A gallery walk: 'drawing out' understandings of collaborative self-study in teacher education

The Collaborative Reflective Experience and Practice in Education (CREPE) Research Group formed mid 2014 as a group of eight teacher educators interested in working collaboratively to improve our teaching practice through self-study methodology. Located at distance across the three campuses of Deakin University in Victoria, Australia and from the disciplines of mathematics, science, visual arts, performing arts, and curriculum and pedagogy, we aimed to better understand, improve, and share our practices as teacher-educators. While a few of us had engaged in self-study previously, all were comfortable with observing some kind of professional reflective/reflexive practice. We shared the intention of engaging in the scholarship (teaching practice and research) of self-study methodology via community of practice approaches, focusing on our collaborative (overarching) research as well as engaging in focused research simultaneously. It is our efforts towards collaborative research that are the subject of this chapter.

Dance interrogations—the body as creative interface in 'live screendance'.

Dance Interrogations explores ways to bridge the gap between viewing screendance and the embodied experience of engaging with live performance. Through the production of a series of performance/screendance events, this research project rethinks and reworks understandings of the body, how it is represented and our relationships with and within it.

The Movement between: Dance improvisation, witnessing and participatory performance.

This was a practice-based project which extended the possibilities for dance improvisation in performance. The project engaged questions about how live performance is constituted, about what the roles of the dancer and audience might entail, and about how a community of common experience can develop through a responsive exchange between its participants.

Wayne McGregor's choreographic language agent

The paper notebook with its companion pencil or pen is a creative tool for many contemporary choreographers and their dancers. Using the notebook affords a relationship with a set of external objects inscribed “on the page” in the form of drawn sketches, notations, and diagrams combined with text (Blackwell et al.). This relationship can be described in cognitive terms, for example, where the page becomes a surrogate for working memory, or a way for seeing something new by modeling structures or processes. The notebook in this sense becomes a site for the encounter of cognition and creativity, providing a place for thinking generatively with external objects (sketches, notations, etc.), an idea this essay will revisit.

Supplement to A Teacher’s Guide to African American Historic Places in South Carolina : integrating art into classroom instruction

Within this booklet, teachers will find instructional resources covering a wide array of genres, including, dance, choral music, general music, instrumental music, media arts, theatre, and the visual arts. These lesson plans are explicitly designed to integrate artistic expression and comprehension with other academic disciplines, such as English, History, and Social Studies. Each submission highlights the grade level, artistic genre, sources, learning objectives, instructional plans, and modes of evaluation. This Arts Integration Supplement to the Teacher’s Guide to African American Historic Places in South Carolina outlines 22 lesson plans that meet the 2010 Visual and Performing Arts Standards of South Carolina and integrates the arts into classroom instruction. Where applicable, other standards, such as those for math and social studies, are listed with each lesson plan. The teaching activities in this supplement are provided to aid in the development of lesson plans or to complement existing lessons. Teaching activities are the simplest means of integrating art in classroom instruction.

El ejercicio y el desempeño musical: doce semanas de actividad física mejoran la capacidad de ejecución de un instrumento musical en estudiantes de conservatorio

Con el fin de evaluar los cambios que produce un programa de actividad física en la percepción que tienen los músicos sobre su capacidad de ejecución de un instrumento musical, se realizó una intervención con un programa de actividad física basado en la técnica Pilates, durante 12 semanas, en el Conservatorio de Música de la Universidad Nacional de Colombia, con estudiantes del programa de música instrumental. Se midieron parámetros de la aptitud física (capacidad cardiorrespiratoria, fuerza, flexibilidad y composición corporal) y de la percepción de la capacidad de ejecución (fatiga muscular, nivel de esfuerzo, dolor y fluidez) antes y después de la intervención. Los resultados arrojaron cambios positivos en la aptitud física logrando un aumento significativo en la flexibilidad y resistencia de los miembros inferiores en 14 participantes (70% de la muestra), y en la percepción de la capacidad de ejecución instrumental con el retraso en la aparición de la fatiga muscular mientras se está ejecutando el instrumento (30 minutos en promedio). Esto permite a los músicos abordar un repertorio extenso con menor fatiga, minimizando el riesgo de lesión o alteraciones musculo-esqueléticas que influyan directamente en su desempeño técnico y artístico.

Australian horror movies and the American market

In Australian cinema since the mid-2000s, horror has become a popular and at times commercially viable genre for low-budget and emerging filmmakers targeting international markets. While the annual horror film output of Australia pales in comparison to that of other Anglophone nations like the United States, Great Britain, and Canada, it has produced several significant titles that have performed moderately well at the international box office, from Wolf Creek (Greg McLean, 2005) to Daybreakers (Michael and Peter Spierig, 2009). Yet as part of a broader tradition of Anglophone horror cinema, many Australian horror movies have been heavily influenced by US and to a lesser extent British horror films. Furthermore, Australian horror film production is largely an internationally-oriented sector that relies on its relationships with overseas distributors and often investors. Consequently, the content and style of Australian horror movies have regularly been tailored for international markets. As a direct consequence some filmmakers have sought to trade on the “Australianness” of their product, others have attempted to pass off their films as faux-American, while others still have attempted to develop placeless films effaced of national reference points. This chapter examines local production as part of a broader tradition of Anglophone horror cinema, the influence of US horror movies, and the limitations of the domestic marketplace. The article concludes with an analysis of how the lure of the US market influences Australian filmmakers’ textual strategies.

Cultural sustainability of the arts through cross cultural market segmentation

The cultural characteristics attributed to individuals in their country of birth are likely to change through immigration and acculturation processes taking place in the host country. Immigrants are likely to develop their own unique cultural styles through a blending of their old culture and the host culture. With slightly less than half of the population born overseas or with at least one parent born overseas, and with some 200 languages Australia has one of the most cosmopolitan populations in the world, with a relatively small population of 20 million. This paper considers the cross cultural nature of the Australian population and the sustainability of culture through the Arts. This paper also considers the marketing of the arts from a cross cultural segmentation perspective. In so doing the paper identifies segmentation issues associated with cross cultural segmentation.