Young Children, Pedagogy, and the Arts

"Young Children, Pedagogy and the Arts is an innovative text that describes practices and research that cross all five strands of the arts—visual, drama, music, dance, and media—and illuminates ways of understanding children and their arts practices that go beyond the common traditions. The book: - Offers practical and rich illustrations of teachers’ and children’s work based on international research that integrates theory with practice; - Brings a critical lens to arts education; - Includes summaries, reflective questions, and recommended further readings with every chapter. Young Children, Pedagogy and the Arts provides a more nuanced understanding of the arts through an exploration of specific instances in which committed teachers and researchers are discovering what contemporary multimodal tools offer to young children. Chapters contain examples of ‘doing’ the arts in the early years, new ways of teaching, and how to use emerging technologies to develop multiliteracies, equity, agency, social and cultural capital, and enhance the learning and engagement of marginalized children."--publisher website

How to Get a Research Degree

How to Get a Research Degree offers insight, instruction, and inspiration, and it does so without minimizing the rigors of postgraduate study. It honours and normalises the many trials of the research process, and in this provides a great service to students. The text includes: getting started; choosing a supervisor; managing your relationship with your supervisor; keeping your life balanced; managing your time effectively, the research thesis roller coaster; thesis design and construction; intellectual property;presenting papers and seminars; assessment and examination of the thesis; and, careering into the future.

Building Information Modelling : an international survey

Building Information Modelling (BIM) appears to be the next evolutionary link in project delivery within the AEC (Architecture, Engineering and Construction) Industry. There have been several surveys of implementation at the local level but to date little is known of the international context. This paper is a preliminary report of a large scale electronic survey of the implementation of BIM and the impact on AEC project delivery and project stakeholders in Australia and internationally. National and regional patterns of BIM usage will be identified. These patterns will include disciplinary users, project lifecycle stages, technology integration–including software compatibility—and organisational issues such as human resources and interoperability. Also considered is the current status of the inclusion of BIM within tertiary level curricula and potential for the creation of a new discipline.

Re-targeting choreographic enquiry through motion capture

This creative work is the outcome of preliminary experiments through practice aiming to explore the collaboration of a Dancer/choreographer with an Animator, along with enquiry into the intergeneration of motion capture technologies within the work-flow. The animated visuals derived from the motion capture data is not aimed at just re-targeting of movement from one source to another but looks at describing the thought and emotions of the choreographed dance through visual aesthetics.

Destination know-where : a road map of a PhD journey in theatre for young people

Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. This thesis investigates the contemporary practice within the field of Theatre for Young People. Pivotal to the study are three hallmarks of contemporary performance – shifting notions of performativity; convergence articulated in the use of technology and theatrical genres; and Umberto Eco’s realisation of openness in form and authorship. The thesis draws from theatre and performance studies, globalisation theory and youth studies. Using interviews of Theatre for Young People practitioners and observation of thirty-nine performances, this thesis argues that young people and Theatre for Young People companies are among the leaders of a paradigm shift in developing and delivering performance works. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent whom they are and what they want to say. Positioned as ‘cultural catalysts’ (McRobbie, 1999), ‘the new pioneers’ (Mackay, 1993) and ‘first navigators’ (Rushkoff, 1996) young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediatised forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres. The thesis considers the contemporary situation in relation to issues of performance making and performance delivery within a global, networked and technology-driven society.

Trait anxiety and coping strategies among ballet dancers

This study examined relationships between competitive trait anxiety and coping strategies among ballet dancers. Participants were 104 classical dancers (81 females and 23 males) ranging in age from 15 to 35 years (mean 19.4 years; SD 3.8 years) from three professional ballet companies, two private dance schools, and two university dance courses in Australia. Participants completed the Modified COPE scale and the Sport Anxiety Scale. Trait anxiety scores, in particular for somatic anxiety and worry, were significant predictors of 7 of the 12 coping strategies (wishful thinking, r2 = 42.3%; selfblame, r2 = 35.7%; suppression of competing activities, r2 = 27.1%; venting of emotions, r2 = 23.2%; denial, r2 = 17.7%; effort, r2 = 16.6%; active coping, r2 = 14.3%). Approximately 96% of dancers could be classified correctly as high or low trait-anxious from their reported coping style. No significant effects of gender or status (professional versus students) were found. Findings showed that high trait-anxious athletes tend to use more maladaptive, emotion-focused coping strategies compared with low trait-anxious athletes; a tendency that has been proposed to lead to negative performance effects. Dancers who are by nature anxious about performance may need special attention to help them to learn to cope with performance-related stress. Med Probl Perform Art 18:59–64, 2003.

Dr. Seuss and the "Great Balancing Act" : Exploring the Ethical Places You’ll Go Within Australian Sport, Exercise, and Performance Psychology

Stories by children’s writer Dr. Seuss have often been utilised as non-traditional narrative reflections regarding the issues of ethics and morality (Greenwood, 2000). Such case studies are viewed as effective teaching and learning tools due to the associated analytical and decision-making frameworks that are represented within the texts, and focus upon the exploration of universally general virtues and approaches to ethics (Hankes, 2012). Whilst Dr. Seuss did not create a story directly related to the sport, exercise or performance domains, many of his narratives possess psychological implications that are applicable in any situation that requires ethical consideration of the thinking and choices people make. The following exploration of the ‘ethical places you’ll go’ draws upon references to his work as a guide to navigating this interesting and sometimes challenging landscape for sport, exercise, and performance psychologists (SEPP).

Performance in the spotlight : exploring psychology in the performing arts

Sport and exercise psychologists are often sought after to apply their knowledge, skills and experience from a sporting context into other performance-related industries and endeavours. Over the past two decades, this has noticeably expanded out from a natural progression into the performing arts with other ‘typical’ performers (e.g., dancers, actors, musicians, singers) through to people who work in high pressure environments that consist of clear performance outputs and requirements that are usually linked to high impact consequences for non-achievement (e.g., lawyers, surgeons, executives, military personnel, safety professionals). Whilst these areas of application continue to increase in popularity and performance psychology is more readily recognised as an important factor in people performance across industries, the use of psychology within the performing arts continues to deepen and solidify its value as an essential and critical factor for success. This article focuses on the contribution of psychology to the performing arts that I have observed over more than 20 years – obtained through a variety of roles primarily within the dance sector including as performer, educator, health professional, researcher, commentator and senior leader.

Five minute call : where are you just before the curtain goes up

For any dancer, whether a student or professional, the five minute call is the final prompt to say ‘Get ready, you’re about to go on!’ It can be a time of cool confidence or a last minute rehearsal of steps; joking with colleagues to take your mind off the performance, or a period of overwhelming anxiety about everything that could possibly go wrong.

Join the party : networking for wallflowers

The LIS profession in Australia is a small world where connections are vital for career success and developing resilience. So what about those of us who feel like wallflowers at the party, always on the margins? It can be difficult for quieter souls to step up, get involved and build relationships. A major hurdle for many people, both introverts and extroverts, is figuring out how to proclaim their awesomeness to the world but in a way that is unique to them. The aim of this session is to inspire and challenge students, new grads and anyone who has a fear of networking to take risks and explore a different more social side of themselves without changing their personalities. This is a deeply personal topic with plenty of fear and self-image issues at stake. As well, most of us have had very few opportunities to find role models or a chance to practice in a comfortable environment. Therefore the authors will present strategies for success based on their personal experiences. We will demonstrate the actual benefits we have attained through our networking and volunteer activities. We hope that attendees will come away with some realistic strategies and goals to create lasting relationships with present and future colleagues such as we have enjoyed. Our networking tips may not transform you into the belle of the ball but you will have more confidence to get out on the dance floor and dance to your own beat.

Ingenious : Emerging Youth Cultures in Urban Australia

The book documents new findings on the contribution of migrant young people to Australia’s urban life. The essays collected traces teenagers within a world of city suburbs and P plates, shopping malls and chat rooms and text messages. Proud of their migrant backgrounds, they are moving away from explicit ethnically defined cultural groups to focus on their place in contemporary Australian society. These young people through their every day activities are redefining what it means to be an Australian The book is edited by widely published cultural researchers Melissa Butcher from the University of Sydney and Mandy Thomas from the Australian National University who together worked on the GENERATE project. It is far too common for our youth to be portrayed as not belonging to our dominant or mainstream culture. In Ingenious, the editors study the kaleidoscope of influences and environments our youth move within - online networks, dance parties and more - to paint a flexible, innovative generation.

Creating and expressing : information as-it-is-experienced

Music and dance are art forms that involve a full mind-body experience, integrating the cognitive, affective and kinesthetic domains. To engage in creating music and dance is to use information to express oneself and communicate. In this chapter I explore the information experience of two distinct groups: those who compose music for an audience, and those who dance socially with a partner. For the composer, information sources can be a stimulus for creation. Sounds, feelings, moods, images, ideas and life experiences can trigger a creative idea. These ideas are shaped by existing musical styles and structures, and by the composer’s personal aesthetic. The intention of the composer is to communicate their expressive ideas to an audience. For the social dancer, information sources are those used to communicate with a partner. There is no intention to perform for an audience. A social dancer aims to express the music and style of the dance while creating a strong connection with their partner. Information sources include the music, the partner’s body, the emotions generated by the dance, the position of other couples on the floor and the feeling of the floor. Use of information in the arts is an under-researched experience. Most information studies are based on the assumption that information is documentary and codified. Subjective and affective information is rarely recognised and legitimised. Information-as-it-is-experienced through creative practice such as music and dance is holistic in acknowledging mind, body and spirit as well as traditional documentary forms of information. This chapter draws on empirical research to illustrate experiencing information as creating and expressing.

Embodying multiplicity : the independent dancer's moving identity

In this article, I argue for an acknowledgement of the significance of the dancer’s role in the creation of independent contemporary dance. I propose the term ‘moving identity’ to outline the independent contemporary dancer’s ‘way of moving’ which could be perceived as the accumulation of various factors including training approaches, choreographic movement traces and anatomical structures. The concept of the moving identity allows us to appreciate the dancer’s unique signature movement style as the collation of embodied experiences into a unique way of moving. However, the moving identity is also open to change when the dancer encounters new choreography and the choreographer. Professional dance training produces particular types of dancers, depending on the techniques with which they engage. I demonstrate how the independent contemporary dancer troubles this distinctiveness by engaging with a multitude of movement styles and approaches throughout a career. This leads me to a fresh description of the dancer’s activity through the lens of Deleuzean concepts of multiplicity and de-stratification. Finally, I propose a definition of the dancer as a fluid and mutable body-in-flux with the creative potential to significantly influence the outcome of the choreographic process.

Modelling the flow of cane constituents through the milling process of a raw sugar factory

This thesis reports on an investigation to develop an advanced and comprehensive milling process model of the raw sugar factory. Although the new model can be applied to both, the four-roller and six-roller milling units, it is primarily developed for the six-roller mills which are widely used in the Australian sugar industry. The approach taken was to gain an understanding of the previous milling process simulation model "MILSIM" developed at the University of Queensland nearly four decades ago. Although the MILSIM model was widely adopted in the Australian sugar industry for simulating the milling process it did have some incorrect assumptions. The study aimed to eliminate all the incorrect assumptions of the previous model and develop an advanced model that represents the milling process correctly and tracks the flow of other cane components in the milling process which have not been considered in the previous models. The development of the milling process model was done is three stages. Firstly, an enhanced milling unit extraction model (MILEX) was developed to access the mill performance parameters and predict the extraction performance of the milling process. New definitions for the milling performance parameters were developed and a complete milling train along with the juice screen was modelled. The MILEX model was validated with factory data and the variation in the mill performance parameters was observed and studied. Some case studies were undertaken to study the effect of fibre in juice streams, juice in cush return and imbibition% fibre on extraction performance of the milling process. It was concluded from the study that the empirical relations developed for the mill performance parameters in the MILSIM model were not applicable to the new model. New empirical relations have to be developed before the model is applied with confidence. Secondly, a soluble and insoluble solids model was developed using modelling theory and experimental data to track the flow of sucrose (pol), reducing sugars (glucose and fructose), soluble ash, true fibre and mud solids entering the milling train through the cane supply and their distribution in juice and bagasse streams.. The soluble impurities and mud solids in cane affect the performance of the milling train and further processing of juice and bagasse. New mill performance parameters were developed in the model to track the flow of cane components. The developed model is the first of its kind and provides some additional insight regarding the flow of soluble and insoluble cane components and the factors affecting their distribution in juice and bagasse. The model proved to be a good extension to the MILEX model to study the overall performance of the milling train. Thirdly, the developed models were incorporated in a proprietary software package "SysCAD’ for advanced operational efficiency and for availability in the ‘whole of factory’ model. The MILEX model was developed in SysCAD software to represent a single milling unit. Eventually the entire milling train and the juice screen were developed in SysCAD using series of different controllers and features of the software. The models developed in SysCAD can be run from macro enabled excel file and reports can be generated in excel sheets. The flexibility of the software, ease of use and other advantages are described broadly in the relevant chapter. The MILEX model is developed in static mode and dynamic mode. The application of the dynamic mode of the model is still under progress.