Small acts of resistance : the role of intergenerational collaborative drawing in early childhood teaching and learning

This chapter focuses on ‘intergenerational collaborative drawing’, a particular process of drawing whereby adults and children draw at the same time on a blank paper space. Such drawings can be produced for a range of purposes, and based on different curriculum or stimulus subjects. Children of all ages, and with a range of physical and intellectual abilities are able to draw with parents, carers and teachers. Intergenerational collaborative drawing is a highly potent method for drawing in early childhood contexts because it brings adults and children together in the process of thinking and theorizing in order to create visual imagery and this exposes in deep ways to adults and children, the ideas and concepts being learned about. For adults, this exposure to a child’s thinking is a far more effective assessment tool than when they are presented with a finished drawing they know little about. This chapter focuses on drawings to examine wider issues of learning independence and how in drawing, preferred schema in the form of hand-out worksheets, the suggestive drawings provided by adults, and visual material seen in everyday life all serve to co-opt a young child into making particular schematic choices. I suggest that intergenerational collaborative drawing therefore serves to work as a small act of resistance to that co-opting, in that it helps adults and children to collectively challenge popular creativity and learning discourses.

The idea of women : representations of power in the work of Charles Bukowski

This thesis is a comparative textual analysis of Charles Bukowski's representations of power in relation to the idea of women. The exegesis explores Bukowski's idea of women and power as exemplified by the representational differences between his short stories for Hustler Magazine and his novel Women. The creative piece, a novel, "Many a Broken Hearted Woman" informed and was informed by this research.

The role of Non-Government Organisations (NGOS) in practising editorial photography in a globalised media environment

The news media industry has changed dramatically into a global business with ever-increasing attention being devoted to entertainment and celebrity across the last 10–20 years. There has also been a growing reliance on images produced by citizens (citizen photojournalism), by media outlets and publishers. It is widely acknowledged that in tandem these changes have shrunk publication opportunities for professional photographers undertaking editorial projects. As a result, photographers are increasingly relying on non-government organisations (NGOs) to gain access to photographing issues and events in developing countries and to expand their economic and portfolio opportunities. This increase in photographers working for and alongside NGOs has given rise to a new genre of editorial photography which I call NGO Reportage. By way of a case study, an exploration of this new genre reveals important issues for photographers working with NGOs and examines the constructed narratives of images contained within these emerging practices.

Artists in conversation, Jenny Roche (IRL) and Vicky Schick (USA)

Jenny Roche interviews renowned New York-based dancer Vicky Schick who danced with Trisha Brown from 1980 to 1986 and continues to create and perform in the New York dance scene. This article corresponded with the first visit of the Trisha Brown Dance Company to the Republic of Ireland and within an issue of Dance Research Forum of Ireland's 'Dance Notes' , which was dedicated to the Dublin Dance Festival 2012. The interview reveals Schick's creative practice with Trisha Brown from her perspective as a dancer, giving an insight into the exchange between choreographer and dancer in the studio.

A qualitative study of small-scale artist run 'Indie' music business in Brisbane

This study is an examination of three small-scale artist run music businesses based in Brisbane. The researcher embedded himself within these three environments over the space of three years, using participant observation and content analysis to establish the key motivations, theories, and ideas which drove these businesses. As a researcher participant the author also drew on his own experiences to interrogate those investigated by other researchers in the field, with the underlying key theories influenced by Pierre Bourdieu's writings on Small-Scale production. This study provides a fascinating insight into Brisbane music culture, in particular the independent music scenes.

Aha! The return of Alan Partridge

Throughout a long and occasionally distinguished career first as a television sports correspondent, then chat show host (dramatically ended by the accidental homicide of a guest live on air), then rebirth as a radio presenter at North Norfolk Digital, Alan Partridge has navigated the stormy waters of the British media landscape, now achieving mainstream success on the big screen with a starring role in Steve Coogan’s Alpha Papa (Declan Lowney, 2013). A man who in his desperation for a television series of his own once sank so low as to pitch a show called Monkey Tennis to the BBC finally finds his inner hero in a film which, while presenting mainly as comedy, also contains a biting critique of trends in the British media with which all journalists and media practitioners in general will be familiar. Alpha Papa is a nostalgic, elegiac riff on the pleasures and values of local radio the way it used to be, exemplified by North Norfolk Digital’s stable of flawed, but endearing jocks – Wally Banter, Bruno Brooks, Dave Clifton (who in one scene recounts the depths to which he sank as an alcoholic, drug addicted wreck—“I woke up in a skip with someone else’s underpants in my mouth. I can laugh about it now …”), and Pat Farrell. 50- something Pat is sacked by the new owners of North Norfolk Digital, who in their efforts to transform the station into a “multiplatform content provider” going by the more Gen Yfriendly name of Shape (“the way you want it to be”), wish to replace him with a younger, brattish model lacking in taste and manners. Out go records by the likes of Glen Campbell and Neil Diamond (“You can keep Jesus Christ”, observes Partridge after playing Diamond’s Sweet Caroline in a demonstration of the crackling radio repartee for which he is by now renowned, “that was the king of the Jews”), in comes Roachford. Pat, grieving his dead wife Molly, finally snaps and turns the glitzy media launch of Shape into a hostage siege. Only Alan Partridge, it seems, can step in and talk Pat out of a looming catastrophe.

From cinema to TV : still the same old stories about journalism

Television drama used to be the poor relation of the full length feature film made for cinema. No self-respecting movie star would be seen dead in the former, and successful TV actors rarely sustained careers of comparable brilliance in the film industry. Those days are gone, if a series such as House of Cards is any indicator of the trends.

UK church orders abuse inquiry

THE Church of England has ordered a formal independent investigation into the handling of child-sex allegations against a senior clergyman in Australia and Britain. Archbishop of York John Sentamu at the weekend commissioned the high-level inquiry into the alleged child sex abuse in the 1960s and 80s by the late Reverend Robert Waddington, and the church's response to complaints over the past 15 years. It comes as the head of Australia's Anglican Church, Archbishop Phillip Aspinall, flew to north Queensland to meet the region's bishop over the revelations, which centre on Waddington's stint as principal of St Barnabas boarding school at Ravenshoe, west of Cairns, and later as dean of Manchester.

Paired back

Research Statement from dancer: "This research is situated within my ongoing praxis, which explores the dancer’s role within the production of contemporary choreography through an elucidation of the first person perspective. This was a collaborative investigation with a group of artists and my specific research question focused upon the autopoietic unfolding of choreography and how the dancer is situated within this... " Research statement from choreographer: "This research is situated in the field of practice-led research, investigating choreographic practice. ‘The choreographic processes of many twentieth-century dance pioneers and innovators have been documented (Carter & O’Shea 2010; Foster 2010). In stark contrast, although seemingly primary to the act of choreography, the dancers’ experiences of the choreographic process have not been explored fully’ (Risner 2000, 156). The stock of choreographic literature is biased toward the choreographer-genius and the creative product (Penty 1998) and overlooks the dancer’s voice in the creative process (Risner 1992)..."