Enhancing the capacity of kin caregivers and their families to meet the needs of children left behind

Based on qualitative research of the experiences of 23 kin caregivers and five school personnel, this article explores the role of informal kinship care in addressing the needs of school-age children left behind in rural China. The findings of this study suggest that kin caregivers' child-rearing capacity is limited in the rural context, and they are often overwhelmed by children's diverse and complex needs, particularly their emotional ones. In view of the huge population and their vulnerability, it is imperative for the state to take up its responsibilities and develop specific social work services and other support for children left behind and their families. 根据对23位亲属照顾者和5位学校人员的质性研究，文章探讨在处理中国留守学龄儿童的需要时，非正式亲属照料所担当的角色。研究发现，在农村的亲属照料者的抚养儿童能力有限，而且他们时常在面对儿童众多复杂的需求时应接不暇，问题又以情绪需要尤甚。有见于留守儿童的数目众多和易受伤害，政府急切需要承担相关的责任，为留守儿童及其家庭发展专门的社会工作服务和其他支援。

Using informative priors in the estimation of mixtures over time with application to aerosol particle size distributions

The issue of using informative priors for estimation of mixtures at multiple time points is examined. Several different informative priors and an independent prior are compared using samples of actual and simulated aerosol particle size distribution (PSD) data. Measurements of aerosol PSDs refer to the concentration of aerosol particles in terms of their size, which is typically multimodal in nature and collected at frequent time intervals. The use of informative priors is found to better identify component parameters at each time point and more clearly establish patterns in the parameters over time. Some caveats to this finding are discussed.

Helpline Discourse

Helplines are services where callers can request help, advice, information, or support. While such help is usually offered through telephone helplines, web chat and email helplines are becoming increasingly available to members of the public. Helplines tend to offer specialized services, such as responding to computer software queries, or medical and health issues, or seeking information about natural disasters. Further, they may be aimed at particular populations such as children and young people. The earliest research investigating discourse in calls to helplines in social interactional research began in the 1960s with Sacks’ early work on calls to a suicide prevention center. Since then interactional research has produced a wealth of understandings into the mundane and institutional interactional practices through which help is sought and delivered. In addition to discussing the breadth of research into helplines, this entry explores the relationship between philosophies and interactional practices of helpline services.

Australian eco-pastoral poetry

Les Murray and Judith Wright are two Australian poets who are widely read as landscape poets. While this framing offers valuable insights into their work it often fails to bring the importance into a contemporary context or to recognise the long tradition Australia has had with , to use Leo Marx’ term, “the complex pastoral”. As Ruth Blair reminds us in her chapter “Hugging the Shore: The Green Mountains of South-East Queensland” in The Littoral Zone: Australian Contexts and their Writers it is accepted that North America has a tradition of the complex pastoral mode but it should be remembered that Australia also has a long history of this form. Both Judith Wright’s and Les Murray’s poetry encourages active campaigning for the environment .These Australian poets are eco-pastoral poets whose poetry encourages active reading rather than passive reflections. Their poetry speaks to the strong connection between the lived everyday landscape and the imagination of past, present and future. Their work is imbued with a strong sense of ecocritical awareness while at the same time drawing on pastoral conventions. These two Australian poets do not offer idealistic pastoral notions but rather reveal the complexities of lived human/nonhuman relationships. This paper will discuss these complexities and how poetry can be experienced as literature in action—ways for readers to connect with and negotiate with the land they inhabit. The research for this paper was, in part, drawn from the responses that local community library groups offered after reading the works of these poets. What became evident from this research was the way the poetry made the readers think not only of landscape as a place of refuge from the urban technological world but also as a contemporary place with connection to agency that motivates readers into active change.

A Statutory interpretation EXperience : putting the SEX into statutory interpretation

With the growing proliferation of statute laws, the skill of statutory interpretation is an increasingly important aspect of legal practice. Despite the importance, statutory interpretation can be a challenging area of law to teach to undergraduate law students, who may find the topic dry and disengaging when taught through traditional methods. Such disengagement may adversely affect knowledge retention, particularly if the material is taught in the first or second year of study and not explicitly reinforced in subsequent years. Concern over the present standard of statutory interpretation skills being exhibited by practitioners, has prompted the Chief Justice of the Supreme Court of Queensland to contact law schools, enquiring how and to what extent statutory interpretation is being taught...

Investigating the school experiences of girls whose parents are separated or divorced : implications for practice

The study investigated the school experiences of girls whose parents are separated or divorced. The case study, conducted in a metropolitan, all-girls Catholic school in Brisbane, drew upon theoretical understandings from childhood studies and children's rights to reveal the school experiences of participants, from their own perspectives. Findings showed that students express emotions about their families while at school, are active agents in their own learning, and seek teachers' understanding of their situation, while respecting their family's privacy. The research points to the need for strengths-based, resilience-building strategies in schools, for an inclusive culture of respect for family diversity, and for understanding of students' transitions between households and family types.

Good choices, great future : an applied theatre prevention program to reduce alcohol-related risky behaviours during Schoolies

Introduction and Aims. The contextual and temporal factors of post-school celebratory events ('Schoolies') place young people at elevated risk of excessive drinking compared with other social occasions. This study investigates the impact of an applied theatre prevention program 'Choices' in reducing the risk of drinking and other risk behaviours during Schoolies celebrations. Design and Methods. Choices was delivered in the last term of Year 12 across 28 North Queensland schools. A total of 352 school leavers (43.1% male, mean age=17.14years) completed a questionnaire at Whitsunday Schoolies, Queensland, Australia on 23-24 November 2010. Nearly 49% of respondents had attended Choices. The survey included measures of alcohol use, illicit drug use and associated problems during Schoolies and a month prior to Schoolies. Results. After controlling for gender and pre-Schoolies drinking, school leavers who attended Choices were significantly less likely to report illicit drug use (OR=0.51, P<0.05) and problem behaviours (OR=0.40, P<0.01) than those who did not attend Choices. There was, however, no intervention effect in risky drinking (i.e. drank on 5 or more days, typical amount five or more standard drink and binge drank on 3 or more days) at Schoolies (OR=0.92, P=0.80). Discussion and Conclusions. Delivery of a youth-specific applied theatre prevention program employing a harm minimisation framework may be effective in reducing high-risk behaviours associated with alcohol consumption at celebratory events, even if young people expect to engage in excessive alcohol consumption. [Quek L-H, White A, Low C, Brown J, Dalton N, Dow D, Connor JP. Good choices, great future: An applied theatre prevention program to reduce alcohol-related risky behaviours during Schoolies. Drug Alcohol Rev 2012;31:897–902]

Experience has no shadow : Bell tower III

I created Experience Has No Shadow (2010) following a successful Ausdance Qld choreographic grant in 2010, which comprised of two solos and a video-dance at the Performance Space at the Judith Wright Centre. The aim of the Bell Tower III residency was to research and construct a Stage One Development that explored choreographic approaches to oral histories. Like many first generation Australians, oral histories are the way memories and experiences of distant homelands often offer the only connection to cultural origins. Consequently, I drew on auto-ethnographic references in the form of family stories – specifically those of my mother’s family - told and retold by my mother and her family as East German refugees during World War II. While working on the video, I explored a way to make a direct connection to the past stories by using a recording of my mother’s voice. She is re-telling a favourite story about Salamo the circus horse that was sold to my great grandfather as a work horse. Rather than representing the text literally, I attempted to capture the intensity of the storytelling which accompanied abstract footage of Avril Huddy filmed through perspex glass producing animal-like shapes that continually blur and morph in and out of focus. Strangely, by tying the story in with the filmed images a whole new story seems to emerge. Two distinct solos were created in collaboration with the performers, Expressions Dance Company’s Elise May and QUT’s Avril Huddy. These were performed at the Judith Wright Centre for Contemporary Arts, Performance Space, 1st April, 2010. The simplicity of its design became a key concept behind the work in terms of sets, spacing requirements, and costumes – almost minimalist. The choreographic process was conceived as highly collaborative, with commissioned music (and eventually lighting features) to act as equal partners in the performance.

Clipped

Clipped was a solo developed from a showing of Stage One Creative Development: Experience Has No Shadow at the Judith Wright Centre for Contemporary Arts in 2010. The solo was choreographed for EDC dancer Elise May as part of EDC Solo Festival 2011. The solo showcased the twisting movement of the dancer, feminine and awkward, sensual and fragile, carving abstract images through the space. In the Courier Mail dance critic Olivia Stewart commented, “Artistic director Natalie Weir and Vanessa Mafe retrospectively gave EDC’s Riannon McLean and Elise May movement that harnessed their power and prowess” (2011, 54) In the The Australian dance critic Shaaron Boughen comments, “May's own performance in Vanessa Mafe's Clipped was mature and sophisticated, showing the breadth of skills that this young artist has developed” (2011, 19)

Paired back

Paired Back (2013) investigated the interpretation of text as a dance score. Specific words were used to trigger movement sequences. The performers, Avril Huddy and Jenny Roche, responded to spoken words with individual movement responses which were captured on video, reviewed and assembled as a duet. The musician Nicholas Ng, playing traditional Chinese instruments was also woven into the dancers’ choreography. This was achieved through choreographing a floor pattern that enabled him to weave through the space and ‘seemingly’ interact with the dancers’ actions. Projections using motion capture were also explored and sequenced with the actions of the dance. Retrospectively, I recognised my ‘intuitive’ use of text which I have mapped from its beginnings during the first rehearsal through to the performance at the Judith Wright Centre and demonstrated in DVD documentation. Consequently traces of this original ‘score’ used during the creative process are visible in final performance outcome. This has enabled me to reflect on the impact of language and instructions within my creative process.