Griffith Research Online

Griffith Research Online (GRO) is a digital archive of research and scholarship from Griffith University, Brisbane, Australia.

GRO delivers free online full-text versions of journal articles, conference papers, and more, where this is possible with the appropriate permissions of copyright owners. GRO increases the impact and influence of Griffith research and scholarship by ensuring it is visible, discoverable and accessible via search engines like Google and discovery services like the National Library’s Trove.

 

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Book chapter
Positionality and Its Implications for Researching the Police in Vietnam
Jardine, M; Luong, HT (Introduction to Policing Research: Taking Lessons from Practice, 2023)

This chapter explores issues in undertaking policing research, especially regarding power dynamics in knowledge production as they relate to research and researchers in the Global North and South. Knowledge on policing is dominated by scholars from the Global North. Increasingly, there is attention being paid to whether research is ethical, not only whether participants give informed consent, etc, but whether researchers have the right to study people and phenomena of any sort in the Global South. The chapter provides an overview of some perspectives of researcher positionalities, and their advantages and limitations when conducting research on potentially sensitive topics, such as policing, in one-party communist states, in this case, Vietnam. To better elucidate the practical and methodological implications of researcher positionality, three brief case studies are provided. The chapter concludes by noting that research is a collective effort, notwithstanding the constraints inherent within some researcher positions, while enabling advantages in others, and the impact that different positions have on the production of policing knowledge in relation to Vietnam.

Journal article
Primary Focus - A Partnership Model for Artists in Schools
Free, Miranda; Nalder, Glenda; Fullarton, Lee; Collet, Penelope (Australian Art Education, 2009)

The increasing marginalisation of visual arts in the primary education curriculum, partly attributed both to gaps in generalist primary teacher education (Davis 2008) and the narrowing national education agenda, as well as the low levels of income traditionally experienced by artists has led to compensatory funding to encourage professional partnerships. International arts education research literature reports on many partnership models including apprenticeships (Griffiths and Woolf, 2008), mentoring programs such as Arts Impact (Gonzalez and Watts, 2006) and arts integration programs such as Learning Through The Arts (Smithrim and Upitis, 2005) that seek to increase understanding of and efficacy in using the arts to expand the repertoire of techniques available to teachers and promote active, creative teaching and learning (Oreck, 2004). Primary Focus, a partnership between a teacher professional body, the Primary Arts Network Ipswich, and the Ipswich Art Gallery, arose from a shared interest in facilitating and sustaining quality artist in residence projects in primary schools using an approach that promotes ongoing relationships between schools, galleries, arts organisations and the local community. This paper reports on an evaluative study designed to overcome the limitations of routinely used self-evaluations and anecdotal evidence of successful outcomes. The project was embedded in the curriculum and incorporated a participatory action research dimension to generate quantitative and qualitative data to enable the impact of artist in residence projects on learning achievement to be substantiated.

Journal article
Imagination in Early Childhood Education
Ganis, Venus; Paterson, Susan (Australian Art Education, 2011)

Imagination is the fundamental facility through which people make meaning. In childhood the process of learning to build relevant knowledge systems requires the formalization of order from symbolic codes derived from intuitive, spontaneous and chaotic information. The process of ordering information requires imaginative play for thinking to be realized as factual and fanciful. Education has developed strategies to facilitate imaginative thinking. This follows a developmental process: imagined images are drawn as symbols which later enable the child to tell stories through the visual language; imaginative play uses the embodied experience to make metaphoric connections between fantasy and factual meaning. The psychological process of mental visualization called imagination is essential for the development of literacy. This paper will examine the r ole of imagination in visual literacy development.

Journal article
Art Education for a "tele-matic" future
Nalder, Glenda; Flood, Adele; Bamford, Anne (Australian Art Education, 2004)

Much 'received knowledge' about art in the late 20th Century arrived 'tele-visually' (vision-at-a-distance, via TV and video). In the 21' Century, students are increasingly experiencing art 'tele-matically' (digitised and data-banked at a distance). This paper highlights the issues that arose during a research project investigating the data-basing of outcomes of artistic engagements for subsequent retrieval, reflection and feedback between students and teachers to enhance learning. The paper's aim is to encourage critical debate about the preparation of education students to teach in and through the visual arts in an increasingly information-oriented and dominated sociocultural environment.

Journal article
Educational leadership beyond behaviourism, the lessons we have learnt from art education
Paterson, Susan; Stone, Richard (Australian Art Education, 2006)

Today, we acknowledge that the brain works in complex ways and we are fully aware that emotion plays a major role in how well students think, in fact as many major sporting coaches would suggest, motivation and performance go hand in hand in achieving that competitive edge. It is would seem that effective learning must involve a balance of perceptive and logical approaches. Forgas explains there is strong evidence that positive and negative affective states facilitate different information- processing strategies. He states that there is little doubt that the delicate interplay between cognition and affect has been a moving force behind many of the greatest of artistic achievements. All subjects including the arts are now seen as having their cognitive and affective components. It would seem that the way curriculum addresses models of teaching, learning, evaluation and assessment should reflect the concerns of contemporary education. If we aim to elicit metacognition, higher order and critical thinking skills then our educational models must match what we are attempting to develop in our students; their mind as well as their behaviours.