scholarly journals A Māori Model of Leadership Practice

Te Kaharoa ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Te Rita Papesch
Keyword(s):  
Indigenous Knowledge ◽  
Performing Arts ◽  
Personal Communication ◽  
Graduate Degree ◽  
Leadership Practice ◽  
Art Form ◽  
The University ◽  
Management Communications

He Waka Hiringa (HWH) is a Masters of Applied Indigenous Knowledge offered as a programme of two years’ study by Te Wānanga o Aotearoa. The main pre-requisite for enrolment in to this graduate degree is for the student to be a master of their own practice, whatever that practice may be. In other words, they are already leaders in their own field of practice. My task is to help them clarify how they indigenise their practice; introduce them to academic processes to achieve the rangahau (research) around this and encourage them to create their own Models of Practice (MsOP) to guide them as they work with students or clients. In six years three cohorts of students have succesfully graduated through my encouragement in the development and approval of about 100 different new MsOP, each unique in its own way. These add to the use by graduates of HWH to models such as Whare Tapatoru ( Wi Te Tau Huata Snr. 1967, personal communication), Whare Tapawhā (Durie, M. 1984), Te Wheke (Pere, R. 1997) and Poutama Pōwhiri (Huata, P. 2011) to name a few well known MsOP. In terms of a Leadership MOP I have not seen a better model than that created by Te Wairere Te Pūāwaitanga o te Whakaaro Ngaia (my youngest child and daughter) to fulfil the requirements of her Masters in Management Communications and Te Reo Māori (Māori Language) graduate degree at The University of Waikato. I am going to use her MOP for leadership in competitive Kapa Haka[1] (Māori performing arts) as my model in this delivery with her permission. The title comes from a waiata-ā-ringa (action song) composed by one of her tuākana (older sisters), Te Ingo Karangaroa Ngaia, entitled ‘He Rākau Taumatua!’[2], for their whānau (family) kapa haka, Te Haona Kaha.   [1] I use capital letters when talking about the art form and small letters when talking about a group that does the art form. [2] “He rākau taumatua” was first performed as a whakawātea by Te Haona Kaha kapa haka at the Tainui Waka Cultural Trust Regional Kapa Haka competitions in 2016.

Leveraging Active Learning Pedagogy in a Scaffolded Approach: Reconceptualizing Instructional Leadership Learning

2020 ◽  
Vol 15 (3) ◽  
pp. 210-226 ◽  
Author(s):  
Jason D. Salisbury ◽  
Decoteau J. Irby
Keyword(s):  
Active Learning ◽  
Instructional Leadership ◽  
Learning Experience ◽  
Leadership Practice ◽  
University Of Illinois ◽  
The University

This article investigates how the University of Illinois at Chicago (UIC) redesigned its three-course instructional leadership strand to operate as a continuous three-semester learning experience that sequenced and emphasized an active learning pedagogy. This accounting elaborates the design and use of this pedagogy to support aspirant leaders in progressing through a continuum of knowers, assessors, and demonstrators of instructional leadership practice. Finally, we discuss the tensions that emerged from this approach to instructional leadership learning.

The Purga Project: Indigenous Knowledge Research

2001 ◽  
Vol 29 (2) ◽  
pp. 11-17 ◽  
Author(s):  
Norm Sheehan ◽  
Polly Walker
Keyword(s):  
Indigenous Knowledge ◽  
Torres Strait Islander ◽  
Research Methodologies ◽  
Torres Strait ◽  
University Lecturers ◽  
The University

We are Indigenous University lecturers involved in research with the Purga Elders and Descendants Aboriginal Corporation. Our research at Purga involves the instigation of Indigenous Knowledge as the basis of effective and valid research methodologies. This article will describe the work that the University of Queensland (UQ) Aboriginal and Torres Strait Islander Studies Unit is doing at Purga. It will then articulate the principles of Indigenous Knowledge Research that inform this work.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

Distance and Reflexivity: Creating the Stage World of Pantoland

2005 ◽  
Vol 21 (4) ◽  
pp. 331-339
Author(s):  
Millie Taylor
Keyword(s):  
Performing Arts ◽  
Financial Support ◽  
Extended Version ◽  
Senior Lecturer ◽  
Arts And Humanities ◽  
Forthcoming Book ◽  
The World ◽  
Commercial Theatre ◽  
And Performance ◽  
The University

In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.

Investigating Digital (Re)Mediation in the Performing Arts

2018 ◽  
Author(s):  
Dylan On
Keyword(s):  
New Media ◽  
Performing Arts ◽  
Interactive Media ◽  
Human Interaction ◽  
Sporting Events ◽  
Traditional Art ◽  
Theatrical Space ◽  
Art Form ◽  
Immersive Theatre ◽  
Video Calling

As digital technology progresses, it increasingly mediates human interaction. Simple discussion has shifted from occurring only in person to being mediated by telephone, texting, video calling, Twitter, Facebook and a myriad of other technologies and services. Likewise, theatre has been undergoing a similar shift from an art form that only occurs 'in person' to one in which technology often mediates presence. In his book Liveness, Philip Auslander traces the roots of digital mediation back to the advent of television and the resulting cycle of reinterpretation, or remediation as it is termed by Bolter and Grusin, of different art mediums within one another. Innovative Canadian artists Robert Lepage and Kim Collier are currently engaging in the remediation of traditional art mediums on the stage by taking a distinctly cinematic approach to theatre. This study intends to evaluate the remediation of these mediums both in the theatre and in live performances such as sporting events. It will then consider current trends in integrating interactive ‘new’ media into live and pre-recorded events, and how these ‘new’ media may already be manifesting themselves elsewhere via remediation. This discussion will give special consideration to immersive theatre, in which audiences are free to navigate theatrical space autonomously and observe as they wish. Key questions to be considered include: What are the tools of mediation, and what are their effects? How might digital (re)mediation be reinventing the way we tell and receive stories in the theatre? In what ways can the theatre further reinterpret ‘new’ interactive media?

scholarly journals Free Roast Pig at Open Day: All you can eat will not attract South Auckland Pacific Islanders to University

Te Kaharoa ◽  
2014 ◽  
Vol 7 (1) ◽  
Author(s):  
Teena Brown Pulu
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Pacific Islander ◽  
Pacific Islanders ◽  
University Education ◽  
The South ◽  
University System ◽  
Obesity And Diabetes ◽  
Low Expectations ◽  
The University

I kid you not.  This is a time in Pacific regional history where as a middle-aged Tongan woman with European, Maori, and Samoan ancestries who was born and raised in New Zealand, I teach students taking my undergraduate papers how not to go about making stereotypical assumptions.  The students in my classes are mostly Maori and Pakeha (white, European) New Zealanders.  They learn to interrogate typecasts produced by state policy, media, and academia classifying the suburbs of South Auckland as overcrowded with brown people, meaning Pacific Islanders; overburdened by non-communicable diseases, like obesity and diabetes; and overdone in dismal youth statistics for crime and high school drop-outs.  And then some well-meaning but incredibly uninformed staff members at the university where I am a senior lecturer have a bright idea to give away portions of roast pig on a spit to Pacific Islanders at the South Auckland campus open day. Who asked the university to give us free roast pig?  Who asked us if this is what we want from a university that was planted out South in 2010 to sell degrees to a South Auckland market predicted to grow to half a million people, largely young people, in the next two decades? (AUT University, 2014).  Who makes decisions about what gets dished up to Pacific Islanders in South Auckland, compared to what their hopes might be for university education prospects?  To rephrase Julie Landsman’s essay, how about “confronting the racism of low expectations” that frames and bounds Pacific Islanders in South Auckland when a New Zealand university of predominantly Palangi (white, European) lecturers and researchers on academic staff contemplate “closing achievement gaps?” (Landsman, 2004). Tackling “the soft bigotry of low expectations” set upon Pacific Islanders getting into and through the university system has prompted discussion around introducing two sets of ideas at Auckland University of Technology (The Patriot Post, 2014).  First, a summer school foundation course for literacy and numeracy on the South campus, recruiting Pacific Islander school leavers wanting to go on to study Bachelor’s degrees.  Previously, the University of Auckland had provided bridging paths designed for young Pacific peoples to step up to degree programmes (Anae et al, 2002).  Second, the possibility of performing arts undergraduate papers recognising a diverse and youthful ethnoscape party to an Auckland context of theatre, drama, dance, music, Maori and Pacific cultural performance, storytelling, and slam poetry (Appadurai, 1996).  Although this discussion is in its infancy and has not been feasibility scoped or formally initiated in the university system, it is a suggestion worth considering here. My inquiry is frank: Why conflate performance and South Auckland Pacific Islanders?  Does this not lend to a clichéd mould that supposes young Pacific Islanders growing up in the ill-famed suburbs of the poor South are naturally gifted at singing, dancing, and performing theatrics?  This is a characterisation fitted to inner-city Black American youth that has gone global and is wielded to tag, label, and brand urban Pacific Islanders of South Auckland.  Therefore, how are the aspirational interests of this niche market reflected in the content and context of initiatives with South Auckland Pacific Islander communities in mind?

scholarly journals Roles of Christian campus fellowships in the fight against cultism in Nigerian universities

2021 ◽  
Vol 42 (1) ◽  
Author(s):  
Collins I. Ugwu ◽  
Onyekachi G. Chukwuma
Keyword(s):  
Social Work ◽  
Data Analysis ◽  
Juvenile Delinquency ◽  
Personal Communication ◽  
Tertiary Institutions ◽  
Social Responsibilities ◽  
Secondary Sources ◽  
The University ◽  
Descriptive Method ◽  
University Community

Cultism is prevalent in most tertiary institutions in Africa. There is no gainsay that this vice is generally unacceptable from both socio-cultural and religious viewpoints. Unfortunately, despite the detrimental tendencies associated with it, some students actively engage in it. Hence, various governmental and non-governmental organisations (NGOs) have risen to campaign against cultism in tertiary institutions. The thrust of this research, therefore, is to investigate the roles of Christian campus fellowships in the fight against cultism amongst students of Nigerian universities, with reference to the University of Nigeria, Nsukka (UNN). It also explores the challenges which the activities of cult groups pose to the university community. Utilising the descriptive method of data analysis, this work discovered that Christian campus fellowships are both a significant and a veritable tool in the fight against cultism in the UNN. As part of her primary and social responsibilities, Christian campus fellowships preach and teach against cult activities in tertiary institutions. They also intervene through some philanthropic gestures and other ecclesiastical activities which are primarily geared towards inculcating right values and godly characters in students, encouraging students who are members of cult groups to denounce their membership and also discouraging students from joining cult groups. The data for this research were drawn from both primary (personal communication) and secondary sources (books, journals and internet materials). The major finding of this article reveals that Christian campus fellowships in the UNN, have made remarkable strides in the campaign against the involvement of students in cultism.Intradisciplinary and/or interdisciplinary implications: The article explicitly lays bare the contributions of Christian campus fellowships in order to bring cult practices to a barest minimum amongst students of the UNN. The study contributes to modern discourses on juvenile delinquency with respect to disciplines such as religion, sociology, social work and psychology.

scholarly journals Bighorn Basin Natural Resource Data Assessment

1982 ◽  
Vol 6 ◽  
pp. 15-17
Author(s):  
Thomas Wesche ◽  
Stanley Anderson ◽  
Walter Eifert
Keyword(s):  
Natural Resource ◽  
Personal Communication ◽  
Bighorn Basin ◽  
Storage And Retrieval ◽  
Data Assessment ◽  
Key Word ◽  
Resource Data ◽  
Resource Conditions ◽  
The University ◽  
Benchmark Evaluation

The primary goal of this study is to establish the mechanism for a benchmark evaluation of the natural resource conditions of the Bighorn Basin prior to 1983. To accomplish this goal, the principal obectives of this investigation are two fold: 1. By means of literature and computer searches and extensive personal communication with key personnel of a variety of agencies, institutions, and other entities, systematically locate and establish the sources, nature, and availability of both quantitative and qualitative data from the Bighorn Basin in Wyoming dealing with: a. aquatic and riparian habitat; b. land and water uses; c. wildlife and fishery resources; and d. water resources. 2. Compile, categorize and key-word bibliographic information reviewed under Obective No. 1, and enter these data onto a computerized bibliographic storage and retrieval system compatible with the University of Wyoming's Cyber System.

Genees & Kunst 8: Eighth Biannual Symposium on Medical Problems of Dancers & Musicians, Revalidatie Friesland, Beetsterzwaag, April 4, 2009

2009 ◽  
Vol 24 (4) ◽  
pp. 191-197
Author(s):  
G.J.F. (Gert-Jan) de Haas ◽  
C.I.C.A. (Camilla) Winterkorn-Pierrot
Keyword(s):  
The Netherlands ◽  
Outpatient Clinic ◽  
Performing Arts ◽  
Medical Centre ◽  
Rehabilitation Centre ◽  
Medical Problems ◽  
Performing Arts Medicine ◽  
Orthopaedic Department ◽  
10Th Anniversary ◽  
The University

On Saturday, April 4th, 2009, the Dutch Performing Arts Medicine Association (NVDMG) organized a scientific and artistic symposium Genees & Kunst 8 for its 8th member assembly, at Revalidatie Friesland (Rehabilitation Friesland) Rehabilitation Centre, in Beetsterzwaag, The Netherlands. The assembly was co-hosted by Mr. G.J.F. (Gert-Jan) de Haas, Vice-chairman of NVDMG and head of the Psychology and Psychiatry Department of the Medical Centre for Dancers & Musicians (MCDM), K.H. (Kees-Hein) Woldendorp, MD, rehabilitation specialist and musician in Revalidatie Friesland, and Prof. S.K. (Sjoerd) Bulstra, MD, PhD, orthopaedic surgeon and head of the Orthopaedic Department of the University Medical Centre Groningen (UMCG). In addition, Revalidatie Friesland celebrated the 10th anniversary of the musicians' outpatient clinic led by K.H. Woldendorp, MD.

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

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