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On May 6, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (theumegroup.org), gave a commissioned performance for alumni of Virginia Tech’s College of Liberal Arts & Human Sciences as part of the lead-up to the university’s 150 year anniversary celebrations. The performance was sponsored by the Virginia Tech History Council with support from the School of Performing Arts. The performance begins with a soundscape overture featuring a new version of “Tech Triumph” (the Virginia Tech Fight Song composed in 1919 by Wilfred Pete Maddux and Mattie Eppes) adapted for this event by The Ume Group’s Kate Douglas, along with excerpts from the VT Stories Oral History Project (vtstories.org) and other found texts voiced live by the Ume Group actors. Production Credits: Conductor｜Jordan Rosin Musician｜Kate Douglas Actors｜Jorge Luna, Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Yokko Producer / Director｜Jordan Rosin Community Partners｜Robert H. Leonard, VT History Council & the School of Performing Arts; Christina Miller, College of Liberal Arts & Human Sciences; Ren Harman, VT Stories Duration: 1 hr, 18 min Forms Used: Fluid Sculpture｜Perspectives｜ 3-Part Story｜If This Were A Dream｜3-Minute Poem This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420.

Television remains the number one leisure pursuit of Australian teenagers, yet teenagers occupy a number of complicated, sometimes contradictory, spaces on contemporary Australian television. Non-fictional teen representations range from the routinely apocalyptic (such as the ‘street kids’ and ‘drug addicts’ of news media), to the conventionally 'beautiful' (on reality programmes such as "Search for a Supermodel" and "Popstars"). Alongside these images are a variety of fictional teen images dominated by soap operas such as "Home and Away" and "Neighbours", which have successfully targeted teen and young adult demographics for a number of years. Since the mid-1990s, there has also been a (relatively unsuccessful) shift in Australia towards 'quality teen television drama' — programmes fundamentally for and about youth. In this chapter we focus on "Heartbreak High", arguably the most significant Australian 'quality teen television drama' of the 1990s. We explore how the programme’s diegesis negotiates and maps identities for contemporary Australian teenagers. More specifically, we examine constructions of teenage identities in contemporary Australian ‘quality teen television drama’ (hereafter referred to as ‘teen TV’) via representations of ‘the school’ and ‘post-school’ options within the programme. We investigate how "Heartbreak High" has responded to (whether by conforming to, or exceeding) the available cultural spaces for narrating adolescent experiences, but also to the broader social relationship between adolescents and schools. How does this programme represent the accord and tension between teens and schools? Do these representations offer diverse or uniform outcomes for their teen characters in relation to educational and post-school options, and what are the implications for Australian teen identities more broadly? We overview "Heartbreak High" and its reception, but also make comparative references to other Australian programmes that feature teens prominent

‘I have come to believe that human rights work is, at its heart, a matter of storytelling […] the most important act of rescue […] is not delivering supplies but asking questions, evaluating answers, and pleading with those of us who observe from a distance.’ (Dawes 394) As James Dawes argues here, storytelling is central to the advancement of human rights in our time. But how these stories are elicited, by whom, using what protocols and under what conditions is at least as important to the success of that humanitarian project as their dissemination. This chapter focuses on the research, collaborative development and delivery of the Women in Conflict Expressive Life Writing Project, which investigates the complex relationship between storytelling and human rights through an intervention at the site of the interview. The aim of this project is to test the use of expressive life writing workshop methodologies with survivors of sexual violence in conflict as an ancillary approach to evidence-gathering that might move beyond ‘do no harm’ by supporting recovery from traumatic experiences. By doing so, the Expressive Life Writing Project interrogates current best practice guidelines on the documentation and investigation of such rights violations and suggests adaptations to existing protocols for the interviewing process.

‘I have come to believe that human rights work is, at its heart, a matter of storytelling […] the most important act of rescue […] is not delivering supplies but asking questions, evaluating answers, and pleading with those of us who observe from a distance.’ (Dawes 394) As James Dawes argues here, storytelling is central to the advancement of human rights in our time. But how these stories are elicited, by whom, using what protocols and under what conditions is at least as important to the success of that humanitarian project as their dissemination. This chapter focuses on the research, collaborative development and delivery of the Women in Conflict Expressive Life Writing Project, which investigates the complex relationship between storytelling and human rights through an intervention at the site of the interview. The aim of this project is to test the use of expressive life writing workshop methodologies with survivors of sexual violence in conflict as an ancillary approach to evidence-gathering that might move beyond ‘do no harm’ by supporting recovery from traumatic experiences. By doing so, the Expressive Life Writing Project interrogates current best practice guidelines on the documentation and investigation of such rights violations and suggests adaptations to existing protocols for the interviewing process.