Elevers uppfattningar av vad man bör uppnå efter avslutad kurs i Idrott och Hälsa A : En studie av två gymnasieskolor i årskurs 2 – ett elevperspektiv

The purpose of this work is to see if the students, on two separate high schools, understand what skills you should achieve after completing the course in physical education and health A 100 points. The entire study is based on a student perspective. In order to best answer the purpose, the questionnaire used in the "available groups" in schools. The questions for the work are: To what extent and how students perceive what they should achieve after completing the course in Sport and Health A?, Which is the goal, based on the curriculum in Physical Education, that students feel are important to achieve? and how do a comparison like between these two schools on the basis of what students perceive that they must achieve in Sport and Health A?The result shows that the main goal that finds support in the course objectives is an assertion; Has knowledge of what to eat to maintain or improve health, which over 90% of students had checked in. The least important goal was the claim 14; Know woods and fields and carry out outdoor activities, as 30% of students had checked in. The most important goal that does not find support in the course objectives is claim 10; to be reversed to the lessons, which was 88% in response rate among students. Here was the least important goal, claim 6; to be skilled in various ball games, which received 17% of student responses. The findings revealed that there is a clear health perspective in physical education in the studied groups at the two schools, one can also see that there is an uneven distribution of the elements included in the curriculum of Sport and Health A, and the outdoor life and dance is rare in the teaching of the groups studied at the two schools. Finally, it appeared that the lesson content and teaching are likely to have a significant role in student perceptions of course goals.

Resuming the dialogue: rhizomic actualisations

Since 1996, we have organised conferences on the discourse of the arts. The conferences have, in turn, led to a journal entitled Double Dialogues, the first of which was in hard copy under the sole editorship of Ann McCulloch and has been distributed internationally. After innumerable obstacles, we decided to situate articles, essays, exhibitions, and the like, from both these conferences and contributions related to our themes from interested parties, on-line. This refereed electronic journal deals with the discourse and practice of the arts, ranging across the visual arts, film, multi-media, dance, music, creative writing and theatre. Our decision to do this is manifold, but one of the reasons has been determined by our wish to become part of a global debate. We recognise that our interests are ones that are being experienced within academic institutions and art-centres world-wide. Before exploring the central theme of this Issue, perhaps we ought to contextualise it in terms of a journey over the last six years and into the future.

Kim's style guide for the kinaesthetic boffin: an exercise in anti-communication

The following article refers to a performed paper, Did the Paradigm Shift for You, Darling? given as a collaboration between John Cumming, Yoni Prior, David Ritchie and me at the Double Dialogues Conference, Lines of Flight, at Theatreworks in Melbourne, November, 1997. The performance involved the staging of a mock analysis of a section of my choreographic work, Kim’s Style Guide for the Kinaesthetic Boffin, by three fictitious ‘critics’. The performance functioned as an implicit critique of three different approaches to interpreting dance. This article explores a theoretical position which supports that critique.

Cross cultural engagement: teaching African music to Australian students

This paper reports on research that examined the effectiveness of introducing rhythmic concepts through an unfamiliar musical genre to Australian generalist prim my teacher education students. The genre selected was African music, in particular action songs, dance and instrumental improvisation. The methodologies of Orff, Kodaly and Dalcroze were taught through the repertoire of African music in order to foster a closer relationship between pedagogical theory and practice and to teach rhythm through cross-cultural engagement. Through analyses of questionnaire and interview data, it was demonstrated that African music had a positive effect on students' conjidence as non-specialists music teachers and enhanced their skills in staff, sol-fa, hand notation and performance. Also students were not only highly motivated to engage with this new musical genre, but also gained an increased understanding of African culture. It is argued that African music was perceived by students not so much as a "novelty", but as a source of genuine motivation, interest and enjoyment. Its potential for extending student understanding of rhythm as well as taking a significant step towards internationalizing the curriculum for a cohort of predominantly Anglo-Celtic, pre-service teachers is also explored.

Digital alchemy : two experiments in form processing

Programmatic form-finding and the visual analysis of creative works (architecture, sound, sculpture, painting, music or dance) can be combined to develop “alchemical” processes for the computational exploration of form. This paper reports two project-based form exploration experiments using such a process. The first experiment develops a process for capturing, manipulating and generating form based on a piece of dance choreography. The second experiment explores the decompression of space and architectural elements encoded within the Duchamp painting “Nude descending a staircase”. A discussion for incorporating programmatic strategies and for developing an innovative approach to conceptual form processing based on the language of geometry is presented.

Scenes from another life (the paper)

What is my dance now? My body is saturated with images and details. My choreography has become an exorcism of ghosts of “opening-nights past” as I dance out memories and events inscribed on my body. A chorus of my other selves now accompanies my stage performance, live and virtual, real and imagined, past and present.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

Injecting early years teaching with a strong dose of multiliteracies

Tech-savvy children elaborately dance through a myriad of informal and formal school and out-of-school literacy practices, sometimes leaving the adults who teach and care for them feeling like relics of yesterday. How can we harness what students bring to learning and reconcile that with what we have traditionally taught this age group? How do we leave our comfort zones and design meaningful experiences which transform learners (both young and not so young)?

Simulation to practice: developing nursing skills in mental health: an Australian perspective

A variety of developments in nursing education in Australia including some innovative and exciting models, educational enterprises between education and industry, and evidence of developing strengths in research and professional alliances on a national level have been discussed recently. This paper presents Simulation to Practice as an example of an educational program that can maximise skill mastery for nurses in mental health fields as practised by Deakin University in Victoria, Australia. The program is multimodal and is under-pinned by a problem-solving approach and has an online presentation. The extension of nursing skills through this approach encourages nurses to take theoretical skills to practice during these scenarios which help student nurses to gain experience through simulated real life characters. These sessions, while challenging at the time, were highly valued by students and seen as a beneficial part of their learning as a beginning nurse and often instrumental in moving comprehensively trained students into mental health careers.

Experiential learning in practice as research: context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.

In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

High culture, high context: online strategies of indigenous cultural enterprises

Indigenous Australians experience a great demand for their culture, but do not benefit sufficiently from its commercialization. Recent developments in digital and Internet technology have presented new commercial opportunities for mainstream enterprises and for greater interaction between global cultures. Indigenous Australians recognized these opportunities and have adopted Internet technology across a range of sectors. Very little is known about Indigenous -owned enterprises and their e-commerce practices, particularly in the lucrative cultural sector. This paper draws on a national online survey and enterprise case studies to examine approaches to, and perceptions of Internet commerce in Indigenous-owned culture sector enterprises. Cultural products (such as art, craft, dance, theatre and cultural tours) are not traditionally aligned with e-commerce which favours intangible and standardised, easily comparable products. However some Indigenous enterprises have been highly successful at increasing income and viability through the online medium. Because of the complex preconditions for selling Indigenous culture, transactions are rarely conducted fully on the Web. The research found that in examples of successful Indigenous e-commerce, cultural enterprises first establish social and cultural contexts before achieving economic gains. Social contexts are built online through relationships and communication, which underscore reputation, and transactions as 'experiences'. Online construction of a product's cultural context is used to ensure 'authenticity', which can act as a subtle alternative to online branding and trust.

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.

Dancing with Mr. Penrose and other stories

Stories: Fallen Angel The Inheritance Schlog's Dance The New World Dancing With Mr. Penrose