Measuring nursing competencies in the operating theatre: instrument development and psychometric analysis using Item Response Theory

BACKGROUND: Concern about the process of identifying underlying competencies that contribute to effective nursing performance has been debated with a lack of consensus surrounding an approved measurement instrument for assessing clinical performance. Although a number of methodologies are noted in the development of competency-based assessment measures, these studies are not without criticism. RESEARCH AIM: The primary aim of the study was to develop and validate a Performance Based Scoring Rubric, which included both analytical and holistic scales. The aim included examining the validity and reliability of the rubric, which was designed to measure clinical competencies in the operating theatre. RESEARCH METHOD: The fieldwork observations of 32 nurse educators and preceptors assessing the performance of 95 instrument nurses in the operating theatre were used in the calibration of the rubric. The Rasch model, a particular model among Item Response Models, was used in the calibration of each item in the rubric in an attempt at improving the measurement properties of the scale. This is done by establishing the 'fit' of the data to the conditions demanded by the Rasch model. RESULTS: Acceptable reliability estimates, specifically a high Cronbach's alpha reliability coefficient (0.940), as well as empirical support for construct and criterion validity for the rubric were achieved. Calibration of the Performance Based Scoring Rubric using Rasch model revealed that the fit statistics for most items were acceptable. CONCLUSION: The use of the Rasch model offers a number of features in developing and refining healthcare competency-based assessments, improving confidence in measuring clinical performance. The Rasch model was shown to be useful in developing and validating a competency-based assessment for measuring the competence of the instrument nurse in the operating theatre with implications for use in other areas of nursing practice.

Building audiences for Indigenous theatre : a case study of Kooemba Jdarra

This paper uses audience research data to examine the positioning of Indigenous theatre in the Australian theatre environment. Kooemba Jdarra is an Aboriginal theatre company in Brisbane, Australia, with a distinguished history of developing Aboriginal artists, writers and directors. However, it has struggled to maintain its positioning because of the perceived risks of participation by audiences who prefer to see Indigenous theatre within the program of the mainstream state theatre company. The paper concludes with strategies for decreasing risk for audiences and for greater advocacy by the company in positioning itself in the mainstream Australia theatre environment.

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.

Recent indigenous theatre in Australia:the politics of autobiography

Over the past decade Australian theatre has seen an increased profile for works written and created by Indigenous artists. This paper looks at the development of Indigenous theatre in Australia and considers how increased mainstream production opportunities have facilitated this expansion of Indigenous theatre practice. Based on the textual analysis of a number of key works, this paper looks at the development of the one-person show as the dominant genre for Indigenous theatre practices, and investigates the relationship between autobiography and the celebration of ‘otherness’. This study argues that this theatre work represents a shift away from conventional representations of Aboriginality towards a more self-determined expression of political identity.

Sharing and speaking about African music : professional development with Swaziland primary school teachers

The teaching and learning of Indigenous African music is characterised as a holistic integrated experience where music, dance and theatre are inseparable, seen as an integral part of culture. The transmission of this experience is absorbed through participation in cultural activities from childhood in the community. In African societies, both traditional and contemporary, musical arts education and the understanding of culture are fundamental to life, community and society. It is through musical arts, that Africans embrace spiritual, emotional, material and intellectual aspects and knowledge of both the individual and the community. This paper reports on an in-service program (August 2006) offered at the Centre for Indigenous African Instrumental Music and Dance Practices (CIIMDA), Pretoria, South Africa. For the purpose of this paper, the one week professional development course undertaken by generalist primary school teachers from Swaziland is highlighted and proves worthy for these teachers to implement what they learnt in the classroom. As a position paper, I contend that the understanding and participation in indigenous cultural musical arts practices, enlightens learners about their cultural heritage and further enriches their understanding of African music and dance that can be adopted, adapted and applied to primary schools in Swaziland. This paper summaries some key findings of interview data from ten participants in relation to the intensive program. By offering such in-service professional development programs, teachers are able to reach their wider communities where they will continue to share and speak about African music, dance and culture.

Arts marketing : a new tool for development of the arts sector in the market context in Vietnam

Since the economic reform in Vietnam in 1986 provided more artistic and financial autonomy, the arts community has had more opportunity to develop. It has hence become necessary for arts leaders to obtain management and marketing skills to adapt to the new competitive environment. This necessity became vital when the Vietnamese government sought to tackle the problem of inadequate state funding for arts organisations through its policy of socialisation. This paper sets out to examine how performing arts organisations in Vietnam apply arts marketing strategies to adapt to the market context via empirical data from the cases studied: Vietnam National Symphony Orchestra and Hanoi Youth Theatre. Further, it identifies implications for the development of the sector. Findings indicate that Vietnamese performing arts organisations focus on the role of marketing for organisational development, although there are a lack of resources and a limited knowledge in this area. Thus, training in arts marketing and arts management is needed to maximise capacity of arts leaders in managing their organisations in the changing context.

Gender and national identity : the people's theatre in the Philippines (1967-2000)

The Philippine Education Theater Association (PETA), the People’s Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering People’s Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the People’s Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the People’s Theatre and have nurtured its development as a consciousness raising educational tool.

Artspeak : articulating artistic process across cultural boundaries through digital theatre

In early 2009, researchers in the English Department of the University of Amsterdam collaborated with researchers in the Drama Department, Deakin University, Australia on a project which brought English as a Second Language students from The Netherlands into the rehearsal studio of Australian students engaged in play-building on Australian themes. The project aims were multiple and interconnected. We extended a language acquisition framework established by the Dutch investigators in previous collaborations with the Universities of Venice and Southampton, and combined this with an investigation of ways to harness technology in order to teach Australian students to communicate with and about their art. The Dutch language students were prompted to develop art-related language literacy (description, interpretation, criticism), through live, video-streamed interaction with drama students in Australia at critical points in the development of a group-devised performance (conception, rehearsal, performance). The Australian student improved their capacity to articulate the aims and processes which drove their art-making by illuminating the art-making process for the Dutch students, and providing them with a real-life context for the use of extended vocabulary whilst making them partners in the process of shaping the work. All participants engaged in the common task of assessing the capacity of the art work produced to communicate meaning to a non-Australian audience.

e-learning through digital theatre : breaking down the tyranny of distance and limits of location

In this article, we report on a cross-disciplinary, cross-cultural digital exchange project between Australian Drama and Education students and Dutch English Language and Culture students, and examine the impact of the place-independent, technology-mediated communications and collaboration on their learning trajectories. The intensive, intercultural collaboration between the two groups of students resulted in a 50-minute group-devised, digital theatre play entitled Quarter Acre Dreaming. This play, performed through live interactive media by both Dutch and Australian students, traced the historical development of the Australian suburb, while integrating scenes of Dutch immigration into Australia. In the creative process, the students on either side of the globe interacted through Computer-Mediated Communication (CMC), and used videoconferencing and Skype for live rehearsals and discussions to advance their learning of English, their performance repertoire and cross-cultural understanding.

Evaluating The Scared Cool project : understanding peacemaking through creativity and personal development in Timor-Leste

This article presents an evaluation of Scared Cool, a physical theatre project for young people in Dili, Timor-Leste. The project was hosted by non-government organisation Ba Futuru as part of their ongoing efforts to promote peace and conflict resolution in that new nation. Qualitative interviews and focus groups were undertaken with a range of stakeholders: participants; staff; the host organisation; audience members and the wider community, to determine their perceptions about project outcomes. The article also describes the ‘theories of change’ that leaders used to guide their work, and issues arising from the data.
The Scared Cool initiative appears to provide significant cultural and social benefits for the young participants. These include development of capacity for artistic expression, creative and analytic thinking, confidence and English language skills. There were also benefits to other stakeholders including audience members. These included the enjoyment of attending a live performance, and the potential for trauma resolution and positive relationship building. This study confirms the potential for participatory arts projects to assist with the positive development of young people in highly disadvantaged communities. In so doing, such projects can contribute to positive social change by assisting the resolution of trauma and violence.

Multimodal theatre experiences : Africa and 2 dimensional life of her

Australia’s theatre for young audiences (TYA) has concentrated on young people’s interest in techno-savvy narrative complexities since the early 1990s, and has done so with positive outcomes. Building from a reflective inquiry, which is based on a TYA practitioner’s viewpoint, I explore two Australian contemporary theatre productions for mixed audiences: My Darling Patricia’s Africa (2011) and Fleur Elise Noble’s 2 Dimensional Life of Her (2011), which utilize old and new technologies for differing purposes. I present the following article in two parts: The first section briefly contextualizes TYA plays in Australia using digital technologies, along with a review of the literature that introduces an ongoing dialogue about digital media in theatre. The second part showcases the creative development process and the synopsis of Africa and 2 Dimensional Life of Her before I discuss the use of old technology in Africa in the form of a techno-tele-character, and the impact of new technologies in 2 Dimensional Life of Her as a transmediated theatrical occurrence. Recommendations are made for ways that TYA practitioners might consider mixing old and new technologies with the live to compete in the cultural marketplace.

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.