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Higher Education Institutions (HEIs) are undergoing financial, structural and cultural transformation. With the marketization of higher education, 'war for talent' is also gaining momentum. As bars are raised on evaluating academics' performance, the human resources and academic leadership need to rethink their approach to talent identification, development, and deployment. The staff development function needs some adaptations to sustain in this knowledge-intensive industry. In the light of literature review and professional reflection, I argue academics as 'the talent' for any higher education institution. This paper discusses talent development in higher education and advocates 'an exclusive' approach to their professional development. It unpacks the three levels of HEIs talent development needs and presents a framework to meet them. The paper also elaborates on the interventions that are favourable for the fulfilment of academics' and institution's talent development needs. It finally proposes areas for further research.

This article responds to the questions: how does trauma that is long-held in the body affect social choreography? And how can awareness of this intersection guide us towards individual and collective healing practices? Embodied trauma responses, commonly referred to as fight, flight, freeze, and dissociation, initially function as potentially lifesaving responses to external threats but all too often become engrained in how people move through the world and relate to one another. When these patterns of engagement become habituated, they affect the improvisational scores inherent to social choreography. Exploring trauma responses through the lens of social choreography invites increased awareness of how these patterns of behavior affect our relationships and communities. Through this awareness, the possibility of agency is increased. This essay continues the work of somatic and cultural scholars Resmaa Menakem, Staci K. Haines, and Zhiwa Woodbury, among others, whose research points to multiple continuums between how trauma is individually embodied and cultural dynamics we are experiencing globally. Drawing on the somatic work of Peter Levine and Bessel Van der Kolk, whose theories have revolutionized trauma healing, this essay offers accessible pathways to trauma sensitivity that readers can experiment with to consciously refine their own roles in social choreographies ranging from interpersonal to cultural interactions.

In this article, the authors utilize the philosophical methodology developed by Michael Hardt and Antonio Negri to formulate a theory of educational realism. The goal is to posit an embodied form of education that emerges from within the movements of the multitude. The connection between multitudinous movement and education is the concept of choreography, which destabilizes habituated movements, unleashing creative alternatives. The paper concludes with several examples of choreography as an exopedagogy for cultivating embodied, swarm intelligence from the work of noted choreographer William Forsythe.

Israeli masculinity has been researched by diverse disciplines such as sociology, army studies, gender studies, and more. The dominant theme of such research has been to identify Israeli masculinity as heteronormative and aggressive, and usually discusses it via a nationalistic or religious lens, basing its interpretation on macho, militaristic, and heterosexual values. The current study suggests another perspective for exploring Israeli masculinity by examining two dance productions created by male choreographers and performed by male dancers: Beasts by Ido Tadmor (2000) and But the Virgin Was More Available by Javier de Protos (2002). Both performances expose a homosexual dynamic, reclaims feminine symbols, and exposes silenced public issues such as rape perpetuated against men. These pioneer performances thereby challenge the heteronormative constructions of gender identities and sexualities and present a performance of masculinity which opposes hegemonic perceptions, which are based on heterosexual and machoistic values. I conclude that these modern choreographic productions can be considered political cultural acts in the Israeli public sphere that give a voice to gendered discourse otherwise silenced by Israeli society at large.

Background and Study Aim. Choreographic exercises for the development of flexibility are a complex component of training students of the department of folk dance in the specialty "Choreography". Among such exercises are exercises of ballet gymnastics, which take into account the specifics of mobility of the joints. The aim of the study was to identify the level of general and special mobility (“en dehors”) in students who are engaged in choreography. Material and Methods. The study involved students (n = 20) of 1 year of study in the specialty "Choreography" (Faculty of Arts, Department of Folk Dance, H.S. Skovoroda Kharkiv National Pedagogical University, Ukraine). The duration of the study is 6 months: from January 2020 to June 2020. The curriculum provides the study of the discipline "Gymnastics in Choreography" (1st year of study, summer semester), a total of 3 credits (including 36 classroom hours). During distance learning (from 13.03.2020 to 31.05.20) students performed a set of exercises independently. Also through video conferences Zoom with a teacher - once a week, lasting 40 minutes. Results. It was found that students of the department of folk and stage choreography mostly have higher scores. This is due to the presence and complexity of acrobatic elements that are present in folk dances. During the study, there were more significant differences between the indicators in the groups. There was a noticeable development of active flexibility in the girls of the department of folk and stage choreography. Conclusions. The used test indicators are recommended to be used in classes as control standards. The use of the author's program will ensure the development and maintenance in the proper state of the achieved level of flexibility (“en dehors”). To do this, it is necessary to adhere to the regular use of exercises, taking into account the individual capabilities and abilities of students.

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier's theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng's symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography. [ABSTRACT FROM AUTHOR]