Dance for Parkinson's in Australia

Imagine entering a dance studio and seeing a group of male and female dancers hard at work creating a complicated pattern of concentric circles, moving gracefully to the strains of the Waltz of the Flowers from Tchaikovsky’s The Nutcracker. Or perhaps the dancers are tapping their toes, stretching their arms and smiling to the beats of Big Band classics. Concentration and joy fill the studio, yet for many of the participants this is their first experience in a dance class...

Biography and the project of labour history: Marxist anticipations and Australian examples

The popularity of biography among the general public and historians has been despite a theoretical ambivalence among historians about the validity of the project. This has particularly been the case for labour historians who aspire to write the history of a class rather than that of individuals. This article identifies two divergent traditions within labour biography, broadly defined as reflection on the role of the individual in historical movements. One, uniting traditional Marxists and labourists, regards individuals as no more than the symbol of a class. Examples are Karl Kautsky and in Australia Fin Crisp. Another, unites activist revolutionaries and revisionist social democrats, and argues that the individual can make a difference. Examples include Trotsky and in Australia the young Evatt and Gordon Childe. Political disillusionment encouraged both Childe and Evatt to move towards the determinist position. This article suggest that recent discussions of the inherently divided nature of the self may offer an alternative to both these positions.

Cross talk : collaborative indigenous life writing in Australia and Canada

This thesis argues that the critical reading of Indigenous life writing needs to move beyond its concern for power relations operating between the narrators and editors of collaboratively produced texts. It discusses the role of Indigenous families and communities in both the production and the reading of Indigenous texts.

Nature's line : George Goyder over South Australia

A biographical work presenting 19th century South Australian surveyor general and founder of Darwin, George Goyder, as a significant figure in colonial environmental history. Focuses on tracing the growth of experience and insight which enabled him to map, as Goyder's line, his insight into the importance of rainfall variability.

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.

The lived experience of volunteering in a palliative care biography service

OBJECTIVE: Many patients approaching death experience hopelessness, helplessness, and a depressed mood, and these factors can contribute to a difficult end-of-life (EoL) period. Biography services may assist patients in finding meaning and purpose at this time. The aim of our study was to investigate the lived experience of volunteers involved in a biography service in Melbourne, Australia, using a qualitative methodology. METHOD: The participants were 10 volunteers who had participated in a biography service within a private palliative care service. Each volunteer was interviewed separately using a study-specific semistructured interview guide. The transcripts of these interviews were then subjected to thematic analysis. RESULTS: Analysis yielded the following themes: motivations for volunteering; dealing with death, dying, and existential issues; psychosocial benefits of volunteering; and benefits and challenges of working with patients and their families. Our results indicated that volunteering gave the volunteers a deeper appreciation of existential issues, and helped them to be more appreciative of their own lives and gain a deeper awareness of the struggles other people experience. They also suggested that volunteers felt that their involvement contributed to their own personal development, and was personally rewarding. Furthermore, the results highlighted that volunteers found that encounters with family members were sometimes challenging. While some were appreciative, others imposed time limits, became overly reliant on the volunteers, and were sometimes offended, hurt, and angered by what was included in the final biography. SIGNIFICANCE OF RESULTS: It is hoped that the findings of the current study will provide direction for improvements in the biography services that will benefit patients, family members, and volunteers. In particular, our findings highlight the need to provide ongoing support for volunteers to assist them in handling the challenges of volunteering in a palliative care setting.

The emotional knots of academicity: a collective biography of academic subjectivities and spaces

The highly imagined and contested space of higher education is invested with an affectively loaded ‘knowledge economy optimism’. Drawing on recent work in affect and critical geography, this paper considers the e/affects of the promises of the knowledge economy on its knowledge workers. We extend previous analyses of the discursive constitution of academic subjectivity through the figuration of ‘emotional knots’ as we explore three stories of the constitution of academic subjectivities in institutional spaces. These stories were composed in a collective biography workshop, where participants constructed accounts of the physical, social, material and imaginative dimensions of subjectivities in the ‘academic-city’ of higher education spaces. Identifying moments of ‘perturbation’ in these stories, this paper considers the micro-contexts of ‘becoming academic’: how bodies, affects and relations become knotted in precise times and places. The figuration of ‘knots’ provides an analytical strategy for unravelling how subjects affectively invest in the promises of spaces saturated with knowledge economy discourses, and moments of impasse where these promises ring hollow. We examine the affective bargains made in order to flourish in the corporate university and identify spaces of possibility where optimistic projections of alternative futures might be formed. These stories and their analysis complicate the metanarrative of ‘knowledge economy optimism’ that is currently driving higher education reform in Australia.

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.