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Thermal cameras have shown to have utility in secondary school classrooms and undergraduate courses. In this paper, the author argues for their potential in the primary school classroom and presents a range of activities that can be undertaken with thermal cameras (or supplied images). With limited access in mind, the activities in this paper have been designed to be practiced in 'demonstration mode' with only one thermal camera or even by using a bank of existing photographs made available to teachers and students. Activities can be modified for individual use or for use in small groups if students have one-to-one access to the cameras.

This paper examines the interplay of creativity, education, and the expressive arts. We begin by presenting a narrative literature review focusing on the use of artistic tools to promote creativity, self-expressiveness, and meaningful aspects of emotional and social learning. This review reveals strong connections between the different components of this interplay, and a special attention is given to the use of arts to promoting creativity and meaningful learning. We then propose the Empowering Creative Education Model (ECEM), which aims to provide a practical framework for employing artistic tools in each of the model's four developmental circles: I, Us, Educational and Community. Each of the four circles includes unique aspects of personal development.

This paper explores children's understandings of Acknowledgement to Country practices and Aboriginal knowledges. Guided by the relational lenses of respect, responsibility and reciprocity, we conducted focus groups with children across five Australian early education centres. We found that Acknowledgement practices were evident through recitation of their Acknowledgement to Country, engaging with artefacts, and/or discussion of artworks. Secondly, children demonstrated emerging understandings about place names, the symbolic use of flags for places and people, and Australian plants and animals. Thirdly, Aboriginal cultures as living cultures were evident in temporal discussions about people and culture. Finally, imaginative play implied efforts to make sense of Aboriginal concepts and language. Across the study, children were active in experimenting with ideas in their own meaning making. Acknowledgement to Country was not a moment in the day; rather, it was embedded throughout the day through routines, storytelling, play and creative activities, all designed to foster learning.

Partnerships between schools, universities, and community organizations have mutual benefits for all involved. These partnerships value the contributions of all participants and capitalize on the expertise and knowledge that each brings. This reflective paper details a collaborative third-space partnership between a university, a primary school, and a community organization. The partnership facilitated the design, development, and implementation of a unique program called Project DARE (Dementia knowledge, Art, Research, and Education). A research-based evaluation of the Project DARE feasibility study can be found elsewhere (Burns et al., 2020). The aim of this paper is to reflect upon the formation of the partnership and the roles that each party played. It also discusses implications for the future development of third-space partnerships.

Initial teacher education programs regularly engage students in service-learning programs, providing an additional pathway to personal, professional and pedagogical transformation in their learning journey. One of those pathways is through service-learning placements in community arts projects. This paper reports on a study of arts-based service-learning programs at two universities. Eight initial teacher education (ITE) students were interviewed after their placements and a number of key themes emerged. These include the importance of productive discomfort as part of the service-learning experience and transformative pedagogy resulting from the art-based experience. This paper also explores some critiques of traditional service-learning models that have opened spaces for critical service-learning approaches. The analysis of ITE students' narratives led to findings about the path of transformation from traditional to critical service-learning approaches through arts-based projects, an area which has been largely unexplored in previous research. The paper concludes with discussion of future avenues for related research that orientate service-learning in the arts towards social and creative justice.

This paper reports on a transdisciplinary approach to science with a Year 4/5 class incorporating citizen science through the Birds in Backyards project. This transdisciplinary approach created opportunities for student engagement through science, mathematics, design and technology, humanities and social sciences (HASS), arts and English, while also creating meaningful connections to nature and the local environment.

The "Wandiny" creative gathering of Indigenous and non-Indigenous poets, artists, Elders, and participants across Australia actively sought to foreground First Nations voices, stories, poetry, art, and ontology. This paper presents the auto-ethnographic reflections from the event organisers, demonstrating that participation in a gathering that honours Eldership and Country is a profoundly personal and spiritual experience. Following a call-and-response format, the event promoted deep listening and responsive writing contributed to a cultural sense of being and understanding.

This article questions the use of the term 'siloed' to describe certain degrees or subjects in the Australian university curriculum. Education Minister Dan Tehan used the term as part of a justification of a re-set of funding priorities for university education from 2021 which he announced in June 2020. The Minister partly turned his argument on the floating of an impression that humanities degrees are 'siloed'. They or, more specifically, units within them, would become more expensive for students since 'job readiness' needs to be prioritised. The author analyses the term, its uses and applications to fields of knowledge, and concludes that such a term is neither accurate nor useful. He suggests that focusing on needs arising out of the COVID-19 pandemic might provide a less conflicted and future-oriented way of thinking about the problem rather than making superficial judgments of the merits of particular undergraduate degrees as a foundation for dictating education and education funding policy.

This paper examines a project that developed humorous, irreverent and subversive arts-based interventions into sexism in the academy. Two workshops were run with women currently working in teacher education in Australian universities. The researchers worked with the participants collaboratively and in line with feminist practices and methodologies to develop interventions that were performed at a large multidisciplinary educational research conference. The paper outlines the origins of the project, the feminist scholarship that inspired it, the methodological framework as well as a discussion about three of the interventions and demonstrates that sexism both (re)produces structural disadvantage for women in higher education as well as being characterised by a set of micro practices that shape the everyday experiences of women in the academy. Although this research is set within an Australian context, the paper acknowledges that sexism is systemic within higher education across contexts.

The need to articulate and validate creative practice has been made more urgent by the inclusion of the creative arts in the Excellence in Research for Australia (ERA) process. The proof of research quality is tied to government funding and universities have strategically sought to increase their share of funding by targeting their own research output. A variety of research fields have been working through their own unique methods and discussing the decisions of criteria, especially regarding the ranking of journals as a measure of quality. Traditional researchers are confronting problems within these new definitions and alignments. This author recently went through the ERA evidence gathering process. The measurement of creative work as research output as part of this process has raised a number of issues for him, as a creative scholar, which he feels will be useful to share. This paper is intended as a case study focusing on the author's experiences in being measured for the ERA. It is therefore, necessarily personal. He seeks to share the fruits of this encounter and subsequent analysis with creative and traditional researchers in the belief in common ground rather than difference.

This paper reports on the first large-scale quantitative investigation into collaboration, demonstrated in co-authorship, by Australian humanities, arts and social sciences (HASS) researchers. Web of Science data were extracted for Australian HASS publications, with a focus on the softer social sciences, over the period 2004-2013. The findings show that collaboration has increased over the last ten years, with strong intra-region collaboration concentrated on the east coast of Australia. International collaboration occurred most frequently with English speaking countries at vast distances from Australia. On average, fields in the social sciences collaborated at higher rates and attracted higher citations than humanities fields, but co-authorship of any kind was likely to increase citation rates. The results provide a snapshot of collaboration by Australian HASS authors in this time period and can be used as a benchmark to explore collaboration patterns in the future.

2020 has been marked by disruption on a global scale due to a range of compounding crises including the ongoing COVID-19 pandemic. Many community arts responses to the pandemic originated from individuals rather than by means of concerted or sustained sectoral responses. This paper uses reflections from Ireland, Australia, and Mexico to discuss the precariousness and vulnerability of the community arts sector and the artists and educators within it at this profoundly difficult time. We reflect upon some of the artistic and educational innovations and experimentations that have come about. We simultaneously examine the work of artists and arts organizations on a paradigmatic level by reflecting upon the role we play in perhaps involuntarily sustaining inequalities despite articulating a desire for change in the work that we do. We argue for the community arts sector to draw upon its imagination and bravery to reflect, assume responsibility, and recast the world into what we want it to be, rather than rebuilding the old, broken one in an attempt to return to what is perceived to be normal. Finally, in turning to arts education policy, we interrogate the barriers and enablers of change in the arts in a post-COVID world, discussing the influencing policy factors of sectoral weaknesses; individual resourcefulness and resilience; the desire for revolution; and the importance of love.

This paper reports on the experiences of creative practice graduate researchers and academic staff as they seek to comply with the requirements of the Australian "National Statement on the Ethical Conduct of Research Involving Humans." The research was conducted over a two-year period (2015 to 2017) as part of a wider project 'iDARE -- Developing New Approaches to Ethics and Research Integrity Training through Challenges Presented by Creative Practice Research'. The research identified the appreciation of ethics that the participants acquired through their experience of institutional research ethics procedures at their university. It also revealed a disjunction between the concepts of ethics acquired through meeting institutional research ethics requirements, the notion of ethics that many researchers adopt in their own professional creative practice and the contents of professional codes of conduct. A key finding of the research was that to prepare creative practice graduates for ethical decision-making in their professional lives, research ethics training in universities should be broadened to encompass a variety of contexts and enable researchers to develop skills in ethical know-how.

This paper discusses a research project that aims to address the binary/irony of the central physical and teaching space that women casual academics inhabit within Australian universities, against their lack of presence in the existing discourses around higher education. The invisibility of women casual academics within the discourses around higher education generally, and scholarship around sessional staffing more specifically, provoked an arts-informed narrative inquiry into the lived experience of women casual academics. In this paper I offer an overview of the investigation and present extracts from a verbatim drama based on the words and worlds of women sessional staff in order to create congruency between the narrative communications of women causal academics' lived experience, and to make a space for the acknowledgement of women casual academics and a place for their voice.

Although visual arts pedagogies are considered central within early childhood education programs, teacher self-efficacy has a direct impact on the quality and delivery of visual arts curricula. Until recently, the visual arts self-efficacy, pedagogical knowledge, and practice of in-service early childhood teachers have remained largely unexplored. The authors of this paper present a qualitative, iterative re-analysis of their three PhD studies which broadly focussed on early childhood visual arts praxis and specifically examined the visual arts beliefs and pedagogy of early childhood teachers in Australia and New Zealand. A thematic analysis of the intersecting self-efficacy findings raised in the three studies identifies the powerful influence of self-efficacy on teaching practice in the visual arts domain and offers new understandings about visual arts self-efficacy amongst early childhood teachers. The combined findings reveal several factors that restrain or enhance teachers' visual arts self-efficacy across time, including the impact of childhood experiences, pre-service training and epistemological beliefs. The paper also identifies several enabling conditions that appear to support teachers to develop and maintain positive visual arts self-efficacy beliefs, including practical engagement with materials, sustained professional learning, relational trust and intentional leadership. These enabling conditions offer practical strategies and research recommendations in service of positive visual arts self-efficacy to enhance quality visual arts teaching in early childhood contexts. [ABSTRACT FROM AUTHOR]

The role of artistry in transformative maintenance of law and custom is a theme widely researched and discussed in Aboriginal arts related literature. However, it is the aim of this paper to contribute to a wider discourse about learning and economic participation in remote Australia, and in particular the role of multimodality as a significant asset. The paper draws from relevant literature and two case studies; one from Keringke Arts, and one from Eastern Arrernte teacher and artist, Kathleen Kemarre Wallace. In customary form, multimodality combines and recombines various modalities--including dance, song, sand drawing, body painting and design, storytelling, stories, rhythm, petroglyph and ochre-painted rock art--enabling the intergenerational teaching and learning of rich cultural heritage in ways which connect that experience to the law and custom of the homelands. Multimodality, as it is used in this paper, draws on the concept of "form-relationality"; the way various modalities are combined and recombined, as elements which together describe a body of knowledge and yet separately provide myriad detail. Although beyond the scope of this paper, multimodality is also a mediating influence between contemporary and customary elements and contexts. This paper considers the complexity of multimodality as an asset in a contemporary arts market.

This paper outlines a journey of arts-based inquiry into teacher education and identity transformation in the transition to teaching, guided by Barone and Eisner's Seven Features of Arts-Based Educational Inquiry. Employing a theatre-based research approach the researcher investigated teachers' epiphanic or revelatory "first" moments of identity transformation, culminating in the creation of the play script and performance: "The First Time." The article discusses what Barone and Eisner's works offered this arts-based researcher on their journey. Outcomes of the research include the value of working backwards from this frame for further data elucidation and analysis and presenting research to relevant "expert" audiences.

The relationship between experience, emotions, cognition, and learning is of increasing interest to educators and researchers who recognise that efforts to promote student engagement and learning must take into account factors beyond the purely cognitive and instrumental. The significance of experience considered as a unity in regard to child development was discussed through the concept of "perezhivanie" decades ago in the work of Lev Vygotsky (1934). Contemporary explorations of "perezhivanie" as a concept and phenomenon may be further informed through drawing upon Dewey's work on "Art as Experience" (1934) and the concept of metaxis as understood in drama education literature. This paper will examine the special nature of arts and educational drama experiences for experiencing, realising, and expressing "perezhivanie." It also reflects upon the role of the teacher, their own experiences of arts-inspired "perezhivanie" and the potentially contagious impact of the teacher's experiences for their students.

This article reflects on ongoing research-led teaching in the area of creative industries in higher education. Specifically it reports on key work-integrated learning strategies designed to better prepare graduates for the employment sector. The creative industries sector is complex and competitive, characterized by non-linear career paths driven by the individual. Following contextualization of the key issues, a core creative industries subject and curriculum is described, which requires students to engage directly with industry practitioners via internships or case studies. In order to interrogate the impact of these activities, a sample of final reflections as well as formal student feedback on the subject were analyzed in order to draw out key themes in relation to student learning and understanding. Analysis of these data propose that direct engagement with practitioners assists students in developing new knowledge of the capacities they will require for a sustainable career. [Papers included in this "Asia-Pacific Journal of Cooperative Education" ("APJCE") Special Issue stem from selected manuscripts from the 2014 Australian Collaborative Education Network (ACEN) Conference Proceedings.]

The Waterhouse Natural Science Art Prize is organised by the Museum of South Australia each year, with the winning works typically touring to other states. Named after the founder of the museum, it features art inspired by science. A recent visit to the finalist's exhibition of the Waterhouse prize had the author thinking about the narrowing of the professional practice of science teaching. In this article, the author reflects on his visit and the importance of the connection between science and art in science teaching.

The quote in the title of this paper is taken from the first line of Marc Depaepe's article "An Agenda for the History of Colonial Education", published in "The Colonial Experience in Education" (Ghent, 1995). This presentation takes as its focus the informal learning space of the museum and the art gallery, and the emergence in recent years of curatorial activism. It seeks to explore the changing discourse and politics around addressing through display the history of colonialism and its meaning in today's globalised world.

Researchers navigating the ontological turn in educational research have increasingly looked to art as an alternative to conventional modes of qualitative inquiry. However, the rapprochement between art and post-qualitative research remains problematic. While some see this turn coinciding with established genealogies in arts-based research, others suggest that existing models of arts-based inquiry are largely incompatible with the radical onto-epistemological orientations associated with post-qualitative research. This paper argues that the integration of art into the social sciences is far from settled, while also offering a series of speculative propositions for an inhuman aesthetics that is responsive to the ontological turn. This inhuman theory of art is elaborated through Deleuze and Guattari's philosophy, and extended through an analysis of collaborative artworks produced by undergraduate visual art students. This leads to a consideration of how post-qualitative approaches might enable mutual activations among art, philosophy, and social research.

This article shares contributions from a moderated e-forum in 2007 that explored the transformative potential of arts in learning and social change. It draws on examples of poetry, creative writing, and experiences of innovative practice shared through these conversations by adult educators in contexts as diverse as Africa, Asia, Europe, North America and Australia. The paper provides a conceptual frame to explore tensions in transformative learning between the mytho-poetic and the critical-rational, and between the individual and the collective. Using this frame, it connects the experiences shared by the e-forum participants to the literature. The paper reflects on how educators have used artistic and creative expression in their work and discusses how they have navigated the tensions presented in the earlier conceptual frame. It concludes by identifying four conditions that seem critical if arts and creativity are to play a role in transformative learning: authenticity, resonance, reflection, and freedom. (Contains 1 figure, 1 table, and 1 note.)

Many Australian state primary schools have a policy to use generalist teachers to teach music as well as many other subjects, however research indicates that primary generalist teachers lack confidence and competence to teach music in their classrooms. Added to this, preservice teachers enter their initial teacher education course with little or no background in music education and low confidence to teach music. Skills, knowledge and attitudes that are learned in the preservice teacher education course are crucial to developing the students' confidence and competence to teach music. This paper presents one approach to addressing this situation, based on Kolb's Experiential Learning Model. A description of a primary creative arts teacher education unit is given, then results from a quantitative and qualitative student survey are triangulated with the students' online journals and are used to evaluate the unit in terms of the students' developing confidence and competence in music education, based on their learned skills and knowledge. Results indicated that the majority of the students (97%) developed their confidence and competence to teach music using this approach. Specific learning experiences that helped affect their sense of competence in teaching music included experiential, face-to-face and online training approaches to learning relevant skills and knowledge, which confirmed the importance of using Kolb's Experiential Leaning Theory as the basis for the unit.

Arts education research over the years has highlighted the situation of non-specialist preservice primary arts teachers as having little confidence in their own artistic ability and their ability to teach the arts to children. Added to this, problems such a lack of resources, confidence, priority, time, knowledge and experience appear to inhibit the regular teaching of the arts by generalist classroom teachers while at the same time, face-to-face hours for preservice primary arts education have decreased significantly over the recent years. This paper describes how one subject within a Primary Teacher Education course responded to these challenges. This subject was based on Herrington, Oliver and Reeves' (2003) framework for creating authentic learning environments then triangulates this authentic learning framework with what students wanted to learn in the subject and how they perceived they had developed their confidence and competence in creative arts education. (Contains 2 tables.)

In this paper we outline the review and iterative refinement of assessment procedures in a final year graphic design subject at the University of Wollongong. Our aim is to represent the main issues in assessing graphic design work, and informed by the literature, particularly "notions of creativity" (Cowdroy & de Graaff, 2005), to develop and incorporate assessment procedures that allow creative ability to be assessed with greater transparency and objectivity. In the first iteration we developed a structure to standardise and clarify the existing model for the subject. Once this structure was in place we identified issues that would benefit from a review of the literature on assessment in the creative disciplines and the broader field of pedagogy. We marked the shift from surface approaches to learning to deep approaches to learning (Moon, 1999) at the point where we identified gaps in the learning outcomes. Our response was to move the focus from the outcome to the process and to introduce a staged assessment procedure with a stronger emphasis on formalised reflection, cycling throughout the design process. We divided the learning process into two streams: thinking and making as a means to clarify facets of learning. As we continue to refine this model we note and respond to the relationship between assessment and learning. We propose ideas for future investigation, based on identifying levels of design thinking achieved by students in the most recent iteration of the program, and how these might be improved. A bibliography is included.

Measurement of academic work has become more significant than the intellectual, pedagogical, cultural, political and social practices in which academics and students engage. This shifting emphasis creates paradoxes for academics. They experience a growing sense of disconnection between their desires to develop students into engaged, disciplined and critical citizens and the activities that appear to count in the enterprise university. As measurement discourses preclude the possibilities of human emotion and hinder intellectual labour, we embarked on an arts-informed research project that established new creative spaces for our colleagues to illustrate the pleasures and paradoxes of their academic work. In the research project, we developed critical pedagogies through art and poetry that enabled academics to speak back to university management--and each other--about how they experience their work. In this paper, we draw upon poststructural "micro-physics" of power, the poststructuralist "politics of reinscription", and art, poetry and drama as critical pedagogies to interrogate the potential of arts-informed research to speak back to the measured university. The key contribution of this article is to recommend arts-informed methodologies as a forum for dissent and resistance at a time when the spaces of collegiality, pleasure and democracy in the measured university are under attack.

This paper explores an example of applied theatre and praxis learning in an Australian classroom with drama students aged 16-17 years which took the form of "real fiction" or social theatre monologue writing. It presents monologue responses from nine participants, altered by the researcher to protect identities and to tease out issues encountered by the student authors. This practice provided vital data about how participants view and behave in the social world of secondary school. Student participants explored the various ways that they are labelled in their social world, and agreed that the labels that matter to them are the ones used in the schoolyard and outside school as opposed to in the classroom. The use of a specific, practice-led methodology, based on the writing of theatre monologues in a drama classroom, represents an original contribution to the field of practice-based and/or practice-led drama research in education. The monologue form, with its focus on a single voice, is a medium for the exploration of subjectivity that provides insight into how young people view the social and relational spaces they exist inside.

In "Radical Education and the Common School" (2011), Michael Field and Peter Moss argue for a radical alternative to the failed and dysfunctional contemporary discourse about education and the school with its focus on markets, competition, instrumentality, standardisation, and managerialism. They argue that it is necessary, if we are to progress "social alternatives" in education, to construct micro-histories of schools that have developed as "real utopias" through radically revising their practice. They call these micro-histories "critical case studies of possibilities". In "To Hell with Culture" (1963), the art educator and anarchist Herbert Read returned to a theme he had been exploring since the early 1930s--the purpose of education. For him, "education" implied many things, but he saw modern practice as "socially disintegrating". Instead, Read offered an alternative to the dominant discourse about education under capitalism in the 1960s which would create "that collective consciousness which is the spiritual energy of a people and the only source of its art and culture". To what extent was Read's conception of education an ideal, a dream unfulfilled? Following Fielding and Moss this paper will seek to trace "critical case studies of possibilities" drawn from the past which reflect the fundamental connection identified by Read between school learning, "collective consciousness", art, and culture.

Introduction: Why was the study undertaken? What was the research question, the tested hypothesis or the purpose of the research? The research question is: What are the implications of disciplinary aesthetics when marine science meets art in educational research? Children in schools from Victoria, Australia were engaged in a series of marine science fieldtrips, workshops and lessons based on the Great Southern Reef, a temperate marine environment of Australia. They created drawings based on provocations, to depict their knowledge of marine species, before and after these education experiences. Methods: When, where, and how was the study done? What materials were used or who was included in the study groups (patients, etc.)? This paper shares the mixed methodology used by focusing on the qualitative methods used, that arose out of a need to understand the role of aesthetics in this research project. This paper documents the analysis of data that included children's drawings and dialogue between researchers and children from interviews. We discuss insights into the role of aesthetics that were revealed in the visual and narrative data from perspectives of children's learning and how the researchers were able to understand this. These findings are discussed considering the teaching intentions and procedures used, the importance of this multimodal approach to research that revealed aesthetics of science, visual art and language in education. Results: What answer was found to the research question; what did the study find? Was the tested hypothesis true? The research reveals the important role drawing has when trying to understand the students' varying degrees of understanding marine science education. Variables include: their prior experience with marine environments, students' drawing abilities, stylistic elements (that can render an image 'confident' or 'sketchy'), compositional devices and use of perspective that their drawings depict (looking at a pier from underwater or through snorkel goggles). It also includes interpretations and explanations of their drawings and other uses of language such as the use of written labels to reinforce or clarify parts of their drawings. Discussion: What might the answer imply and why does it matter? How does it fit in with what other researchers have found? What are the perspectives for future research? This research reveals the important role of multi-modal approaches in science learning and the significant and dependent role of visual art and words, for students to communicate their learnt content knowledge. It highlights the aesthetic experiences that must be taken into consideration when teaching, learning and when understanding what has been learnt. [ABSTRACT FROM AUTHOR]

Despite its imperfections, academic peer review has been accepted as a satisfactory process by which assessment panels comprised of different disciplinary representatives arrive at agreement through a system of shared rules and language that respects disciplinary plurality. Artistic researchers, whose output is required to meet both scholarly research criteria and the aesthetic standards expected by their peers in the art world, express concern that university peer review processes disadvantage their disciplines due to differences between artistic research and more science-informed research expectations. As research created with the artistic "white cube" in mind intersects with this "black box" of scholarly peer review, do the shared protocols adopted by peer-review panels extend to research expressed not in scholarly text but in artistic artefact? Are there features inherent in artistic research that impinge upon equitable consideration within these settings? This paper draws upon face-to-face interviews with visual and performing artists in three Australian universities to explore how these researchers experience university peer review. It contributes a distinctive disciplinary perspective to understanding university assessment and evaluation processes for the benefit of both academic staff and postgraduate students.

The nature and status of Indigenous knowledge is often debated, but the idea that Indigenous people's knowledge is local knowledge seems widely accepted: knowledge is place-based and may reference a range of places, from traditional land to other places known from social and cultural connections. Through collaboration with Koori people from the south coast of New South Wales to develop a web-based science resource, other distinctive characteristics of their knowledge emerged. This paper explores some transformations in contemporary Indigenous knowledge, while acknowledging the history of colonisation in south eastern Australia. A focus on two examples of Koori art demonstrates that Indigenous knowledge is contingent, contested and changing in culturally defined ways. These aspects are often overlooked in educational practice that essentialises Indigeneity and Indigenous people's knowledge. (Contains 3 figures.)

An ethnographic case study of issues related to research performance and promotion of research was conducted within the Creative and Performing Arts, Humanities and Social Sciences (AHSS) disciplines of a regional university. The purpose of the study was to explore a variety of ways in which the research work of those disciplines could be made more visible to others, both within and outside the university. In reviewing the research performance, concerns and orientation of academics in AHSS disciplines, this paper addresses the issue of disciplinary variations in research activity and research focus, with implications both for future programs of research performance assessment, and for the promotion of research activity among currently disenfranchised AHSS academics. In the context of current Australian debates about a research quality framework, the data considered address issues of impact, rather than quality. (Contains 2 tables.)

Purpose: To report on research that examines the impact of the adoption of nationally-recognised training by enterprises in Australia. Design/methodology/approach: The project involved a mix of methodologies including focus groups, employer survey and case studies. Findings: The research found that there had been a higher than expected adoption of nationally-recognised training by Australian enterprises in recent years and that enterprises were using training packages to support other human resource management activities apart from training. Research limitations/implications: The case studies were confined to four industry areas of hospitality, manufacturing, arts/media and call centres. Originality/value: This paper fills a significant gap in the research literature on the use that enterprises make of nationally-recognised training. (Contains 5 tables and 1 note.)

Argues that the arts provide a powerful means with which to promote future-oriented learning because they involve nonverbal, symbolic ways of knowing, thinking and communicating. Suggests that the arts in the emergent curriculum promote central education skills of discovery, pursuit, self-awareness, personal communication, social interaction, perception, skill use, analysis, and critique. (Author/SD)

Objective: To articulate how Aboriginal community-controlled art centres support the role of Elders and older people within an ontologically situated, intergenerational model of care., Methods: In this paper, we draw on stories (data) generated through interviews involving 75 people associated with three Aboriginal community-controlled art centres and field notes taken during a Participatory Action Research (PAR) study. The study was undertaken in collaboration with three community-controlled art centres and two aged care providers over almost 4 years, in diverse Indigenous sovereignties, all located in geographically remote Australian locations., Results: Engaging with decolonising and Indigenous theoretical frameworks, our analysis identified three interwoven meta-themes. These include connection to law and culture; purpose; and healing. Each theme had important subthemes, and all were central to upholding the well-being of older people and their families, as well as the art centre workforce, Country, and their broader communities., Conclusions: Our analysis articulates an ontologically situated model of care within Aboriginal community-controlled art centres. The model sees that older people receive care from art centres and provide care to each other, to younger generations, to art centre staff, to Country, and to their broader communities. In this model, those in receipt of care, many of whom are older people, art centre directors, and important artists, govern how care is conceptualised and delivered., (© 2023 The Authors. Australasian Journal on Ageing published by John Wiley & Sons Australia, Ltd on behalf of AJA Inc.)

Annually, the National Rugby League (NRL) hosts a week of matches called the Indigenous Round that highlight Indigenous athletes' contributions to RL and includes Indigenous ceremonies, designated speeches, merchandise, and player jerseys adorned with Indigenous art that are worn during the matches. It has been identified as part of reconciliation efforts between Indigenous and non-Indigenous peoples in Australia. In this paper, we use postcolonial theory and critical discourse analysis to closely examine six of the sixteen Indigenous Round jerseys produced by the NRL teams for the 2019 season, focusing on the use of sport merchandise as symbols of reconciliation, and assessing the practices of various NRL teams in employing (or not) Indigenous artists and utilizing Indigenous art and designs in the creation of the 2019 NRL Indigenous Round jerseys. [ABSTRACT FROM AUTHOR]

Australia has one of the most urbanised and diverse populations in the world, but there is little research that explores fleeting friendships between marginalised/racialised ethnic minority and indigenous populations. In contrast to metropolitan cities in white settler societies that have been the focus of much research, this paper focuses on the small, tropical city of Darwin in Northern Australia. This is a city that is at the centre of public debates on indigenous wellbeing, migrant integration and asylum seeker policies, with social welfare programmes that provide little opportunities for hopeful encounters among indigenous peoples and ethnic minority newcomers in surface spaces. I argue, however, that ‘grass root’ forms of creativity in an ‘underground’ car park bring their affective worlds together through a shared passion for art. The paper draws on gentle methodologies including participatory visual methods to privilege non-Western ways of inhabiting place. Through a ‘quiet politics’ and affective engagement with spacetimes both proximate and distant, the paper shows that it is possible to invoke different futures and crystallise experimental publics in the diverse city. The paper responds to a call to push the boundaries of urban research on social difference through geographies of friendship that are yet to engage with multisensory bodies, emotion, affect and art. [ABSTRACT FROM AUTHOR]

This paper shares a unique approach to primary Health and Physical Education (HPE) whereby students learn about personal, social and community health through intergenerational arts-led pedagogies. Drawing on socio-critical, socio-cultural and salutongenic perspectives, the unit of work that the students engaged with was underpinned by an assumption that health is complex, socially constructed and should be problematised. We share a case study of one Grade 5/6 class (age 10-12) that participated in a unit of work where they connected with senior citizens from the same geographical community to learn about personal, social and community health. The unit of work served to problematise the potholes of traditional HPE where health is typically politicised, moralised, risk-focused and individualised. Data collection consisted of artwork, observations, field notes, and semi-structured focus-group interviews with 23 students (mean age=11) and 18 seniors (mean age=73). The findings suggest that the intergenerational arts-led pedagogies, allowed for more nuanced understandings of health and health assets to develop, which made visible in practice a combination of socio-critical, socio-cultural and salutogenic approaches in practice. The findings also offered a novel insight into how people from different generations can link together and co-construct shared meanings of personal, social and community health. In the case study presented here, the intergenerational linking and connection led to preconceptions and stereotypes of each other to be challenged, and for traditional power balances to loosen and shift over time and context. We can see these changes as pedagogical possibilities whereby students have the opportunity to further develop their knowledge and understanding of personal, social and community health. These possibilities can only come to fruition, however, if teachers are supported to experiment and be creative in their pedagogical work. We conclude that there is rich potential for intergenerational arts-led HPE. [ABSTRACT FROM AUTHOR]

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'I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are' (2011-2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, 'meaningful' encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter. [ABSTRACT FROM AUTHOR]