the ancient treatises like the Natya Shastra and Bharatarnava and has been placed under 'a common heritage' called Indian classical dance forms (shastriya nritya) - Bharata Natyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In 1951 Louise Lightfoot, the 'Australian mother of Kathakali' dance, visited the remote mountain state of Manipur to learn more about Manipuri dance. Soon she was successful in persuading and bringing eminent exponents of Manipuri dancing style Jagoi, Rajkumar Priyagopal Singh and Lakshman Singh, to tour Australia. Priyagopal, with the help of Lightfoot and their international tours, to some extent, de-provincialized and also popularized the Manipuri dance and paved the way for other dancers from North-eastern region of India in the International art world. Through this paper I attempt to highlight the contribution of Lightfoot in the promotion of Manipuri dance and in Australia. I here also engage explicitly with Priyagopal and Lightfoot's unusual dance collaboration and trace the historical journey and reception of a Manipuri dance in Australia. © 2014 © 2014 Taylor & Francis.

Louise Lightfoot and Ibetombi Devi: the second Manipuri Dance Tour of Australia, 1957

Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi’s cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.

Staging a cultural collaboration: Louise Lightfoot and Ananda Shivaram's first Indian Dance Tour of Australia, 1947-1949

One of the most highly stylized of the Indian forms of dance-drama, Kathakali has also received the greatest amount of attention on the global stage. We argue that its international exposure began with the performances of Ananda Shivaram, as managed by the Australian impresario Louise Lightfoot, in a landmark intercultural collaboration. From 1947 to 1949, Shivaram, along with an ensemble of Australian dancers, successfully toured Australia, adapting a range of Kathakali dance-dramas to performance in an international context. Lightfoot organized and publicized the tour, translated texts, and explained the art of Kathakali - virtually unknown - to excited Australian audiences. Using newspaper reports, advertisements, program brochures, and promoter's notes, we chart the performer's and the impresario's journeys, how they fostered intercultural understanding, and how Shivaram became a cultural ambassador for India.