Journal articles on the topic 'College teachers – Rating of – South Africa'

The purpose of this study was to explore self-reported stress experienced by secondary school teachers in Transkei, South Africa using a local unstandardized scale. Contrary to the literature on western teachers, an average rating of stress of 93.5 was reported by the 134 teachers, and no differences were noted between the 66 men and 68 women.

Technology education is one the programmes designed to provide technical knowledge and skills necessary for economic development in Nigeria. But technology education programme has a constraint to its advancement which this study investigated. The study adopted the survey research method for the design. The population of the study was 453 persons comprised of 379 students and 74 technical teachers from one Technical College and a University with technology education department in each of the 6 states of the South-South geo-political zone. A simple random sampling technique was used to obtain a sample size of 188 which comprised of 33 technical teachers and 155 students. A 5-item questionnaire was used as the instrument for the study. The questionnaire item was followed by a single response category based on a 5-point rating scale format of Very High Extent (VHE), High Extent (HE), Moderate Extent (ME), Low Extent (LE) and Very Low Extent (VLE). A test re-test method was adapted to test the reliability of the instrument to obtain a coefficient of 0.73. The data gathered was analyzed using mean and z-test analysis to answer the research question and hypothesis respectively. The finding revealed that digital illiteracy is a constraint to technology education advancement in Nigeria. Based on the findings, it was recommended that in order to enhance digital proficiency in technology education, government should adequately provide digital facilities in all technology education institutions in Nigeria.

page iv. Editorial team page v. Acknowledgements page vi. Editorial - Joy Papier page 1. Incorporating principles of expansive learning and activity theory in curriculum design to bridge work and education contexts for vocational teachers - James Garraway and Christine Winberg page 22. Developing a WIL curriculum for post-school lecturer qualifications - André van der Bijl and Vanessa Taylor page 43. Teacher industry placement in Australia: Voices from vocational education and training managers - Annamarie Schüller and Roberto Bergami page 67. Motivating styles in dual, initial vocational education and training: Apprentices’ perceptions of autonomy support and control - Valentin Gross, Jean-Louis Berger, Matilde Wenger and Florinda Sauli page 89. Factors that influence the employability of National Certificate (Vocational) graduates: The case of a rural TVET college in the Eastern Cape province, South Africa - Nduvazi Obert Mabunda and Liezel Frick page 109. Experiences of women students in Engineering studies at a TVET college in South Africa - Sophia Matenda page 126. Growing the TVET knowledge base in the south: South African postgraduate output, 2008–2018 - Joy Papier and Simon McGrath page 143. Interview with Adrienne Bird - Johann Maree page 153. Contributor biographies page 156. Editorial policy page 158. Call for papers: JOVACET 4(1), 2021

AbstractObjectiveThe objectives of the present study were to (i) develop and validate a norm-referenced performance-rating scale to interpret a nutrition knowledge test developed for urban adolescents and (ii) develop a prototype for other researchers to follow when developing nutrition knowledge tests.DesignFor norm development the nutrition knowledge test (questionnaire) was administered to a sample representative of the questionnaire target group, referred to as the norm group. These included 512 adolescents in grades 8 (n 158), 10 (n 149) and 12 (n 205) at three randomly selected schools in Soweto and Johannesburg. The performance scores (in percentages) obtained by the norm group were transformed to Z-scores which were categorised into stanines using established Z-score cut-off points. For validation purposes the questionnaire was completed by 148 volunteers: sixty university dietetics students, nineteen non-nutrition university students and sixty-nine primary-school teachers.ResultsAs required of an ideal norm group, the Z-scores formed a normal distribution (a bell-shaped curve). To facilitate interpretation of the results, the Z-score cut-off points for these categories were transformed back to performance scores (percentages) so that the performance of a testee could be interpreted directly from his/her performance in percentage. As is recommended, the nine stanine categories were reduced to five: very poor, fair/below average, good/average, very good/above average and excellent. The discriminatory validity of the norms was substantiated by showing that groups with known nutrition knowledge levels were rated appropriately and that the performance ratings of these groups differed significantly, with university dietetics students scoring 98·3 %, primary-school teachers 20·3 % and non-nutrition university students 31·6 %.ConclusionsThe norm-referenced performance-rating scale can be used with confidence to interpret the performance score achieved by a testee on the nutrition knowledge test developed for urban adolescents in South Africa. The methodology used in the study serves as a prototype for other researchers who are developing knowledge tests.

Journal of Food Research wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal are greatly appreciated. Journal of Food Research is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://www.ccsenet.org/journal/index.php/jfr/editor/recruitment and e-mail the completed application form to jfr@ccsenet.org. Reviewers for Volume 8, Number 3   Adele Papetti, University of Pavia, Italy Asima Asi Begic-Akagic, Faculty of Agriculture and Food Sciences, Bosnian Cheryl Rosita Rock, California State University, United States Codina Georgiana Gabriela, Stefan cel Mare University Suceava, Romania Elke Rauscher-Gabernig, Austrian Agency for Health and Food Safety, Austria Elsa M Goncalves, Instituto Nacional de Investigacao Agrária (INIA), Portugal Jose Maria Zubeldia, Gestión Sanitaria de Canarias – Gobierno de Canarias, Spain Juliano De Dea Lindner, Federal University of Santa Catarina (UFSC), Brazil Lenka Kourimska, Czech University of Life Sciences Prague, Czech Republic Leonardo Martín Pérez, Pontifical Catholic University of Argentina, Argentina Luis Patarata, Universidade de Trás-os-Montes e Alto Douro, Portugal Magdalena Polak-Berecka, University of Life Sciences in Lublin, Poland Marco Iammarino, Istituto Zooprofilattico Sperimentale della Puglia e della Basilicata, Italy Maria Fernanda Pessoa, Universidade Nova de Lisboa, Portugal Mariana de Lourdes Almeida Vieira, Centro Federal de Educação Tecnológica de Minas Gerais, Brazil Massimiliano Renna, Institute of Sciences of Food Production, Italy Na-Hyung Kim, Wonkwang University, Korea Richard Nyanzi, Tshwane University of Technology, South Africa Shalini A. Neeliah, Ministry of Agro-industry and food security, Mauritius Sonchieu Jean, Higher Technical Teachers Training College (HTTTC), University of Bamenda, Cameroon Tanima Bhattacharya, Seacom Skills University, India

AbstractBackground:The Global Terrorism Database (GTD) is an open-source database on terrorist incidents around the world since 1970, and it is maintained by the National Consortium for the Study of Terrorism and Responses to Terrorism (START; College Park, Maryland USA), a US Department of Homeland Security Center of Excellence. The consortium reviews media reports to determine if an event meets eligibility to be categorized as a terrorism incident for entry into the database.Objective:The objective of this study was to characterize chemical terrorism incidents reported to the GTD and understand more about the kinds of chemical agents used, the associated morbidity and mortality, the geography of incidents, and the intended targets.Methods:Chemical terrorism incidents from 1970 through 2015 were analyzed by chemical agent category, injury and fatality, geographic region, and target.Results:During the study period, 156,772 terrorism incidents were reported to the GTD, of which 292 (0.19%) met the inclusion criteria for analysis as a chemical terrorism incident. The reported chemical agent categories were: unknown chemical (30.5%); corrosives (23.3%); tear gas/mace (12.3%); unspecified gas (11.6%); cyanide (8.2%); pesticides (5.5%); metals (6.5%); and nerve gas (2.1%). On average, chemical terrorism incidents resulted in 51 injuries (mean range across agents: 2.5-1,622.0) and seven deaths (mean range across agents: 0.0-224.3) per incident. Nerve gas incidents (2.1%) had the highest mean number of injuries (n = 1,622) and fatalities (n = 224) per incident. The highest number of chemical terrorism incidents occurred in South Asia (29.5%), Western Europe (16.8%), and Middle East/North Africa (13.0%). The most common targets were private citizens (19.5%), of which groups of women (22.8%) were often the specific target. Incidents targeting educational institutions often specifically targeted female students or teachers (58.1%).Conclusions:Chemical terrorism incidents rarely occur; however, the use of certain chemical terrorism agents, for example nerve gas, can cause large mass-causality events that can kill or injure thousands with a single use. Certain regions of the world had higher frequency of chemical terrorism events overall, and also varied in their frequencies of the specific chemical terrorism agent used. Data suggest that morbidity and mortality vary by chemical category and by region. Results may be helpful in developing and optimizing regional chemical terrorism preparedness activities.

06–108Andrew, Michael D. (U New Hampshire, USA), Casey D. Cobb & Peter J. Giampietro, Verbal ability and teacher effectiveness. Journal of Teacher Education (Sage) 56.4 (2005), 343–354.06–109Beran, Tanya (U Calgary, Canada) & Claudio Violato, Ratings of university teacher instruction: How much do student and course characteristics really matter?Assessment & Evaluation in Higher Education (Routledge/Taylor&Francis) 30.6 (2005), 593–601.06–110Cadman, Kate (U Adelaide, Australia; kate.cadman@adelaide.edu.au), Towards a ‘pedagogy of connection’ in critical research education: A REAL story. Journal of English for Academic Purposes (Elsevier) 4.4 (2005), 353–367.06–111Francis, Dawn (James Cook U, Australia) & Louise Ingram-Starrs, The labour of learning to reflect. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 541–553.06–112Gordon, June A. (U California at Santa Cruz, USA), The crumbling pedestal: Changing images of Japanese teachers. Journal of Teacher Education (Sage) 56.5 (2005), 459–470.06–113Green, Catherine & Rosie Tanner (IVLOS Institute of Education, Utrecht U, the Netherlands; catherine_green@usamedia.tv), Multiple intelligences and online teacher education. ELT Journal (Oxford University Press) 59.4 (2005), 312–321.06–114Hsu, Shihkuan (National Taiwan U, Taiwan), Help-seeking behaviour of student teachers. Educational Research (Routledge/Taylor&Francis) 47.3 (2005), 307–318.06–115Kolesnikova, Irina L. (St Petersburg, Russia; vkolesni@rol), English or Russian? English language teacher training and education. World Englishes (Blackwell) 24.4 (2005), 471–476.06–116Leeman, Yvonne & Guuske Ledoux (U Amsterdam, the Netherlands), Teachers on intercultural education. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 575–589.06–117Longaker, Mark Garrett (U Texas at Austin, USA), Market rhetoric and the Ebonics debate. Written Communication (Sage) 22.4 (2005), 472–501.06–118Lovtsevich, Galina N. (Vladivostok, Russia; lovtsev@ext.dvgu.ru), Language teachers through the looking glass: Expanding Circle teachers' discourse. World Englishes (Blackwell) 24.4 (2005), 461–469.06–119McDonald, Ria (U South Africa, South Africa) & Daniel Kasule, The monitor hypothesis and English teachers in Botswana: Problems, varieties and implications for language teacher education. Language, Culture and Curriculum (Multilingual Matters) 18.2 (2005), 188–200.06–120Orland-Barak, Lily (U of Haifa, Israel), Lost in translation: Mentors learning to participate in competing discourses of practice. Journal of Teacher Education (Sage) 56.4 (2005), 355–366.06–121Postholm, May Britt (Norwegian U Science & Technology, Norway), The teacher shaping and creating dialogues in project work. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 519–539.06–122Poulou, Maria (U Crete, Greece), Educational psychology with teacher education. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 555–574.06–123Shahrzad, Saif (Université Laval, Quebec, Canada), Aiming for positive washback: A case study of international teaching assistants. Language Testing (Hodder Arnold) 23.1 (2006), 1–34.06–124Siew-Lian Wong, Mary (Batu Lintang Teachers' College, Malaysia; marywsl@yahoo.com), Language learning strategies and self-efficacy: Investigating the relationship in Malaysia. RELC Journal (Sage) 36.3 (2005), 245–269.06–125Sifakis, Nicos C. & Areti-Maria Sougari (Hellenic Open U, Greece), Pronunciation issues and EIL pedagogy in the periphery: A survey of Greek state school teachers' beliefs. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 467–488.06–126Yin Wa Chan, Alice (City U Hong Kong, China), Tactics employed and problems encountered by university English majors in Hong Kong in using a dictionary. Applied Language Learning (Defense Language Institute Foreign Language Center and Presidio of Monterey) 15.1 & 15.2 (2005), 1–27.

This paper presents the first assessment of the Behavioural Rating Scale of Presented Self-Esteem (Haltiwanger, 1989) in South Africa. The analyses are based on teachers’ evaluation of self-esteem of 57 young isiZulu and Sesotho-speaking children attending a South African government-funded urban primary school. Although we found Cronbach’s Alpha to be very high (α = .96), an exploratory factor analysis revealed a possible two-factor solution. However, the second factor did not match the two-factor solution reported in previous research (Fuchs-Beauchamp, 1996) and explained only a small amount of total variance. No self-esteem differences were detected between boys and girls, or between isiZulu- and Sesotho-speakers. The association between subjective summary ratings of self-esteem by teachers and the PSE scores in Soweto matches the associations measured in the US by Haltiwanger (1989). Interestingly, teachers’ subjective assessment of children’s future leadership status correlated positively with evaluation of the children’s self-esteem, while teachers’ subjective assessment of being burdened by major problems in the children’s future did not. Measurement issues relating to ecological validity, culture-sensitivity, and subsequent work on self-esteem of children and education in South Africa are discussed.

This paper presents a new framework to analyse missionary education in South Africa, using Grosfoguel’s conceptual and methodological lens of coloniality of power, coloniality of knowledge, and coloniality of being. Firstly, the paper introduces the theoretical lens that undergirds this study and describes the three above-mentioned dimensions. Rather than seek generalisations concerning missionary education in the historical record, the paper presents an analysis of the endeavours of the Swiss Mission Society as an example of Protestant evangelism in South Africa. I indicate how the Swiss Mission used education to racialise and hierarchise the indigenous people and how, in this process, knowledge and indigenous people were dehumanised. The argument is based on examples drawn from the Swiss Mission’s teacher training institution, namely the Lemana Teachers’ Training College, near Elim. Based on the paper’s critical analysis, I propose how power structures, colonised knowledge systems and beings could be decolonised.

Student dropout, also called ‘early departure’, is a significant problem in South Africa’s post-school education and training (PSET) landscape, specifically in the technical and vocational education and training (TVET) sector. The challenge of student retention and programme completion (the antithesis of dropping out) is equally significant and important to TVET institutions, the state department responsible (Department of Higher Education and Training) and the South African economy. Early departure negatively influences the success rates of educational institutions. It also influences the chances of personal employment and financial well-being of individual students, causing financial ripple effects on society and government. Students’ decisions to remain or leave college or a programme are influenced by a variety of individual and social factors, both internal and external, including people close to the students and the policies, systems and structures within which students interact. These factors also encompass the quality and friendliness of teachers, social interaction with teachers and peers, and the role played by friends in academic achievement. This article reports on a study of student perspectives on the internal and external factors that influence their retention in, and completion of, a TVET college Business Studies National Certificate (Vocational) (NC(V)) programme in the Western Cape, South Africa. An improved understanding of student experiences, intentions, and decision-making processes leading to persistence provides a foundation for improving student retention and programme completion in a TVET environment.

04–644 Donaghue, H. (Shajah Women's College, UAE). An instrument to elicit teachers’ beliefs and assumptions. ELT Journal (Oxford, UK), 57, 4 (2003), 344–351.04–645 Heller-Murphy, Anne and Northcott, Joy (U. of Edinburgh, Scotland, UK). “Who does she think she is?” constraints on autonomy in language teacher education. Edinburgh Working Papers in Applied Linguistics (Edinburgh, Scotland, UK), 12 (2003), 10–18.04–646 LeLoup, J. W. (State U. of New-York-Cortland) and Schmidt-Rinchart, B. A Venezuelan experience: professional development for teachers, meaningful activities for students. Hispania (Ann Arbor, USA), 86, 3 (2003), 586–591.04–647 Macaro, E. (University of Oxford; Email: ernesto.macaro@educational-studies.oxford.ac.uk) Second language teachers as second language classroom researchers. Language Learning Journal (Rugby, UK), 27 (2003), 43–51.04–648 Murphy, J. (New College, Nottingham). Task-based learning: the interaction between tasks and learners. ELT Journal (Oxford, UK), 57, 4 (2003), 352–360.04–649 Urmston, Alan (Hong Kong Examinations and Assessment Authority, Hong Kong; Email: aurmston@hkeaa.edu.hk). Learning to teach English in Hong Kong: the opinions of teachers in training. Language and Education (Clevedon, UK), 17, 2 (2003), 112–137.04–650 Wharton, Sue (University of Aston, UK; Email: s.m.wharton@aston.ac.uk). Defining appropriate criteria for the assessment of master's level TESOL assignments. Assessment and Evaluation in Higher Education (London, UK), 28, 6 (2003), 649–663.04–651 Wildsmith-Cromarty, Rosemary (University of Natal, Pietermaritzburg, South Africa; Email: wildsmithr@nu.ac.za). Mutual apprenticeship in the learning and teaching of an additional language. Language and Education (Clevedon, UK), 17, 2 (2003), 138–154.

Research findings pertaining to language education and distance education point to the lack of online reading materials written in African languages and reflecting African contexts. Such a shortage is a challenge to literacy skills development in Africa. In Rwanda, although there are some graded readers to support the teaching of reading in Kinyarwanda, there is a shortage of enjoyable storybooks on which children can practice their reading skills. This paper contributes to addressing this challenge by investigating the partnership between the University of Rwanda-College of Education and South African Institute of Distance Education’s (Saide) African Storybook Initiative, which provides a website of digital storybooks in Kinyarwanda and other languages for early grade reading. Data were collected from 32 Rwandan teacher educators who participated in a workshop. Participants created online picture storybooks in Kinyarwanda, translated some from other languages and published them on the African Storybook website. The researchers firstly observed their activities during the workshop, then, all participants filled in the questionnaire and ten teachers were interviewed on opportunities offered and challenges encountered during the translation process. The key finding is that teachers’ experiences with translation revealed differences in story reading levels between the original Kinyarwanda folktales and English translated versions. They found special features of African agglutinating languages in determining reading levels, and foreignization of translated stories based on cultural clashes. Differences in length between the original and the translated stories were observed, as well as the specificity of English versions in reinforcing more critical thinking than the translated Kinyarwanda versions. The paper recommends teacher educators and translators to bear in mind that adaptation to African languages requires care and a high level of ability to maintain the meaning and moral lesson of the original tale and make it enjoyable for children. Translating and adapting stories from English into agglutinative African languages have implications for early grade reading interventions in African schools since children stories on African storybook website are available in more than 100 African languages.

06–300Andrew, Michael D. (U New Hampshire, USA), Casey D. Cobb & Peter J. Giampietro, Verbal ability and teacher effectiveness. Journal of Teacher Education (Sage) 56.4 (2005), 343–354.06–301Arnold, Nike (U Tennessee, USA; mnarnold@utk.edu) & Lara Ducate, Future foreign language teachers' social and cgnitive collaboration in an online environment. Language Learning & Technology (http://llt.msu.edu/intro.html) 10.1 (2006), 42–66.06–302Ballet, Katrijn, Geert Kelchtermans (U Leuven, Belgium) & John Loughran, Beyond intensification towards a scholarship of practice: Analysing changes in teachers' work lives. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.2 (2006), 209–229.06–303Borg, Michaela (Northumbria U, UK; mborg13@yahoo.com), A case study of the development in pedagogic thinking of a pre-service teacher. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 30 pp.06–304Burton, Jill (U South Australia; Jill.Burton@unisa.edu.au), The importance of teachers writing on TESOL. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 18 pp.06–305Curtis, Andy (Queen's U, Canada; curtisa@post.queensu.ca) & Margit Szestay, The impact of teacher knowledge seminars: Unpacking reflective practice. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 16 pp.06–306Day, Christopher, Gordan Stobart, Pam Sammons & Alison Kington (U Nottingham, UK), Variations in the work and lives of teachers: Relative and relational effectiveness. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.2 (2006), 169–192.06–307Develotte, Christine (Ecole Normale Supérieure Lettres et Sciences Humaines, Lyon, France; cdevelotte@ens-lsh.fr), Francois Mangenot & Katerina Zourou, Situated creation of multimedia activities for distance learners: Motivational and cultural issues. ReCALL (Cambridge University Press) 17.2 (2005), 229–244.06–308Gebhard, Jerry G. (Indiana U Pennsylvania; jgebhard@iup.edu), Teacher development through exploration: Principles, ways, and examples. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 15 pp.06–309Gordon, June A. (U California-Santa Cruz, USA), The crumbling pedestal: Changing images of Japanese teachers. Journal of Teacher Education (Sage) 56.5 (2005), 459–470.06–310Gorsuch, Greta J. (Texas Technical U, USA; greta.gorsuch@ttu.edu), Discipline-specific practica for international teaching assistants. English for Specific Purposes (Elsevier) 25.1 (2006), 90–108.06–311Hanson, Jane L. (U Iowa, USA; jane-hanson@uiowa.edu), Svetlana Dembovskaya & Soojung Lee, CALL research archive: How can an online knowledge base further communication among second language professionals?ReCALL (Cambridge University Press) 17.2 (2005), 245–253.06–312Holmes, John (U Leeds, UK; j.l.holmes@education.leeds.ac.uk) & Maria Antonieta Alba Celani, Sustainability and local knowledge: The case of the Brazilian ESP Project 1980–2005. English for Specific Purposes (Elsevier) 25.1 (2006), 109–122.06–313Johnson, Karen (Pennsylvania State U, USA), The sociocultural turn and its challenges to second language teacher education. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 40.1 (2006), 235–257.06–314Kupetz, Rita & Birgit Zeigenmeyer (U Hannover, Germany; Rita.Kupetz@anglistik.uni-hannover.de), Blended learning in a teacher training course: Integrated interactive e-learning and contact learning. ReCALL (Cambridge University Press) 17.2 (2005), 179–196.06–315Lloyd, Rosemarie, Considerations in survey design, data analysis and presentation: A guide for ELT practitioners. English in Australia (www.englishaustralia.com.au) 22.2 (2005), 25 pp.06–316Lyons, Nona (U College Cork, Ireland), Reflective engagement as professional development in the lives of university teachers. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.2 (2006), 151–168.06–317Napier, Jemina (Macquarie U, Australia), Making learning accessible for sign language interpreters: A process of change. Educational Action Research (Oxford, UK) 13.4 (2005), 505–524.06–318Orland-Barak, Lily (U Haifa, Israel), Convergent, divergent and parallel dialogues: Knowledge construction in professional conversations. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.1 (2006), 13–31.06–319Orland-Barak, Lily (U Haifa, Israel), Lost in translation: Mentors learning to participate in competing discourses of practice. Journal of Teacher Education (Sage) 56.4 (2005), 355–366.06–320Phillips, Rachel & Sandra Hollingsworth (San José State U, USA), From curriculum to activism: A graduate degree program in literacy to develop teachers as leaders for equity through action research. Educational Action Research (Routledge/Taylor & Francis) 13.1 (2005), 85–102.06–321Rust, Frances (New York U, USA) & Ellen Meyers, The bright side: Teacher research in the context of educational reform and policy-making. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.1 (2006), 69–86.06–322Schmidt, Clea (U Manitoba, Canada; schmidtc@cc.umanitoba.ca), From teacher candidates to ESL ambassadors in teacher education. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 11 pp.06–323Silva, Marimar Da (U Federal de S Catarina, Brazil; marimars@bol.com.br), Constructing the teaching process from inside out: How pre-service teachers make sense of their perceptions of the teaching of the four skills. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 19 pp.06–324Sivell, John (Brock U, Canada; jsivell@brocku.ca), Second language teacher education in Canada: The development of professional standards. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 7 pp.06–325Somekh, Bridget (Manchester Metropolitan U, UK), Constructing intercultural knowledge and understanding through collaborative action research. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.1 (2006), 87–106.06–326Stewart, Timothy (Kumamoto U, Japan; stewart@kumamoto-u.ac.jp) & Bill Perry, Interdisciplinary team teaching as a model for teacher development. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 17 pp.06–327Tillema, Harm (Leiden U, the Netherlands) & Gert Van der Westhuizen (U Johannesburg, South Africa), Knowledge construction in collaborative enquiry among teachers. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.1 (2006), 51–67.06–328Ting, Y. L. Teresa (U Calabria, Italy; yltting@tin.it), Empowering the teacher-researcher: Adopting a tool from biochemist-researcher training. TESL-EJ (www.tesl-ej.org) 9.2 (2005), 13 pp.06–329Watkins, Amanda (U Central England, UK; amanda@european-agency.org), So what exactly do teacher researchers think about doing research?Support for Learning (Blackwell) 21.1 (2006), 12–18.06–330Wilkinson, Lyn, Improving literacy outcomes for students in disadvantaged schools: the importance of teacher theory. Australian Journal of Language and Literacy (Australian Literacy Educators' Association) 28.2 (2005), 127–137.06–331Zellermayer, Michal & Tabak, Edith (Levinsky College of Education, Israel), Knowledge construction in a teachers' community of enquiry: A possible road map. Teachers and Teaching: Theory and Practice (Routledge/Taylor & Francis) 12.1 (2006), 33–49.

This third publication of JOVACET follows the Special Issue which emanated from our 2018 conference on adult learning and education. While the Special Issue was focused on papers presented on the theme of the conference, the conference call for papers also yielded additional submissions outside the scope of the Special Issue, which contributed to this subsequent volume. Articles in this issue are situated in the vocational education and workplace training domains and constitute research at the level of practice as well as at the macro-policy level. Our first article herein, authored by Barabasch, Caldart and Keller, concerns competence development in apprenticeship training, and how innovation in the labour market in Switzerland is impacting on VET (vocational education and training) learning cultures as well as on approaches to learning at, and through, work. The Swiss dual-learning model, in which the major part of apprentice learning takes place in the workplace, is widely admired, and Switzerland is seen as an innovation leader among its peers in Europe. Even so, the constant drive for innovation, new technologies and work processes can be seen to be impacting on workforce development. Vocational learners are requiring new skill sets, for instance less product-specific knowledge and more ‘agile’ approaches such as ‘creativity’, ‘reflectivity’, and ‘taking the initiative’. Through a case study of the Swiss telecommunication industry, the authors examine how a new, innovative learning culture is being shaped in order to adapt to new work demands. Next, Gaffoor and Van der Bijl report on an investigation into factors that influence retention and attrition at a sample technical and vocational education and training (TVET) college in South Africa. The reasons for student dropout at public colleges have not been well documented and only a handful of studies have been conducted to date. The social and economic cost of young people leaving schools and colleges with incomplete qualifications is potentially crippling, and it is imperative that institutions understand the ‘push’ or ‘pull’ factors that are at play. Using the early constructs of Tinto, and later Bean, the authors attempt to provide a more holistic explanation of why students fail to complete their college programmes. From explanations of early college exit, Groener and Andrews examine the access pathways into higher education offered by TVET colleges through their vocational qualifications in early childhood educator training. Public colleges have for many years offered early childhood development (ECD) programmes for aspirant teachers, and a persistent source of frustration has been the lack of articulation in this field between TVET college and university qualifications. Universities offer initial teacher education in ECD but only very recently has there been an attempt to build pathways into these university qualifications by perusing the nature and content of the programmes offered at colleges. Nonetheless, it is not the lack of articulation which is the main focus of this article, but rather the aspirations of students who enter TVET colleges in order to create a basis for recognition of prior learning (RPL) for access into university by an alternative route. Evidence from Groener and Andrews’ case study shows that students in the sample who had the goal of access to university after completing their vocational college programme, demonstrated considerable agency and determination in overcoming structural and institutional barriers in pursuit of their goals. Moving from learner-centred studies to broader social and policy constructs in TVET, Kraak’s article considers the concept of ‘intermediation’ in the brokering of training compacts, especially in the light of the role that sector education and training authorities (SETAs) are required to play in South Africa. SETAs have a range of mandated functions with regard to employers in their scope of authority, but, with regard to training and development, they have an essential role in, inter alia, fostering links among employers, unions, and training providers. South Africa still has some way to go in developing the kind of relationships between employers and training providers that have seen established vocational systems become successful, and in enabling young graduates in these systems to become sought-after, highly skilled employees. Notwithstanding the slow progress towards the goal of a coherent system in which supply and demand can coexist, the author points to at least two successful examples of intermediation which could serve as a basis for future initiatives. An interesting dimension of the article is the inclusion of key stakeholder perspectives of four senior officials in the skills system, perspectives which suggest that, in the current dispensation, the expectation of intermediation may be a step too far for most SETAs. In this regard, Kraak acknowledges the input he received from the late Adrienne Bird, Director of the Special Projects Unit in the Department of Higher Education and Training, where she was leading the Centres of Specialisation initiative to revitalise the apprenticeship model. Adrienne Bird was a passionate advocate of vocational education and training and had a distinguished career in the South African post-apartheid skills development system. Her untimely passing in 2019, after a long battle with ill health, leaves a void in our still fragile and emergent national training architecture, where her dedication, experience and keen insight will no doubt be missed. Needham continues on the policy theme in his article as he interrogates the inability of the public TVET sector to meet human-capital development goals of reduced unemployment and improved economic returns on education investment. He argues that, while privatisation of education is a global phenomenon, in South Africa it is the result of the state’s adoption of neo-liberal reforms and a shift in emphasis on education as a public good in favour of narrower interests. The dominant discourses of performance management, efficiency, accountability, and the like have come to characterise education, to the detriment of developmental goals. He critiques privatisation policy approaches, for instance the ‘outsourcing’ of public education to private providers and the disincentivisation of public colleges to offer occupational programmes which, he argues, led to the creation of multiple private providers to offer this training. When colleges were subsequently encouraged to offer SETA-led occupational programmes, many colleges found themselves ill-equipped to take on this task, he contends. In essence, the article concludes that neither public nor private providers have been well served by the confusing privatisation policy messages, and the two systems of provision have as a result been pitted against each other rather than working collaboratively for more effective skills development delivery. Finally, in this issue of JOVACET, there is a book review by Martin Mulcahy, a former educator, policy analyst, and education adviser with vast experience of post-school education and training. He reviews the latest Springer handbook edited by McGrath, Mulder, Papier and Suart (2019), which is a mammoth two-volume edition covering nine broad themes and containing a host of scholarly articles within each theme. Mulcahy provides an informative overview of the handbook and its various sections, which will no doubt be a welcome and essential introduction to both volumes for vocational researchers, policymakers, teachers and students. We are indeed pleased that this timeous review could be included in this edition of JOVACET. The authors of papers in this issue of JOVACET demonstrated patience and diligence throughout the rigorous peer-review process, and undertook with good grace the amendments that needed to be made to their articles. We trust that readers will appreciate their effort.

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(University of Miami, USA) The effects of a phonological awareness intervention on the oral English proficiency of Spanish-speaking kindergarten children. TESOL Quarterly (Alexandria, Virginia, USA), 38, 1 (2004), 95–117.04–130Goodwyn, Andrew (Reading University, UK). The professional identity of English teachers. English in Australia (Norwood, Australia), 139 (2004), 122–30.04–131Hu, Guangwei (Nanyang Technological U., Singapore; Email: gwhu@nie.edu.sg). English language teaching in China: regional differences and contributing factors. Journal of Multilingual and Multicultural Development (Clevedon, UK), 24, 4 (2003), 290–318.04–132Jacobs, George M. (JF New Paradigm Education, Singapore; Email: gmjacobs@pacific.net.sg) and Farrell, Thomas S. C. Understanding and implementing the communicative language teaching paradigm. RELC Journal (Singapore) 34, 1 (2003), 5–30.04–133Janks, Hilary (University of the Witwatersrand, South Africa). The access paradox. English in Australia (Norwood, Australia), 139 (2004), 33–42.04–134Kim, Jeong-ryeol (Korea National U. of Education, South Korea; Email: jrkim@knue.ac.kr). Using mail talk to improve English speaking skills. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 349–69.04–135Kim, Nahk-Bohk (Chungnam National University, South Korea). An investigation into the collocational competence of Korean high school EFL learners. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 225–48.04–136Kormos, Judit & Dénes, Mariann (Eötvös Loránd U., Hungary; Email: kormos.j@chello.hu). Exploring measures and perceptions of fluency in the speech of second language learners. System (Oxford, UK), 32, 2 (2004), 145–64.04–137Lee, Jin Kyong (Seoul National U., South Korea). The acquisition process of yes/no questions by ESL learners and its pedagogical implications. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 205–24.04–138Levine, Glenn S. (U. of California, Irvine, USA). Global simulation: a student-centered, task-based format for intermediate foreign language courses. Foreign Language Annals (New York, USA), 37, 1 (2004), 26–36.04–139Littlemore, Jeannette (U. of Birmingham, UK; Email: j.m.littlemore@bham.ac.uk). Using clipart and concordancing to teach idiomatic expressions. Modern English Teacher (London, UK), 13, 1 (2004), 17–44.04–140Llurda, Enric (Email: ellurda@dal.udl.es) and Huguet, Ángel (Universitat de Lleida, Spain). Self-awareness in NNS EFL Primary and Secondary school teachers. Language Awareness (Clevedon, UK), 12, 3&4 (2003), 220–33.04–141Lochtman, Katja (Vrije U., Belgium; Email: katja.lochtman@vub.ac.be). Oral corrective feedback in the foreign language classroom: how it affects interaction in analytic foreign language teaching. International Journal of Educational Research (Abingdon, UK), 37 (2002), 271–83.04–142Mackey, Alison (Georgetown U., USA; Email: mackeya@georgetown.edu). Beyond production: learners' perceptions about interactional processes. International Journal of Educational Research (Abingdon, UK), 37 (2002), 379–94.04–143Maiwald, Cordula (Passau, Germany). Zeitverstehen und Tempusformen im Deutschen – eine Herausforderung im Fremdsprachenunterricht. [The concept of time and German tenses – a challenge for a foreign language classroom] Jahrbuch Deutsch als Fremdsprache (Munich, Germany), 29 (2003), 287–302.04–144McKay, Sandra Lee (San Francisco State U., USA; Email: 2slmckay@attbi.com). EIL curriculum development. RELC Journal (Singapore), 34, 1 (2003), 31–47.04–145Na, Yoon-Hee and Kim, Sun-Joo (U. of Texas at Austin, USA; Email: yhena@mail.utexas.edu). Critical literacy in the EFL classroom. English Teaching (Anseonggun, Korea), 58, 3 (2003), 143–63.04–146Nettelbeck, David (Whitefriars College, Australia). ICT and the re-shaping of literacy. A secondary classroom perspective. 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This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets of da City call “mindless topics” (Prophets of da City “Cape Crusader”), he employs hip-hop to engage audiences critically about social and political issues, including language and racial identity politics. Significantly, he embraces AfriKaaps, which is a challenge to the hegemonic speech variety of Afrikaans. From Emile's perspective, AfriKaaps preceded Afrikaans because it was spoken by slaves during the Cape colonial era and was later culturally appropriated by Afrikaner Nationalists in the apartheid era to construct white, Afrikaner identity as pure and bounded. AfriKaaps in hip-hop therefore presents an alternative to mainstream US-centric hip-hop in South Africa (via AKA or Cassper Nyovest, for example) as well as Afrikaner Nationalist representations of Afrikaans and race by promoting multilingual hip-hop aesthetics, which was initially advanced by Prophets of da City in the early '90s.Pursuing Alternative TrajectoriesEmile YX?, a former school teacher, started out with the Black Consciousness-aligned hip-hop crew, Black Noise, as a b-boy in the late 1980s before becoming an MC. Black Noise went through a number of iterations, eventually being led by YX? (aka Emile Jansen) after he persuaded the crew not to pursue a mainstream record deal in favour of plotting a career path as independent artists. The crew’s strategy has been to fund the production and distribution of their albums independently and to combine their work as recording and performing artists with their activism. They therefore arranged community workshops at schools and, initially, their local library in the township, Grassy Park, before touring nationally and internationally. By the late 1990s, Jansen established an NGO, Heal the Hood, in order to facilitate collaborative projects with European and South African partners. These partnerships, not only allowed Black Noise crew members to continue working as hip-hip activists, but also created a network through which they could distribute their music and secure further bookings for performances locally and internationally.Jansen’s solo work continued along this trajectory and he has gone on to work on collaborative projects, such as the hip-hop theatre show Afrikaaps, which looks critically at the history of Afrikaans and identity politics, and Mixed Mense, a b-boy show that celebrates African dance traditions and performed at One Mic Festival at the Kennedy Center in Washington DC in 2014 (48 Hours). This artist’s decision not to pursue a mainstream record deal in the early 1990s probably saved Black Noise from being a short-lived pop sensation in favour of pursuing a route that ensured that Cape hip-hop retained its alternative, Black Consciousness-inspired subcultural edge.The activism of Black Noise and Heal the Hood is an example of activists’ efforts to employ hip-hop as a means of engaging youth critically about social and political issues (Haupt, Stealing Empire 158-165). Hence, despite arguments that the seeds for subcultures’ commercial co-option lie in the fact that they speak through commodities (Hebdige 95; Haupt, Stealing Empire 144–45), there is evidence of agency despite the global reach of US cultural imperialism. H. Samy Alim’s concept of translocal style communities is useful in this regard. The concept focuses on the “transportability of mobile matrices – sets of styles, aesthetics, knowledges, and ideologies that travel across localities and cross-cut modalities” (Alim 104-105). Alim makes the case for agency when he contends, “Although global style communities may indeed grow out of particular sociohistoric originating moments, or moments in which cultural agents take on the project of creating ‘an origin’ (in this case, Afrodiasporic youth in the United States in the 1970s), it is important to note that a global style community is far from a threatening, homogenizing force” (Alim 107).Drawing on Arjun Appadurai’s concepts of ethnoscapes, financescapes, ideoscapes and mediascapes, Alim argues that the “persistent dialectical interplay between the local and the global gives rise to the creative linguistic styles that are central to the formation of translocal style communities, and leads into theorizing about glocal stylizations and style as glocal distinctiveness” (Appadurai; Alim 107). His view of globalisation thus accommodates considerations of the extent to which subjects on both the local and global levels are able to exercise agency to produce new or alternative meanings and stylistic practices.Hip-Hop's Translanguaging Challenge to HegemonyJansen’s “Mix en Meng It Op” [“Mix and Blend It / Mix It Up”] offers an example of translocal style by employing translanguaging, code mixing and codeswitching practices. The song’s first verse speaks to the politics of race and language by challenging apartheid-era thinking about purity and mixing:In South Africa is ek coloured and African means black raceFace it, all mense kom van Africa in the first placeErase all trace of race and our tribal divisionEk’s siek en sat van all our land’s racist decisionsMy mission’s om te expose onse behoort aan een rasHou vas, ras is las, watch hoe ons die bubble barsPlus the mixture that mixed here is not fixed, sirStir daai potjie want ons wietie wattie mixtures wereThis illusion of race and tribe is rotten to the coreWhat’s more the lie of purity shouldn’t exist anymoreLook at Shaka Zulu, who mixed all those tribes togetherMixed conquered tribes now Amazulu foreverHave you ever considered all this mixture before?Xhosa comes from Khoe khoe, do you wanna know more?Xhosa means angry looking man in Khoe KhoeSoe hulle moet gemix het om daai clicks to employ(Emile YX? “Mix en Meng It Op”; my emphasis)[In South Africa I am coloured and African means black raceFace it, all people come from Africa in the first placeErase all trace of race and our tribal divisionI’m sick and tired of all our land’s racist decisionsMy mission’s to expose the fact that we belong top one raceHold on, race is a burden, watch as we burst the bubble Plus the mixture that mixed here is not fixed, sirStir that pot because we don’t know what the mixtures wereThis illusion of race and tribe is rotten to the coreWhat’s more the lie of purity shouldn’t exist anymoreLook at Shaka Zulu, who mixed all those tribes togetherMixed conquered tribes now Amazulu foreverHave you ever considered all this mixture before?Xhosa comes from Khoe khoe, do you wanna know more?Xhosa means angry looking man in Khoe KhoeSo they must have mixed to employ those clicks]The MC does more than codeswitch or code mix in this verse. The syntax switches from that of English to Afrikaans interchangeably and he is doing more than merely borrowing words and phrases from one language and incorporating it into the other language. In certain instances, he opts to pronounce certain English words and phrases as if they were Afrikaans (for example, “My” and “land’s”). Suresh Canagarajah explains that codeswitching was traditionally “distinguished from code mixing” because it was assumed that codeswitching required “bilingual competence” in order to “switch between [the languages] in fairly contextually appropriate ways with rhetorical and social significance”, while code mixing merely involved “borrowings which are appropriated into one’s language so that using them doesn't require bilingual competence” (Canagarajah, Translingual Practice 10). However, he argues that both of these translingual practices do not require “full or perfect competence” in the languages being mixed and that “these models of hybridity can be socially and rhetorically significant” (Canagarajah, Translingual Practice 10). However, the artist is clearly competent in both English and Afrikaans; in fact, he is also departing from the hegemonic speech varieties of English and Afrikaans in attempts to affirm black modes of speech, which have been negated during apartheid (cf. Haupt “Black Thing”).What the artist seems to be doing is closer to translanguaging, which Canagarajah defines as “the ability of multilingual speakers to shuttle between languages, treating the diverse languages that form their repertoire as an integrated system” (Canagarajah, “Codemeshing in Academic Writing” 401). The mix or blend of English and Afrikaans syntax become integrated, thereby performing the very point that Jansen makes about what he calls “the lie of purity” by asserting that the “mixture that mixed here is not fixed, sir” (Emile XY? “Mix en Meng It Op”). This approach is significant because Canagarajah points out that while research shows that translanguaging is “a naturally occurring phenomenon”, it “occurs surreptitiously behind the backs of the teachers in classes that proscribe language mixing” (Canagarajah, “Codemeshing in Academic Writing” 401). Jansen’s performance of translanguaging and challenge to notions of linguistic and racial purity should be read in relation to South Africa’s history of racial segregation during apartheid. Remixing Race/ism and Notions of PurityLegislated apartheid relied on biologically essentialist understandings of race as bounded and fixed and, hence, the categories black and white were treated as polar opposites with those classified as coloured being seen as racially mixed and, therefore, defiled – marked with the shame of miscegenation (Erasmus 16; Haupt, “Black Thing” 176-178). Apart from the negative political and economic consequences of being classified as either black or coloured by the apartheid state (Salo 363; McDonald 11), the internalisation of processes of racial interpellation was arguably damaging to the psyche of black subjects (in the broad inclusive sense) (cf. Fanon; Du Bois). The work of early hip-hop artists like Black Noise and Prophets of da City (POC) was therefore crucial to pointing to alternative modes of speech and self-conception for young people of colour – regardless of whether they self-identified as black or coloured. In the early 1990s, POC lead the way by embracing black modes of speech that employed codeswitching, code mixing and translanguaging as a precursor to the emergence of music genres, such as kwaito, which mixed urban black speech varieties with elements of house music and hip-hop. POC called their performances of Cape Flats speech varieties of English and Afrikaans gamtaal [gam language], which is an appropriation of the term gam, a reference to the curse of Ham and justifications for slavery (Adhikari 95; Haupt Stealing Empire 237). POC’s appropriation of the term gam in celebration of Cape Flats speech varieties challenge the shame attached to coloured identity and the linguistic practices of subjects classified as coloured. On a track called “Gamtaal” off Phunk Phlow, the crew samples an assortment of recordings from Cape Flats speech communities and capture ordinary people speaking in public and domestic spaces (Prophets of da City “Gamtaal”). In one audio snippet we hear an older woman saying apologetically, “Onse praatie suiwer Afrikaan nie. Onse praat kombius Afrikaans” (Prophets of da City “Gamtaal”).It is this shame for black modes of speech that POC challenges on this celebratory track and Jansen takes this further by both making an argument against notions of racial and linguistic purity and performing an example of translanguaging. This is important in light of research that suggests that dominant research on the creole history of Afrikaans – specifically, the Cape Muslim contribution to Afrikaans – has been overlooked (Davids 15). This oversight effectively amounted to cultural appropriation as the construction of Afrikaans as a ‘pure’ language with Dutch origins served the Afrikaner Nationalist project when the National Party came into power in 1948 and began to justify its plans to implement legislated apartheid. POC’s act of appropriating the denigrated term gamtaal in service of a Black Consciousness-inspired affirmation of colouredness, which they position as part of the black experience, thus points to alternative ways in which people of colour cand both express and define themselves in defiance of apartheid.Jansen’s work with the hip-hop theater project Afrikaaps reconceptualised gamtaal as Afrikaaps, a combination of the term Afrikaans and Kaaps. Kaaps means from the Cape – as in Cape Town (the city) or the Cape Flats, which is where many people classified as coloured were forcibly relocated under the Group Areas Act under apartheid (cf. McDonald; Salo; Alim and Haupt). Taking its cue from POC and Brasse vannie Kaap’s Mr FAT, who asserted that “gamtaal is legal” (Haupt, “Black Thing” 176), the Afrikaaps cast sang, “Afrikaaps is legal” (Afrikaaps). Conclusion: Agency and the Transportability of Mobile MatricesJansen pursues this line of thought by contending that the construction of Shaka Zulu’s kingdom involved mixing many tribes (Emile YX? “Mix en Meng It Op”), thereby alluding to arguments that narratives about Shaka Zulu were developed in service of Zulu nationalism to construct Zulu identity as bounded and fixed (Harries 105). Such constructions were essential to the apartheid state's justifications for establishing Bantustans, separate homelands established along the lines of clearly defined and differentiated ethnic identities (Harries 105). Writing about the use of myths and symbols during apartheid, Patrick Harries argues that in Kwazulu, “the governing Inkatha Freedom Party ... created a vivid and sophisticated vision of the Zulu past” (Harries 105). Likewise, Emile YX? contends that isiXhosa’s clicks come from the Khoi (Emile YX? “Mix en Meng It Op”; Afrikaaps). Hence, the idea of the Khoi San’s lineage and history as being separate from that of other African communities in Southern Africa is challenged. He thus challenges the idea of pure Zulu or Xhosa identities and drives the point home by sampling traditional Zulu music, as opposed to conventional hip-hop beats.Effectively, colonial strategies of tribalisation as a divide and rule strategy through the reification of linguistic and cultural practices are challenged, thereby reminding us of the “transportability of mobile matrices” and “fluidity of identities” (Alim 104, 105). In short, identities as well as cultural and linguistic practices were never bounded and static, but always-already hybrid, being constantly made and remade in a series of negotiations. This perspective is in line with research that demonstrates that race is socially and politically constructed and discredits biologically essentialist understandings of race (Yudell 13-14; Tattersall and De Salle 3). 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This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of media (photography, live performance, social media and television). Given the limited space available, we will not be engaging with the propositions made during earlier feminist and queer thinking that drag is not inherently subversive and may reinscribe gender and race norms through their hyperbolic recitation (Butler 230-37; hooks 145-56). While we think there is much to be gained from revisiting these critiques in light of the changes in conceptualisations of gender in queer subcultures, we are not interested in framing drag as subversive or resistant in relation to the norms of masculinity and femininity. Instead, we follow Eve Sedgwick’s interest in reparative practices adopted by queer-identified subjects who must learn to survive in a hostile culture (“Paranoid”) and trace two lines of analysis we identify in drag’s new found visibility that demonstrate the reparative potential of automedia.At time of writing, RuPaul’s Drag Race (RPDR) has truly hit the big time. Pop icon Christina Aguilera was a guest judge for the first episode of its tenth season (Daw “Christina”), and the latest episode of RuPaul’s All-Stars season three spin-off show was the most-watched of any show in its network’s history (Crowley). RuPaul Charles, the producer and star of RPDR, has just been honoured with a star on the Hollywood Walk of Fame, decades after he began his career as a drag performer (Daw “RuPaul”). Drag queens are finally becoming part of American mainstream media and drag as an art form and a cultural practice is on its way to becoming part of discourse about gender and identity around the world, via powerful systems of digital mediation and distribution. RPDR’s success is a good way to think about how drag, a long-standing performance art form, is having a “break out” moment in popular culture. We argue here that RPDR is doing this within an automedia framework.What does automedia mean in the context of drag on television and social media? We understand automedia to be about the mediation of identity when identity is both a product of representation and a process that is continually becoming, expressed in the double meaning of the word “life” as biography and as process (Poletti “Queer Collages” 362; Poletti and Rak 6-7). In this essay we build on our shared interest in developing a critical mode that can respond to forms of automedia that explore “the possibility of identity in the absence of narration” (Rak 172). What might artists who work with predominantly non-narrative forms such as drag performance show us about the ongoing interconnection between technologies and subjectivities as they represent and think through what “life” looks like, on stage and off?Automedia names life as a process and a product that has the potential to queer temporality and normative forms of identification, what Jack Halberstam has called “queer time” (1). We understand Halberstam’s evocation of queer time as suitable for being thought through automedia because of their characterisation of queer as “a form of self-description in the past decade or so … [that] has the potential to open up new life narratives and alternative relations to time and space” (2). Queer time, Halberstam explains, comes from the collapse of the past and shaky relation to futurity gay men experienced during the height of the American AIDs crisis, but they also see queer time, significantly, as exceeding the terms of its arrival. Queer time could be about the “potentiality of a life unscripted by the conventions of family, inheritance, and child rearing” (2). Queer time, then, evokes the possibility of making a life narrative that does not have to follow a straight line or stay “on script,” and does not have to feature conventional milestones or touchstones in its unfolding. If queer time can be thought alongside automedia, within drag performances that are not about straight lives, narrative histories and straight time can come into view.Much has been written about drag as a performance that creates a public, for example, as part of a queer world-building project that shoots unpredictably through spaces beyond performance locations (Berlant and Warner 558). Halberstam’s shift to thinking of queer time as an opening of new life narratives and a different relation to time has similar potential when considering the work of RPDR as automedia, because the shift of drag performance away from clubs, parades and other queer spaces to television and the internet is accompanied by a concern, manifested in the work of RuPaul himself, with drag history and the management of drag memory. We argue that a concern with the relationship between time and identity in RPDR is an attempt to open up, through digital networked media, a queer understanding of time that is in relation to drag of the past, but not always in a linear way. The performances of season nine winner Sasha Velour, and Velour’s own preoccupation with drag history in her performances and art projects, is an indicator of the importance of connecting the twin senses of “life” as process and product found in automedia to performance and narration.The current visibility of drag in popular culture is characterised by a shifting relationship between drag and media: what was once a location-based, temporally specific form of performance which occurred in bars, has been radically changed through the increased contact between the media forms of performance, television and social media. While local drag queens are often the celebrities (or “superstars”) of their local subcultural scene, reality television (in the form of RPDR) and social media (particularly Instagram) have radically increased the visibility of some drag queens, turning them into international celebrities with hundreds of thousands of fans. These queens now speak to audiences far beyond their local communities, and to audiences who may not have any knowledge of the queer subcultures that have nurtured generations of drag performers. Under the auspices of RPDR, drag queens have gained a level of cultural visibility that produces fascinating, and complex, encounters between subcultural identity practices and mainstream media tropes. Amongst her many tasks—being fierce, flawless, hilarious, and able to turn out a consummate lip sync performance—the newly visible drag queen is also a teacher. Enacting RuPaul’s theory of identity from his song title—“We’re all born naked and the rest is drag” (“Born”)—drag queens who in some way embody or make use of RuPaul’s ideas have the potential to advance a queer perspective on identity as a process in keeping with Judith Butler’s influential theory of identity performativity (Butler 7-16). In so doing they can provide fresh insights into the social function of media platforms and their genres in the context of queer lives. They are what we call “new” drag queens, because of their access to technology and digital forms of image distribution. They can refer to classic drag queen performance culture, and they make use of classic drag performance as a genre, but their transnational media presence and access to more recent forms of identification to describe themselves, such as trans, genderqueer or nonbinary, mark their identity presentations and performance presences as a departure from other forms of drag.While there is clearly a lot to be said about drag’s “break out,” in this essay we focus on two elements of the “new media” drag that we think speak directly, and productively, to the larger question of how cultural critics can understand the connection between identity and mediation as mutually emergent phenomena. As a particularly striking practitioner of automediality, the new drag queen draws our attention to the way that drag performance is an automedial practice that creates “queer time” (Halberstam), making use of the changing status of camp as a practice for constructing, and mediating identity. In what follows we examine the statements about drag and the autobiographical statements presented by RuPaul Charles and Sasha Velour (the winner of RPDR Season Nine) to demonstrate automediality as a powerful practice for queer world-making and living.No One Ever Wins Snatch Game: RuPaul and TimeAs we have observed at the opening of this essay, queer time is an oppositional practice, a refusal of those who belong to queer communities to fall into step with straight ideas about history, futurity, reproduction and the heteronormative idea of family, and a way to understand how communities mark occasions, conceptualize the history and traditions of subcultures. Queer time has the potential to rethink daily living and history differently and to tell accounts of lives in a different way, to “open up new life narratives,” as Halberstam says (2). RuPaul Charles’s own life story could be understood as a way to open up new life narratives literally by constructing what a queer life and career could mean in the aftermath of the AIDS epidemic in the United States. His 1995 memoir, Lettin It All Hang Out, details RuPaul’s early career in 1980s Atlanta, Georgia and in New York as an often-difficult search for what would make him a star. RuPaul did not at first conceptualize himself as a drag star, but as a punk musician in Atlanta and then as part of the New York Club Kid community, which developed when New York clubs were in danger of closing because of fear of the AIDS epidemic (Flynn). RuPaul became adept at self-promotion and image-building while he was part of these rebellious punk and dance club subcultures that refused gender and lifestyle norms (Lettin 62-5). It might seem to be an unusual beginning for a drag star, but as RuPaul writes, “I always knew I was going to be star [but] I never thought it was going to be as a drag queen” (Lettin 64). There was no narrative of mainstream success that RuPaul—a gay, gender non-binary African-American man from the American Midwest—could follow.Since he was a drag performer too, RuPaul eventually “had an epiphany. Why couldn’t I [he] become a mainstream pop star in drag? Who said it couldn’t be done?” (Workin’ It 159). And he decided that rather than look for a model of success to follow, he would queer the mainstream model for success. As he observes, “I looked around at my favorite stars and realized that they were drag queens too. In fact every celebrity is a drag queen” (Lettin 129). Proceeding from the idea that all people are in fact drag artists—the source of RuPaul’s aformentioned catch-phrase and song title “We’re all born naked and the rest is drag” (“Born”), RuPaul moved the show business trajectory into queer time, making the “formula” for success the labour required of drag queens to create personae, entertain, promote themselves and make a successful living (and a life) in dangerous work environments—a process presented in his song “Supermodel” and its widely-cited lyric “You better work!” (“Supermodel”). The video for “Supermodel” shows RuPaul in his persona as Supermodel of the World, “working” as a performer and a member of the public in New York to underscore the different kinds of labour that is involved, and that this labour is necessary for anyone to become successful (“Supermodel” video).When RuPaul’s Drag Race began in 2010, RuPaul modelled the challenges in the show on his own career in an instance of automedia, where the non-narrative aspects of drag performance and contest challenges were connected to the performance of RuPaul’s own story. According to one of RuPaul’s friends who produces the show: “The first season, all the challenges were ‘Ru did this, so you did this.’ It was Ru’s philosophy” (Snetiker). As someone who was without models for success, RuPaul intends for RPDR to provide a model for others to follow. The goal of the show is the replication of RuPaul’s own career trajectory: the winners of RPDR are each crowned “America’s Next Drag Superstar,” because they have successfully learned from RuPaul’s own experiences so that they too can develop their careers as drag artists. This pattern has persisted on RPDR, where the contestants are often asked to participate in challenges that reflect RuPaul’s own struggles to become a star as a way to “train” them to develop their careers. Contestants have, like RuPaul himself, starred in low-budget films, played in a punk band, marketed their own perfume, commemorated the work of the New York Club Kids, and even planned the design and marketing of their own memoirs.RPDR contestants are also expected to know popular culture of the past and present, and they are judged on how well they understand their own “herstory” of the drag communities and queer culture. Snatch Game, a popular segment where contestants have to impersonate celebrities on a queer version of the Match Game series, is a double test. To succeed, contestants must understand how to impersonate celebrities past and present within a camp aesthetic. But the segment also tests how well drag queens understand the genre of game show television, a genre that no longer exists on television (except in the form of Wheel of Fortune or Jeopardy), and that many of the RPDR contestants are not old enough to have seen, performing witty taglines and off-the-cuff jokes they hope will land in a very tight time frame. Sasha Velour, the winner of season nine, won praise for her work in the Snatch Game segment in episode six because, acting on advice from RuPaul, she played Marlene Dietrich and not her first choice, queer theorist Judith Butler (RuPaul’s). Sasha Velour was able to make Dietrich, a queer icon known for her film work in the 1920-1940s, humorous in the game show context, showing that she understands queer history, and that she is a skilful impersonator who understands how to navigate a genre that is part of RuPaul’s own life story. The queer time of RuPaul’s narrative is transmitted to a skill set future drag stars need to use: a narrative of a life becomes part of performance. RPDR is, in this sense, automedia in action as queens make their personae “live,” perform part of RuPaul’s “life” story, and get to “live” on the show for another week if they are successful. The point of Snatch Game is how well a queen can perform, how good she is at entertaining and educating audiences, and how well she deals with an archaic genre, that of the television game show. No one ever “wins” Snatch Game because that is not the point of it. But those who win the Snatch Game challenge often go on to win RPDR, because they have demonstrated improvisational skill, comic timing, knowledge of RuPaul’s own life narrative touchstones and entertained the audience.Performative Agency: The Drag Performance as Resource for Queer LivingVelour’s embodied performance in the Snatch Game of the love and knowledge of popular culture associated with camp, and its importance to the art of drag, highlights the multifaceted use of media as a resource for identity practices that characterizes drag as a form of automedia. Crucially, it exemplifies the complex way that media forms are heavily cited and replayed in new combinations in order to say something real about the ways of living of a specific artist or person. Sasha Velour’s impersonation of Dietrich is not one in which Velour’s persona disappears: indeed, she is highly commended by RuPaul, and fans, because her embodiment of Dietrich in the anachronous media environment of the Snatch Game works to further Velour’s unique persona and skill as a drag artist. Velour queers time with her Dietrich in order to demonstrate her unique sensibility and identity. Thus, reality TV, silent film, cabaret, improvisation and visual presentation are brought together in an embodied performance that advances Velour’s specific form of drag and is taken as a strong marker of who Sasha Velour is.But what exactly is Sasha Velour doing when she clarifies her identity by dressing as Marlene Dietrich and improvises the diva’s answers to questions on a game show? This element of drag is clearly connected to the aesthetics of camp that have a long tradition in gay and queer culture. Original theories of camp theorized it as a practice of taste and interpretation (Sontag)—camp described a relationship to the objects of popular culture that was subversive because it celebrated the artificiality of aesthetic forms, and was therefore ironizing. However, this understanding of camp does not adequately describe its role in postmodern culture or how some queer subcultures cultivate the use media forms for identity practices (O’Neill 21). In her re-casting of camp, Eve Kosofsky Sedgwick argues:we need to [think of camp] not in terms of parody or even wit, but with more of an eye of its visceral, operatic power: the startling outcrops of overinvested erudition; the prodigal production of alternative histories; the ‘over’-attachment to fragmentary, marginal, waste, lost, or leftover cultural products; the richness of affective variety; and the irrepressible, cathartic fascination with ventriloquist forms of relation. (Sedgwick The Weather 66)This reframing of camp emphasises affect, attachment and forms of relation as ongoing processes for the making of queer life (a process), rather than as elements of queer identity (a product). For Sedgwick camp is a practice or process that mediates queerness in the context of a hostile mainstream media culture that does not connect queer ways of living with flourishing or positive outcomes (Sedgwick “Paranoid Reading” 28). In O’Neill’s account, camp does not involve attachment to the diva as a fixed identity whose characteristics can be adopted in irony or impersonation in which the individual disappears (16). Rather, it is the diva’s labour—her way of marshalling her talent to produce compelling performances, which come to be the hallmark of her career and identity—that is the site of queer identification. What RuPaul wittily refers to as a drag queen’s “charisma, uniqueness, nerve and talent” (the acronym is important), O’Neill refers to as the diva’s “performative agency”—the primary “power to perform” (16, emphasis in original). This is the positive power of camp as form of automediation for queer world making: media forms provide resources that queer subjects can draw on in assembling a performance of identity as modes of embodiment and ways of being that can be cited (the specific posture of Dietrich, for example, which Velour mimics) and in terms of the affect required to marshal the performance itself.When she was crowned the winner of season nine of RPDR, Sasha Velour emphasised the drag queen’s performative agency itself as a resource for queer identity practices. After being announced the winner, Velour said: “Let’s change shit up. Let’s get all inspired by all this beauty, all this beauty, and change the motherfucking world” (Queentheban). This narrative of the world-changing power of the beauty of drag refers to the visibility of the new drag queens, who through television and social media now have thousands of fans across the world. Yet, this narrative of the collective potential of drag is accompanied by Velour presenting her own autobiographical narrative that posits drag as an automedial practice whose “richness of affective variety” has been central to her coming to terms with the death of her mother from cancer. In interviews and in her magazine about drag (Velour: The Drag Magazine) Velour narrates the evolution of her drag and her identity as a “bald queen” whose signature look includes a clean-shaven head which is often unadorned or revealed in her performances as directly linked to her mother’s baldness brought on by treatment for cancer (WBUR).In an autobiographical photo-essay titled “Gone” published in Velour, Velour poses in a series of eight photographs which are accompanied by handwritten text reflecting on the role of drag in Velour’s grieving for her mother. In the introduction, the viewer is told that the “books and clothes” used in the photos belonged to Velour’s mother, Jane. The penultimate image shows Velour lying on grass in drag without a wig, looking up at the camera and is accompanied by nineteen statements elucidating what drag is, all of which are in keeping with Sedgwick’s reframing of camp practices as reparative strategies for queer lives: “Drag is for danger / Drag is for safety / Drag is for remembering / Drag is for recovering.” Affect, catharsis, and operatic power are narrated and visually rendered in the photo-essay, presenting drag as a highly personal form of automediation for Velour. The twentieth line defining drag appears on the final page, accompanied by a photograph of Velour from behind, her arms thrown back and tensile: “Drag is for dressing up / And this is my mother’s dress.”Taken together, Velour’s generic and highly personal descriptions of drag as a process and product that empowers individual and collective queer lives define drag as a form of automedia in which identity and living are a constant process of creativity and invention “where ideas about the self and what it means to live are tested, played with, rejected, and embraced” (Rak 177).Velour’s public statements and autobiographical works foreground how the power, investment, richness and catharsis encapsulated in drag performance offers an important antidote to the hostility to queer ways of being embodied by an assimilationist gay politics. In a recent interview, Velour commented on the increased visibility of her drag beyond her localised performances in “dive bars” in New York:When Drag Race came on television I feel like the gay community in general was focussed on […] dare I say, a kind of assimilation politics, showing straight people and the world at large that we are just like everyone else and I think drag offered a radical different saying [sic] and reminded people that there’s been this grand tradition of queer people and gay people saying ‘actually we’re fabulously different and this is why.’ (PopBuzz)Velour suggests that in its newly visible forms outside localised queer cultures, drag as a media spectacle offers an important alternative to the pressure for queer people to assimilate to dominant forms of living, those practices, forms of attachment and relation Halberstam associates with straight time.ConclusionThe queer time and performative agency enacted in drag provides a compelling example of non-narrative forms of identity work in which identity is continuously emerging through labour, innovation, and creativity (or—in RuPaul’s formulation—charisma, uniqueness, nerve and talent). This creativity draws on popular culture as a resource and site of history for queer identities, an evocation of queer time. The queer time of drag as a performance genre has an increasing presence in media forms such as television, social media and print media, bringing autobiographical performances and narratives by drag artists into new venues. This multiple remediation of drag recasts queer cultural practices beyond localised subcultural contexts into the broader media cultures in order to amplify and celebrate queerness as a form of difference, and differing, as automediality.ReferencesBerlant, Lauren, and Michael Warner. “Sex in Public.” Critical Inquiry 24.2 (Winter 1998): 547-566.Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. 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