Journal articles on the topic 'Integrative Spiritual Function (ISF)'

Abstract Literature documents positive effects of religion and spirituality on health including improved cognitive function, quality of life, and well-being. Extant research suggests that persons living with dementia (PWD) are more likely to have spiritual needs and rely on others to support their spiritual well-being than those without dementia. However, spiritual care is absent or minimally present in dementia care. To effectively address spiritual needs of PWDs, accurate screening and assessment is critical. We conducted an integrative review of the current literature on measures of religion and spiritualty for PWDs by searching five databases (ATLA Religion, CINAHL, PsychInfo, PubMed, and SocIndex) and identified 14 studies that were peer-reviewed original research articles focusing on assessment of religion/spirituality among PWDs and published between 2000-2020 in English. Most were conducted in Europe (n=7), included PWD in mild stage (n=68) from various settings, and were cross-sectional in design (n=8). Of a total of 17 measures identified, 6 were originally developed for the general population and then adapted for PWD, and only 3 were validated for PWD. A majority of the studies were limited in sample size, generalizability, methodological rigor, and measure validation. More research is needed using diverse samples and rigorous study designs to develop valid screening and assessment tools for this population. Improving religious and spiritual measures could greatly impact public health by improving quality of life for millions of individuals suffering from dementia and their caregivers who carry a heavy burden.

A preliminary model is presented describing applications of the filling of the Holy Spirit to psychological aspects of Christian living. Anthropological deficits in secular psychology and evangelical systems are described. Related topics include expectancy, defense mechanisms, self-image, and cognitive appraisal. The concept of “biblical humanism” is applied to new creations in Christ as a function of the ongoing filling of the Holy Spirit. Although many Christian clients have considerable spiritual resources, their ability to organize and access them effectively can be seriously impaired unless they are able to apply the integrative, dynamic resource of the Holy Spirit actively to their life development and stress challenges on a continuous basis. Truly Christian counseling must ultimately include addressing the activities of the Holy Spirit in Christian living at some level.

The concept of humanistic education in the Qur'an contains elements including: a) Human education physically and biologically; b) inner human education and psychology; c) social human education and d) spiritual education. Concepts in the perspective of Al-Qur’an which become the foundation for a humanist education, including: the nature of human form, the potential of humanity, and the purpose of human creation. The humanization applied in the Qur'an does not leave the role of man on earth as its function and role as "imarah al-ardl," and as a servant who is obliged to serve the khalik as his function and role as "ibad." As for education with a paradigm the humanists contained in the Qurʻan are: First, putting back all educational activities (talab al-ilm) under the framework of religious work which aims to seek the pleasure of Allah. Second, there is a comparison between religious knowledge and general knowledge. Third, freedom in developing science. Fourth, reviewing grounded science so that it can be implemented in daily life and start trying to implement an integrative educational strategy. The activities of human life are based on the spiritual dimension so that they do not harm others. This thought emphasizes the development of human potential in order to be able to portray themselves as ‘abd Allah and the khalifah of Allah. This education is intended to help students actualize their potential to become independent and creative people who are aware of God's presence in themselves.

The concept of humanistic education in the Qur'an contains elements including: a) Human education physically and biologically; b) inner human education and psychology; c) social human education and d) spiritual education. Concepts in the perspective of Al-Qur’an which become the foundation for a humanist education, including: the nature of human form, the potential of humanity, and the purpose of human creation. The humanization applied in the Qur'an does not leave the role of man on earth as its function and role as "imarah al-ardl," and as a servant who is obliged to serve the khalik as his function and role as "ibad." As for education with a paradigm the humanists contained in the Qurʻan are: First, putting back all educational activities (talab al-ilm) under the framework of religious work which aims to seek the pleasure of Allah. Second, there is a comparison between religious knowledge and general knowledge. Third, freedom in developing science. Fourth, reviewing grounded science so that it can be implemented in daily life and start trying to implement an integrative educational strategy. The activities of human life are based on the spiritual dimension so that they do not harm others. This thought emphasizes the development of human potential in order to be able to portray themselves as ‘abd Allah and the khalifah of Allah. This education is intended to help students actualize their potential to become independent and creative people who are aware of God's presence in themselves.

Theological field education—also known as contextual education—operates as the explicitly embodied nexus of seminary-based learning, placing both practical theological and broader theological, religious, and/or spiritual educational frameworks in dialogue with one’s experiences within a particular site context. Drawing upon the example of the events that took place in March 1965 at the Edmund Pettus Bridge connecting Selma to Montgomery, as well as the bridge’s enduring function as a material and symbolic site of transformation, connections are made to the ways that theological field education bridges both practical theology and other areas of theological education, generally and as actualized specifically within one theological school’s field education program, through three overarching themes: Embodiment, reflection, and formation. In the acts of bridging that occur in each of these areas, points of commonality are discussed and illustrated. Finally, initial suggestions for further bridging between disparate academic fields and theological field education are offered toward the cultivation of a more integrative, transformative curriculum.

The article considers the main aspects of F. Nietzsche’s philosophy concerning the issues of conceptualizing the values, content and principles of modern education. The idea of the relationship between universal education and culture is essential in the work of the philosopher. It reflects the function of education both in a universal aspect as a translator of culture and culture-making mechanism, and in an individual dimension, taking into account the purpose of an educated person to be a link in the chain of culture, to be a cultural microcosm which is isomorphic to the cultural “macrocosm” that is to be the heritage of different eras. The idea of the spiritual unity of educational institutions with cultural heritage is in harmony with the pedagogical principle of cultural conformity that is the correspondence of education to culture and the history of the nation. The concept of superhuman implies the principles of continuity of education and self-education, integrity and succession, humanization as a value self-determination of an individual and recognition of his rights to be independent. The ideas of the philosopher correlate with values of creative type pedagogical culture and with “integrative” line of pedagogical knowledge formation. The philosopher treated utilitarianism, narrow empiricism and specialization in education and scientific knowledge to be barriers for the development of creativity, freedom and energy potential. Thus, Nietzsche’s philosophy is relevant for understanding the content of a number of principles for reforming modern education, specifically humanitarian ization, individualization, cultureconformity, continuity of education and self-education, integrative and succession, integrativity and creativity.

The article analyzes the functions and role of the intellectual elite in political life. It is established that in a democratic society the intellectual elite plays a significant role, influencing all spheres of public life, including political life, including the formation of political elite, political consciousness and political culture of society, prioritizing its development and forecasting socio-political transformations. The division of the functions of the intellectual elite into four blocks is proposed. The main blocks of the functions of the intellectual elite in political life include: informing the public and explaining political processes and phenomena, forming political consciousness and political culture, goal setting in the development of society in general and the political system in particular, integration of society and rationalization of socio-political order. It is determined that the first block includes cognitive, consultative, controlling function, as well as critical reflection on vital areas of the social system. It was found that the second block of tasks of the intellectual elite is represented by the axiological function and the function of enrichment and development of intellectual culture (as a resource for the political development of society). It is established that the third functional unit consists of strategic, managerial and innovation functions. It is shown that the fourth block is represented by communicative, integrative, stabilizing, prognostic functions, as well as the function of structuring a new hierarchy and inequality and the function of rationalizing the existing order. It is substantiated that the main specific functions of the intellectual elite in Ukraine are related to the current political situation. In particular, it is determined that such functions as the preservation of spiritual values, transmission of knowledge and ideas, the ability to serve society, informing it, assistance in assessing events that are happening almost everywhere are projected on the intellectual elite. It is determined that due to their implementation the nation is consolidating, which is the key to harmonization of political life.

159 Background: Unmet physical, psychosocial, and other support needs of cancer survivors may lead to increased distress, anxiety, and decreased quality of life. Survivorship Clinics may be tailored for specific issues identified through a needs assessment. Methods: An invitation to complete a web-based survey was mailed to 35,420 active patients at a comprehensive cancer center in November 2015. The survey domains included demographics, cancer history, comorbidities, lifestyle, cancer prevention, spiritual and emotional support, symptom management, and interest in specific services. Results: 1,054 surveys were completed. The majority of respondents were female (55.2%; n = 582/1054), had Stage I cancer at diagnosis (43.9%; n = 360/820), and had completed treatment (69.0%; n = 727/1054). Genitourinary (23.0%; n = 238/1034) and breast (20.5%; n = 212/1034) were the most common cancer types among the respondents. Participants identified an average of 4.60 side effects experienced during or after treatment (n = 804); the most common were fatigue (64.5%), pain (37.3%), weight change (33.4%), sleep disturbance (30.2%), and gastrointestinal problems (29.4%). One third of participants reported having a physical side effect that caused anxiety and emotional distress (33.3%; n = 331/995), in particular, sexual function (69.7%; n = 136/195) and cognitive dysfunction (43.6%; n = 85/195). A total of 23.9% of participants had financial concerns due to costs of cancer treatment (n = 238/955). Participants were interested in integrative therapies, most notably yoga (75.1%; n = 289/385), acupuncture (72.4%; n = 155/214), aerobics (62.3%; n = 240/385), Swedish massage (60.5%; n = 225/372), aromatherapy (60.2%; n = 224/372), and homeopathy (55.1%; n = 118/214). Most respondents endorsed wanting information on nutrition (81.5%; n = 380/466). Conclusions: Cancer survivors report vast physical and psychosocial needs during and after cancer treatment, and they have a high interest in nutrition education and integrative therapies. Improved care coordination from a dedicated cancer survivorship and supportive care clinic at a comprehensive cancer center may specifically address survivors’ issues.

Education is a process of coaching and developing human potential optimally that reaches whole aspect of life dimension, including soul, intelligence, and heart that construct human personality. But, the reality, education nowadays is still focusing on vocational aspect, while their personality is still neglected. Thus, the targeted purpose was only partial not thoroughly. This condition was not aligned with the purpose of education that should be normative and integrative so that the direction aimed was in accordance with the idea of expected ideal human qualification based on Koran soul in the entire life aspect stated by some educational practitioners. Therefore, this research was aimed at describing the involvement of whole life aspect in shaping a whole human being which was built from Ūlul Ilmi, Ūlūl Albāb and Ūli an-Nuha terms to formulate the purpose of Islamic education. This reasearch applied qualitative approach along with tahlīlī and muqāran as the procedural methods regarding to the ten Mu’tabaroħ tafsirs; they were Al-Miṣbāḥ Tafsir, Fi Ẓilalil Qur`ān Tafsir, Ibn Kaṡīr Tafsir, Aṭ-Ṭabari Tafsir, Al-Qurṭubi Tafsir, Al-Maraghi Tafsir, Al-Mizan Tafsir, Al-Azhar Tafsir, At-Taḥrir Wa Tanwir Tafsir and Fakr Ar-Razi Tafsir. Also, literature study was applied to collect the data. The data analysis technique used in this study was text analysis which employed dilālaħ and munāsabaḥ. According to the findings and analysis in this study, it was stated that the purpose of whole human being an intelectual thinker who is pious and brilliant, knowledgeable, sharp minded, pure heart, pertinacious beliefs, strong istinbath, noble soul, great moral character, and has an absolute spiritual experience. The central implication from the whole human being concept lied on the purpose of Islamic education with Ilāhiyyah nuance, divine and spiritual. Other educative implications are role, function, principle, educator, student, method, material, and teaching media. All those educational components were directed to strengthen beliefs, straighten worship, and devoted akhlakul karimah to be ma’rifatullāh.

This article advocates that research is lacking on the connection between leadership theory and social network theory. To date, little empirical research has been conducted on leadership and social networks. Thus, the proposition of this article goes beyond traditional leadership models to advocate for a fuller and more integrative focus that is multilevel, multi-component and interdisciplinary, while recognizing that leadership is a complex function of both the organisational leaders and the followers who perform tasks, all of which subsequently leads to decision making qualities. Indeed, the current leadership model focuses on leadership behaviour and the ability to gain followers mutuality, to achieve decision making quality involving the integration of leadership and social network theories. Given the apparent mutable palette of contemporary leadership theory, this emergent construct of the leadership paradigm can expand the poles of the leadership continuum and contribute to a richer and deeper understanding of the relationships and responsibilities of leaders and followers as they relate to decision making qualities. This new construct, which is termed prophetic leadership, explores the literature of the life experiences of the prophet in the ‘Abrahamic Faith’ religion. Drawing on a priori links between the personality trait and spiritual leadership that has recently garnered the interest of scholars, the present study asserts a normative leadership theory that links the personal quality of a leader, posture and principal (based on the Prophet’s leadership behaviour) to synergy and decision making quality. Altruism is proposed to enhance relationships between leadership behaviour and decision making quality. For future research, much work needs to be done specifically aiming to (a) achieve greater clarity of construct definitions, (b) address measurement issues, and (c) avoid construct redundancy.

This article advocates that research is lacking on the connection between leadership theory and social network theory. To date, little empirical research has been conducted on leadership and social networks. Thus, the proposition of this article goes beyond traditional leadership models to advocate for a fuller and more integrative focus that is multilevel, multi-component and interdisciplinary, while recognizing that leadership is a complex function of both the organisational leaders and the followers who perform tasks, all of which subsequently leads to decision making qualities. Indeed, the current leadership model focuses on leadership behaviour and the ability to gain followers mutuality, to achieve decision making quality involving the integration of leadership and social network theories. Given the apparent mutable palette of contemporary leadership theory, this emergent construct of the leadership paradigm can expand the poles of the leadership continuum and contribute to a richer and deeper understanding of the relationships and responsibilities of leaders and followers as they relate to decision making qualities. This new construct, which is termed prophetic leadership, explores the literature of the life experiences of the prophet in the ‘Abrahamic Faith’ religion. Drawing on a priori links between the personality trait and spiritual leadership that has recently garnered the interest of scholars, the present study asserts a normative leadership theory that links the personal quality of a leader, posture and principal (based on the Prophet’s leadership behaviour) to synergy and decision making quality. Altruism is proposed to enhance relationships between leadership behaviour and decision making quality. For future research, much work needs to be done specifically aiming to (a) achieve greater clarity of construct definitions, (b) address measurement issues, and (c) avoid construct redundancy.

The article analyzes mass events in the context of modern culture. They are seen as visual practices that occupy a leading place in today's culture. Mass events and their organization reflect the trends that characterize modern events. For this purpose, various mass events can be divided into: sports, political, advertising and commercial, business, religious and spiritual-educational, cultural and mass. The mass nature causes the emergence of common features that are inherent in these measures. For the most part, they focus on active participation between spectators and participants, communication between them, which can be carried out both directly and through non-verbal communication. The visual components of all mass events are aimed at promoting awareness of the significance of the event, its purpose, conveying its main message to everyone present. Integrative and communicative function is inherent in all mass events. In the XX-XXI century with the organization of events with the participation of designers, marketers and managers, mass events become even more organized and balanced. They are extremely spectacular; they can involve a full range of tools used in shows. The integration of participants is carried out through artistic and aesthetic factors and certain forms of mass events can claim to become new art practices, due to the significant role of artistic components in them. The visual aspects of such events are the result of design work, which aims to create a corporate identity for all types of design products. Mass events are so impressive in today's culture because they not only promote communication and integration of participants, but also because they cover the full range of expressive technical and artistic means. Many mass events are accompanied by bright fireworks – carnivals, national holidays, the Olympic Games – turning everyday life into a holiday. The impact is also enhanced by working with lighting, projection decorations, video installations, which help to create bright effects without involving bulky equipment.

Amendments to the Constitution of the Russian Federation in 2020 introduced many new meanings and concepts into the constitutional matter. Most of them have great ideological potential. The paper analyzes the worldview aspect of the amendments to the Constitution of the Russian Federation, the political message of their adoption, methodological approaches to identifying their content.The paper highlights amendments with the greatest spiritual and moral content, such as succession, historical truth, patriotism. The author elucidates the prerequisites for their adoption, including the historical inevitability of changing the Constitution of the Russian Federation in 1993 and the defeat of imitative constitutionalism in the majority of post-socialist countries. It is shown that the ideological content of the amendments was used to adjust the liberal-democratic model from the standpoint of strengthening the state sovereignty. Particular attention is paid to the expansion of national identity in constitutional norms as a natural process of protection from global constitutionalism, universal democratic values, including the case study of Eastern European states. There is a worldwide crisis tendency for the market-type democracy, the search for more modern approaches to its renewal.As a conclusion, it is noted that the worldview turn towards a reassessment of the liberal democratic doctrine is contradictory and not completely clear. It can be assumed that the amendments to the Constitution of the Russian Federation are the first step not only towards the modification of constitutional institutions, but also towards a qualitative renewal of the philosophical and legal meanings of the Russian constitutional identity.As methodological tools of scientific research, it is proposed to use the potential of the integrative function of philosophy of law and the concept of system-wide contradictions of the society. This concept allows us to critically assess the universality of the traditional values of democracy, to form their own competitive models of the constitutional structure. It aims at finding a balance between the opposites in the society, the state, at the mechanism of dialogue and proportionality in decision-making.

Dormitories in a theological education institution not only function to be a shelter for students, but also a place for students to learn from each other's respective regional cultures, learn to socialize, learn to train sensitivity or care, learn to obey and submit to the coaches, and become personal who has the character of Christ. In the field, it is undeniable that there are many problems, such as problems due to diverse student backgrounds, student discipline, student social interactions with the outside world, student adaptation patterns in various dormitories, and many other things. The methodology used in this research is descriptive and qualitative. Support from the Bible and several biblical sources are also presented in a systematic description according to the framework of thinking. From the results of the study, it was found that there were six formulations of student development models in theological institutions in dormitories that were holistic and ideal, namely (1) a spiritual-centered coaching model, (2) a transformative coaching model, (3) an integrative and holistic coaching model, (4) structured discipline model, (5) projective and anticipatory coaching model, and (6) teamwork coaching model. AbstrakAsrama dalam sebuah institusi pendidikan teologi tidak hanya berfungsi untuk menjadi tempat penampungan mahasiswa saja, tetapi juga merupakan wadah mahasiswa saling belajar budaya daerah masing-masing, belajar bersosialisasi, belajar untuk melatih kepekaan atau kepedulian, belajar untuk taat dan tunduk pada pembina, serta menjadi pribadi yang memiliki karakter Kristus. Di dalam lapangan tidak dipungkiri terdapat banyak masalah, seperti misalnya permasalahan karena latar belakang mahasiswa yang beragam, kedisiplinan mahasiswa, interaksi sosial mahasiswa dengan dunia luar, pola adaptasi mahasiswa di asrama yang beragam, dan masih banyak hal lainnya. Metodologi yang digunakan dalam penelitian ini adalah kualitatif diskriptif. Dukungan dari Alkitab dan beberapa sumber pustaka juga dipaparkan dalam sebuah uraian sistematis sesuai dengan kerangka berpikir. Dari hasil penelitian, didapatkan enam rumusan model pembinaan mahasiswa di institusi teologi berasrama yang holistik dan ideal, yaitu (1) model pembinaan yang berpusat pada hal rohani, (2) model pembinaan transformatif, (3) model pembinaan integratif dan holistik, (4) model disiplin terstruktur, (5) model pembinaan proyektif dan antisipatif, serta (6) model pembinaan teamwork.

Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.

Ethnographic analysis of the two main exorcistic practices in which married women are involved in Garhwal (India) shows that the theme of domestic conflict is central to both rituals. Addressing classical debates in anthropology about possession, this text raises two main questions: are these practices forms of feminine resistance to patriarchal social rules? And what is the notion of the person and her or his action in the world underlying these practices? Although these rituals may sometimes bring benefits to the women participating in them, women do not seem to perceive themselves nor to act as individuals who are resisting social structures, but more as part of collective networks of human and spiritual persons. As for the effects of these rituals, they are geared towards the preservation of family unity. This is achieved by the fact that, while evoking human conflict, these ritual devices subordinate it to the problem of divine conflict. Yet these practices do not only have an integrative function vis-à-vis conflicts that potentially endanger the family unit, but they also firmly establish the position of married women and their irreplaceability in the fabric of social life. Being close to the deities of their natal villages and easily affected by spirits of the dead, married women have an essential role in mediating with them and therefore in building and preserving the network of human and non-human beings on which the well-being of the family depends.

The mediatization of the public sphere leads to the intensification of the processes of intercultural interaction, which increases interest in new formats for reflecting the characteristics of the cultural and spiritual development of a person, one of which is ethnic documentary cinema. It allows you to widely represent the national cultures of different nations, immerse yourself in the world of a foreign culture, to reduce the degree of uncertainty arising from a foreign culture, to facilitate communication between ethnic groups. A functional and meaningful analysis of ethno-documentary films created by filmmakers of the Republic of Tatarstan in 2017-2019 allowed us to determine the features of the ethno-documentary genre. These include: the close connection of ethnic cinema with the development of academic anthropology and the need for a visual reflection of the life and culture of ethnic groups; focus on intercultural communication; the formation of the image of an ethnos on the basis of "internal observation", that is, the ability to be inside events and cultural traditions, which allows you to get away from distorting the picture. Considering the multinational aspect of the development of ethno-documentary in the Republic of Tatarstan, it was emphasized that one of the most important tasks of filmmakers in this context is to preserve the national image and identity, develop tolerance, strengthen interethnic harmony, foster respect for the culture, traditions and customs of different nationalities. The ethnic component of the documentary cinema of Tatarstan involves the historical reflection of national traditions inherent in a particular people, with an emphasis on reflecting in reality the original way of life, life, national and cultural traditions. The ethno-documentary of the Republic of Tatarstan is in a state of deep renewal, which is associated with the spread of the festival movement in Tatarstan, in particular, the work of the Kazan International Muslim Film Festival, which allows the formation of national reserves of ethno-documentary and gives impetus to the development of Tatarstan documentary films. We should talk about the special aesthetics of films, which largely borders on the principles of arthouse cinema, but fits into the mainstream of young Tatarstan cinema. It is based on the techniques of chronicling, films have a primarily social orientation in the spirit of “cinema-direct” (“direct cinema”), the Tatar alternative and performance. One of the leading functions of ethno-documentary is the communicative function, along with the integrative and research. Their implementation contributes to the comprehensive reflection of the national traditions of the Tatar people and peoples living in the Republic of Tatarstan.

The article discusses topical issues of the formation of linguo-cultural competence of future specialists of educational institutions. We believe that linguo-culturological competence is of great importance for pedagogical and scientific-pedagogical workers, which ensures the effectiveness of their fulfillment of basic professional tasks. Since linguo-cultural competence is an integrative multidimensional innovation that does not arise spontaneously, a purposeful formation is needed, which should begin in higher educational institutions, where future specialists of educational institutions are trained. The National Doctrine of Education Development of Ukraine in the XXI century stated that the main aim of the Ukrainian education system is to create conditions for the development and self-realization of each individual, to ensure high quality education for graduates of high pedagogical institutions. The conceptual model of high education in Ukraine has actualized the tasks of training a new exemplar professional � an active person with critical thinking and a creative approach to solving problems, ready for self-education and self-development, for effective interaction with the environment. In our opinion, the linguistic and cultural competence of higher education students should be represented by linguistic and cultural components. The purpose of our research is to examine linguocultural competence and its role in the professional development of future specialists in educational institutions. The methodology is based on the general principles of philosophy, basic modern provisions of pedagogical science, psychology and reflects the relationship of methodological approaches to the study of the process of organizing the educational process. Methods of linguocultural competence: a diachronic method based on a comparative analysis of various linguocultural units in time; synchronous method, compares simultaneously existing linguocultural units; structural and functional method, which involves the distribution of a cultural object into parts and the identification of connections between parts; a historical and genetic method focused on the study of a linguoculturological fact from the point of view of its occurrence, the development of further destiny; a typological method designed to identify the typological proximity of various linguoculturological units of the historical and cultural process; the comparative-historical method is based on the comparison of original linguoculturological units in time and insight into their essence. These methods enter into mutually complementary relationships, special conjugation with various cognitive principles, methods of analysis, allows cultural linguistics to explore its complex object - the interaction of language and culture. Scientific novelty. By the linguistic and cultural competence of future specialists of educational institutions we mean the quality of language personality, expressed by linguistic and cultural knowledge, special skills and personal qualities, which promotes integration into world culture and participation in intercultural communication, avoiding interlingual and intercultural conflicts. It is impossible to learn culture without knowing of the relevant language, which is not only a material component of culture, thanks to which communicative tasks are solved, but also a penetration attempt to the people�s mode of thinking, an attempt to look at the world through the culture. Thus, we determine the content and structure of linguistic and cultural competence according to the nature and essence of cultural linguistics, which is the theoretical basis of our research. A special subject frame in the structure of linguistic and cultural competence is considered by the components of the structure of linguistic and cultural competence of future specialists of educational institutions, which should be supplemented by professional and pedagogical training that will provide quality implementation of professional competence. In summary, linguistic and cultural competence as an integrative quality of future specialists� personality of educational institutions should be formed through a system of didactic material, using cultural and educational potentials of Ukrainian, with obligatory coverage of its close connection with history, spiritual culture, mentality of the people, knowledge its history and place among other languages of the world. This competence involves the development of the following abilities in the personality: a) the ability to perceive language as a cultural phenomenon, as a cultural and historical environment that turns into the history, culture, people�s customs; b) the ability to acquire the culture of communication, or language culture; runs of linguistic, communicative and culturological competence; c) the ability to sense language in its aesthetic function � as a means of creating the art of speech.

Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.