Collaboration Beyond the School

The authors of this chapter posit that collaboration with related and instructional personnel, as well as regional and state education agencies, can serve to combat teacher retention issues while improving student services. Acknowledging common barriers to effective collaboration, practical tools for overcoming these challenges are suggested. Further, key stakeholders in the collaborative process and their roles are identified. The chapter concludes by organizing collaborative efforts to engage in throughout a student's educational career.

Collaborative Partnerships in Teacher Preparation

This chapter presents a description of a collaborative approach to clinical induction for pre-service teachers, the benefits of a collaborative clinical approach, and the voiced experiences of public school teachers, teacher candidates, and university faculty/supervisors reflecting on the impact of professional involvement in the collaborative process. Arguments for disrupting traditional models for clinical practice are presented. Tips for other educators and education preparation programs for developing collaboration and co-teaching induction models are included.

Developing a faculty-librarian collaboration model to support teaching and research at Vietnamese universities

PurposeThis paper aims to design a collaborative model amongst faculty and librarian to support teaching and research congruent with the Vietnamese context.Design/methodology/approachThe mix-method research is used in three stages to (1) study the situation and problems of faculty-librarian collaboration by using semi-structured interviews with 29 participants, (2) survey factors influencing the collaboration from 455 samples, (3) evaluate and arrange the influence level of factors from 18 experts' perspectives.FindingsThe research results show that in order to enhance the quality and gain goals of the collaboration, it is necessary to meet three elements, in which universities must (1) meet essential conditions and factors, (2) identify collaborative objectives and activities, collaborative process/guidelines, and evaluating collaboration; and (3) clarify the participation and support of stakeholders to achieve common outcomes.Research limitations/implicationsThis study carried out with representatives for key informant group at four universities in Vietnam, thus, the research results could not cover all current situation of the faculty–librarian collaboration at universities.Originality/valueThis paper provides the detail picture of faculty–librarian collaboration practices and factors having influence this activity at Vietnamese universities. Then, the findings help administrators, faculty and librarians understand and deploy a reasonable plan in accordance with the university's features to enhance the effectiveness and success of the faculty–librarian collaboration.

Discussion of Issues Related to Language Assessment Literacy in Second Signed and Spoken Languages

This chapter is a joint discussion of key items related to language assessment literacy related to signed and spoken language assessment that were discussed in Chapters 11.1 and 11.2, and the implications that these issues might have on the other field. It is clear that language assessment literacy (LAL) in the context of signed languages—(S)LAL by the authors—is still in a very nascent form. Although in the field of spoken language assessment there is a tendency to discuss LAL as being a “new” development and recent scholarship suggests that issues and constructs remain undertheorized, there is a considerable body of literature on LAL oriented toward spoken language (as surveyed in the Chapter 11.1), to the extent that LAL is now a core area of research and scholarship in the field. This is in sharp contrast with the paucity addressing LAL in the context of signed languages. This chapter is the result of a collaborative process during which the two sets of authors read each other’s chapters and responded to a set of guided questions. The result is the synthesis of this dialogic process.

Artificial intelligence in constructing personalized and accurate feedback systems for students

Artificial Intelligence (AI) systems have evolved with digital learning developments to provide thriving soft groups with digital opportunities in response to feedback. When it comes to learning environments, educators’ training feedback is often used as a response recourse. Through the use of final evaluations, students receive feedback that improves their education abilities. To improve academic achievement and explore knowledge in the learning process, this section provides an AI-assisted personalized feedback system (AI-PFS). An individualized feedback system is implemented to learn more about the student’s lack of academic experience interactivity and different collaboration behaviors. According to their benchmark, PFS aims to establish a personalized and reliable feedback process for each class based on their collaborative process and learn analytics modules. It has been proposed to use multi-objective implementations to evaluate students regarding the learning results and teaching methods. With different series of questions sessions for students, AI-PFS has been designed, and the findings showed that it greatly enhances the performance rate of 95.32% with personalized and reasonable predictive.

Journal of Youth Development’s Stance on Diversity, Equity, Inclusion, and Access

The Journal of Youth Development is committed to ‎furthering diversity, equity, inclusion, and access in scholarly publishing. This Editor’s Note provides an overview of our ongoing resolve and collaborative process to review and shape policies and procedures to enhance our contributions to recognizing, valuing, and promoting racial equity, inclusion, and social justice.

Abhinaya as Practice-as-Research

What does a collaborative process of an artistic creation entail? How does the individual components of text, music, and dance weave in a solo choreography? This article brings together the voices of the dancer (Sarkar), the choreographer (Dandavate), and the music composer (Mirle) who has also sung and is the curator of the project called Nachi Meera. This project has commissioned multiple artists working in different dance techniques to present Abhinaya-esque (meaning expressive dance works) expositions on songs by the renowned historical saint-poet Mirabai. Sarkar, Dandavate, and Mirle reflect upon their collaborative journeys in this reflective essay where the process of creating an Abhinaya is theorized as research. The dance piece itself stands by itself as a scholarly product with historical, performative, and artistic research methodologies informing the process. This article documents the collaborative process borrowing from scholar Robin Nelson’s Practice-as-Research (PaR) methodology and argues how the artistic product weaves verbal, kinesthetic, and aural communication in an iterative process of ‘doing-reflecting-reading-articulating-doing” (Nelson 32). Movement layers the intricacies of South Asian aesthetics or the Rasa theory that governs the mood of execution by the dancer. Improvisation through choreography supplements Mirabai’s lyrics and Mirle’s musical composition.

Contemporary Taonga: The Art Works of Brett Graham

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories. The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network. As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

Removing Ableist Barriers in Nursing Education: Clinical Essential Requirements

The current approach to clinical placement training for nurses excludes students with disabilities. The purpose of this article is to introduce a four-step model for nursing programs to identify clinical essential requirements – specific skills and competencies students must gain during placement. Engaging this four-step model will allow educators to identify how essential requirements can be achieved in a variety of ways, and thus can involve accommodations. It will also allow for the identification of which essential requirements cannot be accommodated and must be demonstrated in a prescribed manner due to impacting the nature or integrity of the task. Analyzing clinical essential requirements using this framework will create a consistent and defensible method to determine the flexibility or inflexibility of clinical tasks. The framework provided requires a collaborative process including key experts, nursing students and nurses with disabilities to comprehensively address the challenges clinical environments pose to inclusiveness.

Contemporary Taonga: The Art Works of Brett Graham

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories. The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network. As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>