'Aussies' and 'wogs' and the `group in-between': year 10 students' constructions of cross-cultural friendships

This paper reports on an aspect of a small, empirical study that explored how cross-category friendships were constructed among an ethnically diverse cohort of Year 10 students in an Australian school. The students, who self-identified as having friendships across gender and ethnic boundaries, were interviewed in focus groups. Young men and young women, in speaking of their cross-cultural friendships, generally stressed commonalities among rather than differences between groups of friends. Nevertheless, students identified two predominant peer groups and used the terms 'aussie' and 'wog' to name them. Some of the male students appeared to be more keen than many of the females to mark themselves out as belonging to one or the other of these groups. This paper will discuss how these terms are utilised among these students to construct particular identities. On one level, this naming signified differences of choice, with reference to styles of music, clothing, jewellery, hair and entertainment. Is this an attempt to reclaim and rework previously racist descriptors into more egalitarian terms by young people? The meanings and sense that students make of such traditionally racist terms and how their use reflects and challenges wider cultural discourses of difference are discussed. How 'sameness' is constituted around shared experiences rather than common cultural backgrounds is also considered.

Shadow boxing: Indonesian writers and the Ramayana in the new order

This article is a study of the ideas, visions, and styles of a number of Indonesia's writers in the New Order-in particular, the final years of the New Order-who chose to rework and reinterpret the Ramayana epic of the Javanese wayang kulit shadow puppet theatre. The deliberate choice by these writers to use Indonesian as their medium of linguistic communication has proven to be a decision in favor of distancing themselves from their mother-tongue, Javanese, and of targeting a larger "national" audience, thus signaling their concern for non-Javanese Indonesians. By the same token, the Indonesian language of wayang literary representations was often heavily Javanese in its flavor and style, and the indigenized wayang characters and plots appropriated were also, naturally, very much regional in origin.

Interrogating the discourse of 'social literacies' in an era of uncertainty

Originally, the term 'social literacies' was used to suggest the skills, knowledge and processes for addressing multicultural teaching and learning (Kalantzis and Cope, 1983). The meaning of the phrase has since evolved to encompass widely different concepts, including for example, social 'competencies', and/or citizenship education (eg., Arthur & Davison, 2000). Clearly the discourse around 'social literacies' is shifting in response to changing educational policies, both nationally and internationally.

In this paper, we examine how constructs of 'social literacies' have been and might be deployed. Building from a review of the policy, program and theoretical literature, we pose questions concerning how 'social literacies' might be used to interrogate and rework relations, especially those of gender and culture. Questions to be considered include: will the concept of 'social literacies' enable us to better understand the processes of identity and community formations in this era of uncertainty? Which knowledges and skills are identified in the literature and positioned as critical in establishing 'productive' social relations/literacies? Additionally, we begin to theorise the degree to which such constructions of 'social literacies' might enhance and/or limit quality learning at the tertiary levels of teacher education.

From city symphony to global city film : documentary display and the corporeal

In the introduction to his history of the relationship between the body and the city in Western civilisation, Richard Sennett includes an anecdote about attending a cinema in New York. Sennett uses the story of watching film as a way of commenting on the place of the body and senses within urban settings and is concerned to document 'physical sensations in urban space' as a way of addressing what he sees as the 'tactile sterility which afflicts the urban environment.'[1] While Sennett's work performs an important task by drawing attention to various historical conditions implicated in urban and metropolitan experience, it is possible to rework the categories he deploys - bodies, the city, and film - into a very different argument concerning representations of the city. Indeed the three categories coalesce in the so-called city film - works which include the 'city symphony' of the 1920s and subsequent documentary representations of urban spaces, among them the New York City films of the 1940s and 1950s, and films of non-Western cities produced in the decades from the 1960s to the present - within which the city is realised through a focus on people.

The role of support mechanisms in the process of identity transition of HIV-positive people

This study examines identity transit ion in HIV-positive people through their engagement with various support mechanisms. The findings demonstrate that identity transition is the result or how consumers rework, negotiate and transform their roles, actions, and cultural meanings through their consumption of sporting mechanisms.

You can spend your life dying or you can spend your life living : identity transition in people who are HIV-positive

This article examines, through the lenses of HIV-positive people, the unique phenomenon of identity transition. This research proposes that life-changing illnesses, such as HIV, are an undesired 'possession' that people accept to varying degrees, which we refer to as 'ownership'. While illnesses, such as HIV compel individuals to undergo a transformation process that usually begins with a deep feeling of detachment, and then proceeds to acceptance of their illness, and to feeling empowered and in control of their HIV status and lives, this process is very complex and non-linear as it involves many iterative progressions in identity transition. These transitions are highly individualistic; however, the underlying theme is that the more positive trajectories were those of people who focus on their new lives, living with HIV (i.e. taking ownership of their illness), rather than focusing on what they have lost when they became HIV-positive. The findings demonstrate that identity transition is a result of the ways that individuals rework, negotiate and transform their roles, actions and behaviours through their active engagement with support mechanisms. This study suggests that it is vital to promote positive interactions with support mechanisms to ensure that those with HIV view themselves positively.

Student equity's starring role in Australian higher education : not yet centre field

The field of Australian higher education has changed, is changing and is about to change, repositioned in relation to other ‘‘fields of power’’. It is a sector now well defined by its institutional groupings and by their relative claims to selectivity and exclusivity, with every suggestion of their differentiation growing. The potential of a ‘‘joined-up’’ tertiary education system, of vocational education and training (VET) and universities, has the potential to further rework these relations within Australian higher education, as will lifting the volume caps on university student enrolments. Moreover, Australian universities now compete within an international higher education marketplace, ranked by THES and Shanghai Jiao Tiong league tables. ‘‘Catchment areas’’ and knowledge production have become global. In sum, Australian universities (and agents within them) are positioned differently in the field. And being so variously and variably placed, institutions and agents have different stances available to them, including the positions they can take on student equity. In this paper I begin from the premise that our current stance on equity has been out-positioned, as much by a changing higher education field as by entrenched representations of social groups across regions, institutions, disciplines and degrees. In taking a new stance on equity, the paper is also concerned with the positioning in the field of a new national research centre with a focus on student equity in higher education. In particular, the paper asks what stance this new centre can take on student equity that will resonate on a national and even international scale. And, given a global field of higher education, what definitions of equity and propositions for policy and practice can it offer? What will work in the pursuit of equity?

Just schooling : explorations in the cultural politics of teaching

How are classroom relations influenced by the language that teachers use and the stories they tell about their students? Just Schooling is an exercise in the cultural politics of teaching. It invites teachers and interested others to rethink what they know about social justice and to rework how they engage in the practices of teaching (what they say and do), particularly in relation to how these influence the lives of students. Informed by a recognitive view of social justice, Just Schooling analyses the various discourses and ideologies mobilized in classrooms that implicitly and explicitly determine what is understood by (i) the nature and centrality of language, (ii) the purposes and meaning of education, and (iii) the diversity of students, particularly with respect to their gender, race and social class but also their learning dis/abilities. Throughout, the authors argue for a democratization of classroom relations, beginning with students' and teachers' personal lives and connecting these with wider contexts, as a way of addressing the advantages and disadvantages traditionally reproduced by schooling.

More towards the centre : searching for field position for student equity in Australian higher education

The field of Australian higher education has changed, is changing and is about to change, as it is repositioned in relation to other ‘fields of power’. It is a sector now well defined by its institutional groupings – the Go8, the IRUs, the ATN and the rest – and by their relative claims to selectivity and exclusivity, with every suggestion of their differentiation growing. Even within these groupings there are distinctions and variations. Moreover, Australian universities now compete within an international higher education marketplace, ranked by THES and Shanghai Jiao Tiong league tables. ‘Catchment areas’ and knowledge production have become global. And the potential of a ‘joined‐up’ tertiary education system, of VET and universities, will rework relations within Australian higher education, as will lifting the volume caps on university student numbers. In sum, Australian universities (and agents within them) are positioned differently in the field, although not in the stable relations imagined by Pierre Bourdieu in the France of the 1960s. And being so variously and variably placed, institutions and agents have different stances available to them, including the positions they can take on student equity. In this paper I begin from the premise that our current shared stance on this has been out‐positioned. Nation‐bound proportional representation loses its equity meaning when the Australian elite send their children to Harvard, Yale, Oxford and Cambridge. The same could also be said, and has been, about equity representations by region, institution, discipline and degree. What then, also, for a new national research centre with a focus on student equity and higher education, for its research agenda and positioning in the field? What stance can it take on student equity that will resonate on a national and even international scale? And, given a global field of higher education, what definitions of equity and propositions for policy and practice can it offer? What will work in the pursuit of equity?

As if they could be otherwise...finding spaces for creativity in the enacted curriculum

This chapter inquires into four very different Australian middle-school classrooms where teachers are innovating their practices and developing new approaches to aspects of English curriculum. These classrooms from diverse settings (one middle-class urban, one elite private inner urban, one regional disadvantaged, one middle-class regional) have all taken imaginative leaps and reworked their curricula to put the students’ needs at the centre. At one school, Year 8 students design, make and play their own computer games, at another Year 6 students script, design, craft and shoot their own claymation film; at another, Year 9 students use videogames as texts in their literature studies; and at another, a group of Year 6 students work with a theatre company and their teachers to rework Shakespeare into a contemporary, accessible, enjoyable performance. The chapter considers how in each case these different approaches engage and extend the students in meaningful and relevant ways. The chapter includes a mix of teacher and student interview data, principal data and teacher writing. The chapter investigates how each of these projects worked to achieve its aims and discusses how the single national curriculum might be re-envisioned in local contexts.

The (zen) Buddhist heart of I ♥ Huckabees

 This paper offers a Buddhist reading of I ♥ Huckabees (2004). I begin with an overview of director David O. Russell's Zen influence to reveal how he weaves the Buddhist metaphor of Indra's net (a metaphor for the doctrine of pratitya-samutpada) and the principles of meditation into the narrative. The main objective, however, is to demonstrate that Russell doesn't merely re-present Buddhist ideals but also attempts to "practice" Buddhism by using the visual vernacular of contemporary media culture to rework film as meditation and meditation as film. In weaving Buddhist ideals into his satire on contemporary culture, I argue that Russell is engaging us in religious and ethico-political reflection.

Finding aesthetic form inside the tome: the doctorate and arts based educational research

 In this paper we outline how the elements and forms of arts informed research can be used in doctoral education. Drawing on Cole and Knowles (2008) interrogation of the elements and forms of arts informed research, we rework their questions and apply them to the Australian model of the Doctor of Philosophy and consider the possibilities for arts based educational research within this model; its impacts on the doctorate itself and our role as supervisors. In the paper we ask: How can the arts (broadly conceived) inform the doctoral research process? How can the arts inform the representational form of doctoral research? What might this mean for us as supervisors? In our discussion we draw upon our work as researchers and supervisors, and consider Halse's (2011) concept of the ‘supervision as becoming’ (p. 569). Through an analysis of our supervision practices we reframe supervision as becoming in part, beyond a practice of hierarchical relationships and/or becoming as the mirror of the supervisor. Rather, we offer an explanation of research training and credentialing as taking forward a vision of new practices which although they are informed by the arts and arts based practices are however not risk averse. While we agree with Cole and Knowles (2008) to connect the work of the academy with the life and lives of communities through research that is accessible, evocative, embodied, empathic, and provocative is productive, something else is required in these times. SuperVision, is required both on the part of the candidate and the supervisors and/or supervisory panel to ensure that the PhD is executed in a way that can meet the university requirements and further is enabling of a sustainable career pathway beyond the initial doctoral education.

Detonating the research plan: exploding the supervisory process

Bomb making is dangerous work. And not just because what you’re creating can blow up in your face. Even as you type in your search terms – how to make a bomb – you wonder who is watching, what algorithm might throw you up into the light of surveillance and trigger the knock at the door. (McKnight, 2014, p. 1)AbstractSo begins Lucinda’s PhD. In this dialogic paper of interwoven stories we employ a critical auto-ethnographic approach to explode moments of our lives and work together as we worked through the “research plan” at the heart of the supervision timeline. Lucinda’s thesis highlights the way curriculum emerges from the struggles of ideological becoming (Bakhtin 1981) as she and a group of teachers, sought to produce and perform both individual gendered identities (Butler 1997, 2007) and plans for the identities of student subjects, while negotiating subject positions made available to girls and women in broader social contexts. The link between the personal and political is created by a methodology combining narrative inquiry and discourse analysis as a heteroglossic (Bakhtin, 1981) text. In this paper we detonate the research plan developed in the first months of the PhD timeline as Jo responds to Lucinda’s narratives with her own, and we share jointly written narratives that try to capture some key moments of the process. We rework our own stories of the supervised and the supervisor through the competing discourses of our work and lives.

Book review: 'Neo-mateship' in the 21st century : changes in the performance of Australian masculinity. Karina J. Butera, Deakin University 2008.

This article argues that 'traditional mateship', as the everyday practice of men's same-sex friendships, is a dying mode of relating in Australian culture. Using Goffman's dramaturgical model, the views of three generations of men are used to qualitatively explore three proposed sites of transformation in men's same-sex friendships. First, the shift from unquestioning group loyalty to individualistic, transient and contingent relationship choice; second, the move from guarded levels of disclosure to open expressiveness and willingness to display vulnerability; and finally the evolution from expecting and giving only practical support to providing both practical and emotional support. The narratives of the middle-aged cohort are used to illustrate the various role-distance strategies that were used to resist and rework gender scripts. The article concludes that, although the parameters of acceptable gendered behaviours in Australian men's friendships are expanding, they have not yet reached the breadth and depth found in 'pure' friendships, but could be described as a new type of mateship: neo-mateship.

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.