Artículos de revistas sobre el tema "Professional insertion of graduates in music education"

ABSTRACT Knowledge of the profile and professional integration of new graduates enables adjustments in medical education. This study evaluated 107 graduates from a private institution in the Brazilian South region, using a self-administered electronic questionnaire. There were similar participation of young physicians of both genders and higher male concentration in general surgery. Graduates are inserted in the public and private labor market. Most do extra shifts in emergency services and trauma surgery, where there is greater need for clinical and surgical skills. These findings suggest that adequate surgical training during graduation is critical to employability.

Doctoral programs in music education typically require a multiyear residency with an expected career trajectory leading to higher education. However, with low-residency online programs (LROPs) increasingly available, graduates may choose to remain in P–12 education. In this collaborative autoethnography, we examined our stories as four P–12 teachers who earned doctorates through a LROP. We framed learning as a pathway into a community of practice wherein an individual navigates the professional landscape. There was a particular focus on how each teacher’s identity was shaped as we negotiated higher education and P–12 education worlds. We also considered the motivations behind pursuing a doctorate to provide insight about the needs of LROP graduates with a foot in both worlds.

The article identifies the ways to improve the system of vocal training in higher music education institutions of China. The problems of professional vocal education in China are identified and characterized. The ways of solving the mentioned problems in the context of professional training of vocalists in the system of higher music education of China are offered: 1) to optimize professional vocal education management; 2) to create a national model of professional vocal education; 3) to optimally correlate quality and quantity in the process of vocalists’ professional training; 4) to overcome isolation; 5) to train highly qualified teaching staff for institutions of higher music education; 6) to modernize the content of education in the process of professional training of vocal art specialists in the system of higher music education; 7) to intensify development and implementation of the methods of teaching vocalists, which would correspond to the new theoretical and methodological foundations of vocalists’ professional training; 8) to develop a new working mechanism for graduates employment; 9) to limit the commercialization of education; 10) to develop a new educational model that takes into account the world experience of vocal training; 11) to systematically increase the level of pedagogical, scientific and performing personnel.

For the majority of undergraduate classical music performance students, ‘musotopia’ is a place where performance ambitions are realised with an international performance career. However, given that so few musicians achieve this ambition, should this ideal be redefined? This paper investigates instrumental musicians' careers by exploring the realities of professional practice. A detailed study which incorporated interviews, focus groups and a lengthy survey, revealed the multiplicity of roles in which most musicians engage in order to sustain their careers. The findings call into question the concept of a musician as a performer, positing that a musician is rather someone who practises within the profession of music in one or more specialist fields. The diversity of roles pursued by practising musicians is not reflected in the majority of conservatorium curricula, thus the enormous potential for the transfer of music graduate skills into the broad cultural industries setting remains largely unrealised. Acceptance of, and preparation for, a more holistic career will enable many more graduates to find their own musotopia.

There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.

Globalization and the related popularization of artistic tastes is a process that cannot be taught directly. It is possible and necessary to shape higher aesthetic expectations than those provided by the commercialized entertainment market. An important role is played by artistic education — including music especially — and not by professional musicians, but by general education — reaching the majority of society. Art schools and music majors at art colleges should prepare their graduates for educational activities and provide them with tools for shaping common tastes. A separate issue is to educate decision-makers and parents how important music is for development of a child. Music is not an “entertainment for elites”, but an important element of shaping psycho-individuality and intellectual ability of children and teens.

Musicians are acknowledged to lead complex working lives, often characterised as portfolio careers. The higher music education research literature has tended to focus on preparing students for rich working lives and multiple identity realisations across potential roles. Extant literature does not address the area of work-life balance, which this paper begins to explore, as the authors seek to better understand potential challenges around combining music graduates' multivariate ambitions, commitments and identities as musicians in the world. Rich data are presented, following interviews with professional musicians in London, UK, discussing health, portfolio careers and family. The authors conclude that more research is required to gain a deeper understanding of work-life balance for musicians, and that pedagogical approaches in higher music education could more effectively help students to prepare for their futures in a more holistic way.

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

Perfusionists have a fundamental role in multi-professional teams involved in cardiopulmonary bypass procedures. The main objective of this study is to outline the profile of Brazilian perfusionists in the labor market by considering the evolution, current scenario, and future perspectives of this profession. Data from socio-demographic and professional profiles in active duty in Brazil were obtained through an electronic survey. The sample consisted of 157 perfusionists and showed that most of the professionals are female (58%), have up to 35 years of age (47.8%), and are married or are in a stable union (60%). Nurses make up 44.6% of the sample, followed by biomedical scientists at 31%. The salary range is related to the hours worked: the more hours worked, the higher the salaries (p = 0.007). Complementary training shows a period of transition and improvement in this specialty: 94% have a higher education level, 97% of whom are graduates in one of the six courses that recognize the role of professional perfusionists. There was no association between the time of professional performance and complementary training (p = 0.252). The professional profile of perfusionists is in clear evolution in terms of qualification since knowledge from the past, current scenario, and future projections trace new actions and professional insertion into different areas.

Os graduados representam o produto das Universidades e seu desempenho no mercado de trabalho é um dos parâmetros mais importantes para avaliar a qualidade do ensino. O objetivo desse artigo foi verificar como se deu a formação na graduação, com base na percepção da trajetória profissional trilhada por egressos de um Curso de Enfermagem. Estudo transversal, descritivo desenvolvido em abordagem quantiqualitativa. Participaram 61 egressos graduados entre os anos 2008 a 2012. Aplicou-se questionário semiestruturado utilizando processador on-line “Google Docs”. Realizada a análise descritiva dos dados quantitativos e análise de conteúdo das questões subjetivas. Os participantes eram, predominantemente, jovens e do sexo feminino; 85% haviam realizado pós-graduação; 75% afirmaram satisfação profissional; 90% começaram a trabalhar nos dois primeiros anos, a maioria em hospitais e na Atenção Básica. Da análise temática emergiram três categorias: “A instituição formadora favorece a inserção no mercado de trabalho”; “Estágio curricular supervisionado como diferencial” e “Aspectos para melhorar formação do enfermeiro”. A formação proporcionou capacitação técnico-científica e socioeducativa para o exercício profissional seguro e comprometido com a qualidade do serviço, porém deve haver maior investimento no desenvolvimento de competências ético-políticas.Palavras-chave: Avaliação Educacional. .Educação em Enfermagem. Força de Trabalho.Abstract The graduates represent the universities product and their resourcefulness in the labor market is one of the most important parameters to evaluate the teaching quality. The objective of this study was to verify undergraduate training based on the professional trajectory perception traced by a Nursing Course graduates. The authors carried out a survey study, a descriptive, qualitative and quantitative approach and cross segment, which analyzed data from 61 graduates between the years 2008-2011. Data were collected through semi structured response to a questionnaire sent to graduates by an electronic medium online processor “Google Docs”. Descriptive analysis of quantitative data and content analysis of subjective questions was performed. It is a young population and predominantly female. 85% had completed graduate studies; 75% affirmed professional satisfaction; 90% started working in the first two years, mostly in hospitals and in Primary Health Care. From the thematic analysis three categories emerged: “The training institution favors the insertion in the labor market”; “Supervised curricular internship as a differential” and “Aspects to improve nursing training”. The training provided scientific-technical and educational formation for the safe professional exercise and committed to the service quality, but there must be more investment in the development of ethical-political skills.Keywords: Educational Measurement. Education. Nursing. Labor Force.

Study projects are an important part of university studies. They are involved not only for estimating separate study subjects but also for estimating an overall study quality, final study outcomes. The article examines final projects of music pedagogy which are prepared at Lithuanian University of Educational Sciences: peculiarities, educational importance and possibilities to strengthen practical training of future music teachers, by developing project and research activities competencies at university. The abilities of development are being presented in the context of study quality, final study outcomes. The aim of the research. To analyze music pedagogy projects defended in Lithuanian University of Educational Sciences and to determine the peculiarities of achieved project and research activity competencies (study outcomes). Methods of the research. Analysis of scientific sources, document analysis, expert method, content analysis. Results. Conclusions of the results reveal that competencies of project and research activities most often are only partially achieved by a music pedagogy students. The level of achievement of these competencies – study outcomes – is not the same: the easiest activities for bachelor’s students are to plan and organize independently the investigations of professional activities, to implement education projects; whereas, the most difficult ones are to formulate a research problem, to analyze and interpret research data, to prepare research report. The worst acquired abilities of project activities (study outcomes) are: to determine relevant problems of music education, to validate a project under the appropriate methods, to formulate a scientific report. Within research activities (study outcomes) group the graduates find most difficult tasks, such as: to choose a particular research strategy, to select or compose research instruments, to describe properly results of data analysis, research conclusions and recommendations. The research reveals essential factors, which caused the difficulties in preparing (writing) Bachelor’s projects (paper) on music pedagogy: the lack of various literacy and research skills. These competencies (study outcomes) ought to be improved both individually and during the modules of university studies, which particularly focusing on research skills and action research (projects).

The paper outlines the importance of ethnopedagogical approach in the practice of training musical art teachers in a higher art institution, highlights the need for deep modernization of Ukrainian ethnopedagogy achievements in modern conditions. The article defines the purpose and significance of this phenomenon, introduction of which into the educational process of the HEI can ensure successful artistic development of future teachersmusicians and their readiness for further music-pedagogical activities with elements of ethnopedagogical direction in conditions of the educational process of the secondary schools. Implementation of the ethnopedagogical approach in the process of professional training of musical art teachers will ensure successful realization of the Ukrainian national idea, will contribute to the formation of students’ national consciousness, will help them to learn universal values. Through the feeling of the richness of the sound palette of his people’s art, the personal traits of the future teacher-musician (sensitivity and intelligence, emotionality) will be nurtured, which in turn will improve his professional level. This will intensify cognitive activity of the future teachers-musicians, develop their musical and aesthetic representations, increase the overall level of musical and aesthetic culture, guide their moral beliefs accordingly. Introduction of the ethnopedagogical approach in the process of professional training of students of music-pedagogical specialties is closely related to the further development of the system of music and aesthetic education of our students, where the teacher is a kind of a mediator for the child to learn about the world. Therefore, to ensure the effective work of graduates of higher art institutions, the issue of using material from the national musical and musical-pedagogical heritage is relevant not only in the process of ethnopedagogical training in universities, but also directly in the educational process in secondary schools.

The main problem that is manifested in this research is the evidence that even in the fields of professional development of individuals, the thought is maintained that some careers and work functions should only be developed by women and others are exclusively for men. These stereotypes have been expressed in a general way in professions such as the executive secretary, which has been a manifestation of the gender inequality that still prevails. This study had a qualitative approach, considering as historical-logical methods that allowed us to understand the dynamics of the conception of the career of Executive Secretariat in its historical evolution; the documentary-bibliographic, for the compilation of previous investigations; analysis and synthesis throughout the investigative and inductive-deductive process, to analyze in detail the general elements through the determination of the analysis indicators. The professionals of the ULEAM Executive Secretariat Career, from the cohorts (1975-1979; 2019 (1) and 2019 (2) are taken as an empirical reference. The results of the current behavior of this profession do not show greater evolution in Regarding gender equality, since the number of graduates is still very small in relation to the number of graduates; and in general, 100% of the interviewees highlighted that they have felt uncomfortable in the processes of insertion and job performance, due to gender stereotypes assigned to this profession .

The author reflects on the specifics of distance musical and pedagogical education, which is perceived by many in a negative connotation – a reduced number of academic disciplines, first of all, individual lessons. And also – the important factor that distance education is often paid and the initial level of students is rather weak. However, there are no clear criteria for the comparative quality of full-time and part-time diplomas. Moreover, in the music profession, where individual training actualizes not only professional knowledge and skills, but also the formation of personal qualities of the future specialist. at the same time, it is necessary to separate two concepts – “correspondence” and “distance” learning. There is practically no research that would deal with the problems of distance musical and pedagogical education. As a rule, those few works that exist on correspondence training of pedagogical specialties do not take into account the specifics of the profession of music teacher, for example, in terms of the creative component of the educational process or the development of performing skills. to date, the most noticeable research gaps are, first of all, the actualization of the contextual approach and the study of the motivational component in distance learning. The author analyzes the data developed by him a detailed questionnaire for part-time students with information about the real and intended place of work of future graduates, their motivation for distance learning, the degree of satisfaction with such training, its advantages and disadvantages, the level of musical training of future teachers, musicians, their specific professional problems, etc. The students’ answers showed that there is a powerful trend in the musical and pedagogical profession associated with the public expression of musical creativity, the actualization of not only education and upbringing, but also the enlightenment component of the educational process. In addition to the performance qualities of a music teacher, those skills that have only recently seemed to be insignificant, such as organizational, directorial, lecturers, and managerial ones, have become extremely popular. According to the author, in the correspondence musical and pedagogical education it is much easier to develop the abilities of teachers in this regard, since, on the one hand, there is a knowledge base, and on the other – a specific professional situation, familiar and close to the correspondence student and teacher in one person. In this contextual paradigm laid a powerful lever of motivation of part-time students to maximize the “whole” of the educational process and, accordingly, the optimal combination and complementarity of study and professional activities.

<p>Enrolments in higher education programs in the creative and performing arts are increasing in many countries. Yet graduates of these degrees, who enter the broad sector known as the creative industries, face particular challenges in terms of securing long-term and sustainable employment. In addition, creative and performing artists face a range of mental challenges, caused by such factors as: the solitary nature of much creative practice, critical feedback by audiences and gatekeepers, or the general pressures associated with maintaining artistic relevance or integrity. The concepts of resilience and professional wellbeing are therefore highly relevant to those who pursue a career in creative industries, and while there has been an emerging body of work in this area, to date it has focussed on the performing arts area (e.g. music, theatre). Hence, in order to expand knowledge relevant to resilience and artists, this paper sets out to explore the extent to which current educators in the Australian context specifically address these issues within higher visual arts curricula; specifically the areas of illustration, design, film and photography. This was achieved via interviews with seventeen current academics working in these areas. The findings propose that higher education providers of programs in the visual arts consider placing a stronger emphasis on the embedded development of resilience and professional wellbeing capacities.</p>

RESUMEN Este artículo presenta una investigación cualitativa con el fin de analizar las fortalezas y las debilidades del e-portafolio profesional como una herramienta de búsqueda activa de empleo dentro del proceso de transición al mundo laboral de los futuros egresados universitarios. En dicho proceso, la Universidad desempeña un papel clave mediante la formación y orientación sociolaboral de estos jóvenes. En esa labor de asesoramiento y acompañamiento, las tecnologías de la información y la comunicación y, en concreto el e-portafolio, se están convirtiendo en herramientas que facilitan, por un lado, el autoconocimiento y diseño de un proyecto profesional y, por otro lado, el conocimiento del entorno laboral. Este estudio surge de un proyecto de innovación educativa dentro de la asignatura obligatoria Orientación, formación e inserción sociolaboral, en el tercer curso del Grado de Educación Social (Universidad de Córdoba, España). Durante las sesiones teóricas y prácticas de esta materia, el alumnado ha ido diseñando y dando forma a su proyecto profesional que, finalmente, ha quedado reflejado en su e-portafolio profesional. Los resultados muestran cómo el diseño de este instrumento por parte del alumnado ha contribuido a la mejora del autoconocimiento y la concreción de intereses y objetivos profesionales. Así mismo, el e-portafolio favorece el aprendizaje permanente y fomenta la adquisición de competencias digitales entre el alumnado participante. No obstante, esta misma fortaleza puede representar una amenaza si no se dispone de las destrezas digitales necesarias o no se tiene acceso a recursos tecnológicos para poder desarrollarlo de manera autónoma.ABSTRACT This paper presents a qualitative research study in order to analyse the strengths and weaknesses of the professional e-portfolio as a tool for active job search in the transition process to the labour market of future university graduates. In this process, the University plays a key role regarding the training and career guidance of these young people. In this task of advice and support, information, and communication technologies and, particularly, the e-portfolio, are becoming tools which facilitate, on the one hand, self-knowledge, and the design of a professional project and, on the other hand, the understanding of the work environment. This study originated from an educational innovation project within the compulsory course named Guidance, training, and socio-labour insertion, taught during the third year of the Degree in Social Education (University of Cordoba, Spain). Throughout the theoretical and practical sessions of this course, students have been designing and shaping their professional project, which has been finally reflected in their professional e-portfolio. The results show how the design of this tool by students has contributed to their self-knowledge and the definition of their professional interests and goals. Likewise, the e-portfolio favours lifelong learning and fosters digital skills acquisition among participating students. However, this same strength may become a threat if they lack the necessary digital competence or have no access to technological resources to develop it independently.

Este artigo tem por objetivo analisar como as tecnologias digitais ligadas à Indústria 4.0 podem contribuir para o aprimoramento da formação profissional, a partir da particularidade do ensino de engenharia na Universidade Federal de Sergipe (UFS). Metodologicamente, utilizou-se de um estudo de caso sob uma abordagem quanti-qualitativa, exploratória e descritiva, aplicando questionários com os docentes e discentes do Centro de Ciências Exatas e Tecnologia da UFS (CCET/UFS). Os resultados apontaram que a inserção das tecnologias digitais na formação profissional traz contribuições quanto à modernização dos sistemas de ensino, por meio da adequação dos currículos escolares e projetos pedagógicos de curso, e a estruturação de um espaço que simule o ambiente que os egressos encontrarão no mercado de trabalho, culminando no aprimoramento do processo de formação. A análise indicou ainda impactos do uso das tecnologias digitais na formação profissional, revelando que, embora os desafios envolvidos incluam fatores como a falta de investimento para a aquisição de tecnologias digitais e capacitação profissional e a falta de estrutura disponível, as tecnologias digitais podem trazer contribuições no que tange à melhoria das condições de ensino, atualização profissional e desenvolvimento de habilidades e competências essenciais ao contexto da Indústria 4.0.Palavras-chave: Tecnologias digitais e ensino. Formação profissional. Indústria 4.0.ABSTRACTThis article aims to analyze how digital technologies linked to Industry 4.0 can contribute to the improvement of professional training, based on the particularity of engineering education at the Federal University of Sergipe (UFS). Methodologically, we used a case study under a quantitative-qualitative, exploratory and descriptive approach, applying questionnaires with professors and students at the Center for Exact Sciences and Technology at UFS (CCET/UFS). The results showed that the insertion of digital technologies in professional training brings contributions regarding the modernization of teaching systems, through the adaptation of school curricula and pedagogical course projects, and the structuring of a space that simulates the environment that graduates will find in labor market, culminating in the improvement of the training process. The analysis also indicated impacts of the use of digital technologies in professional training, revealing that, although the challenges involved include factors such as the lack of investment for the acquisition of digital technologies and professional training, and the lack of available structure, digital technologies can bring contributions regarding the improvement of teaching conditions, professional updating and development of skills and competencies essential to the context of Industry 4.0.Keywords: Digital technologies and teaching. Professional qualification. Industry 4.0..

Introduction. The prerequisites and the first steps towards the development of cimbalom performance in Kharkiv universities are shown in the historical aspect. The necessity of training the qualified specialists for teaching high-level musicians is revealed and the direction of development of the pedagogical process is justified. Objectives is to highlight the role of the class of cymbals KhNUА in the context of the formation and development of the Kharkiv cimbalom school since the last third of XX – early XXI centuries. Results and Discussion. Different sides of the development of the cymbal class of the Department of Folk Instruments of Ukraine of the I. Kotlyarevsky Kharkiv National University of Arts (KhNUA). The research and methodological principles, features of work on the original repertoire and fruitful cooperation with Kharkiv composers, forms of instrumental, performing professional training, participation in methodological seminars, practical classes in advanced training courses, concerts, festivals, competitions, conferences and projects of various levels are considered. Lists of students-laureates of competitions and names of all significant concert projects are given. Attention is drawn to the pedagogical sphere of activity as an integral part of creative work in music schools, as well as in higher educational institutions of the arts. This allows us to speak of the Kharkiv cimbalom school as of independent creative subject, which is distinguished by the originality of the repertoire, the search for new forms of expression, the use of non-traditional techniques of playing the instrument. According to the register, Kharkiv cimbalom school is the youngest, but at the same time one of the most progressive performing schools in Ukraine. Conclusions. It is shown that for thirty years of existence of the cimbalom class of KhNUA the idea of professional training at three educational levels – from music school to institution of higher education has been successfully realized. Many laureates of international, all-Ukrainian and regional competitions, festivals, graduates of the class are brought up. The high level of instrumental, performing, professional training is distinguished. At the same time, the development of the academic direction in performance on folk instruments, in particular on cimbalom, has significantly broaden the boundaries of the traditional folk instrumental genre. It is shown that the formation of the cymbal class in KhNUA during the 30 years of its existence completed the formation of the Kharkiv cimbalom school, and its future will be improved and filled with new victories and ideas at a new, more advanced level.

Introduction. 2020 became an iconic and significantly groundbreaking year for all mankind. Its events made us change our view on many aspects of our life, which from one side has become a generator to search of new ways and solutions and from another one – emphasized once again the importance of events and processes of the past, reminded of the value of existing assets. All that, of course, didn’t pass by the artistic sphere, in which usual events (concerts, performances, exhibitions, conferences, etc) found their new transformation thanks to opportunities of digital technologies and due to quarantine restrictions. It is possible to outline the process of reflection (an artistic one in our case) on a personal example of the authors of the article as direct active participants in the celebration of the 30th anniversary of the cimbalom class of Kharkiv National University of Arts named after I. P. Kotlyarevsky, which took place online. It was almost a 3-month long remote marathon “Cimbalom Slobozhanshchyna”, which consisted of archival and current records of representatives of Kharkiv cimbalom school: from toddlers – students of schools of aesthetic education to already famous Ukrainian musicians – graduates of the cimbalom class of KhNUA. New conditions and ways of realization provided an opportunity to look holistically at the creative potential and powerful development of one performing school. The desire was not just to provide a creative biography of the founder of the cimbalom school of Slobozhanshchyna Olena Opanasivna Kostenko, but to emphasize the versatility of her creative personality and reveal all aspects of her creative work, which from our point of view became the key that opened famous Kharkiv cimbalom school. Objectives. The objectives of this article are to acquaint the world with the creative personality of Olena Kostenko, to single out and highlight the spheres of her creative activity, the set of which became the basis for the formation of a modern Kharkiv cimbalom school. Results and Discussion. Olena Opanasivna Kostenko is an Honored Artist of Ukraine, Associate Professor, Founder, and Leader of the Kharkiv Cimbalom School, a well-known teacher, methodologist, author of many concert arrangements for cimbalom and ensembles with the participation of cimbalom and creative projects. All these aspects of creative activity will be considered in more detail and in the context of the history of the performing school. Founder. Almost in one decade of the XX century, the whole hierarchy of cimbalom education was formed in Kharkiv: school – specialized school – conservatory (primary – secondary – higher art education), at the origins of which stands one person – Olena Kostenko. Lecturer. The synthesis of many aspects, such as many years of fruitful pedagogical work, love for work of life and cimbalom, fidelity to human principles and flexibility to new realities, constant creative search, inexhaustible enthusiasm, and personal qualities of Olena Opanasivna are the “magnet”, in our opinion, that attract like-minded creators, students-followers. Her pupils are numerous winners of international and national competitions. Olena Opanasivna’s graduates successfully work in the teaching field in Kharkiv, Kyiv, and Lutsk, they are soloists of professional groups of Kharkiv. Pedagogical and personal principles of O. Kostenko are: creativity and productivity, freedom and respect, accessibility and peculiarity. Methodist-researcher. O. Kostenko is the author of numerous publications, which can be divided into historical-research and educational-methodical publications. She is a regular speaker of methodological seminars and workshops organized by the Regional Training Center for Cult Education of Kharkiv region and the city of Kharkiv, which addresses problematic and topical issues of primary art education, namely cimbalom. Editor and compiler. Music editions by O. Kostenko became no less valuable, even more significant contribution to the cimbalom art. Olena Opanasivna stimulates active editorial activity among her students, arguing its importance and need for expanding and updating the cymbal repertoire, interest in finding new readings of musical creativity, enriched and diversified concert programs, and more. Social activist. O. Kostenko’s projects of a series of concerts became significant events for the music world of Kharkiv. They were held in the halls of the Kharkiv Philharmonic, Kharkiv National University of Arts named after I. P. Kotlyarevsky and Kharkiv Music College named after B. M. Lyatoshinsky called “Cimbalom from A to Z” (2005), “Evening of Ukrainian folk instruments music” (2007), “The world of cimbalom from A to Z” (2008, 2012), “Festival of ensembles of Ukrainian folk instruments” (2009), “The world of cimbalom” coauthored with M. Kuzhba (2013), “Cimbalom playing” (2013, 2014), “Cimbalom in Slobozhanshchyna” – ensemble music (2015), “The cimbalom constellation of Slobozhanshchyna” (2017), “Let’s interpret Boris Mikheev’s music on cimbalom” (2018), Remote marathon to the 30th anniversary of the cimbalom class of KhNUA “Cimbalom Slobozhanshchyna” (2020–2021). We would like to emphasize the constant participation of Olena Opanasivna in the jury of well-known and professional international, all-Ukrainian and regional competitions. Conclusions. Undoubtedly, all the stated above proves the active process of formation and flourishing of the youngest cimbalom school in Ukraine – Kharkiv one, which has been going on for more than 40 years and is headed by a bright creative personality (with its individual style, personal qualities). We state the fact that due to the versatility of Olena Kostenko’s creative activity (founder, teacher, methodologist-researcher, editor-compiler, public figure) it is impossible to imagine the system of folk instrumental art of Slobozhanshchyna at the present stage without cimbalom and cimbalom performing school. Constant creative activity and openness to new forms of the latter characterize it as productive, modern, and original.

The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.

Transdisciplinarity and collaboration are key capabilities that need to be fostered by authentic higher education learning environments to prepare our graduates for an unknown future (Barnett, 2012). These capabilities need to be modelled through the practice of academics, and even more so during a global pandemic such as COVID19 in response to the changing ways in which professions, and in particular the arts that have traditionally relied upon face-to-face interaction, have rapidly pivoted to online modes of interaction. In response, this project is conceived as a transdisciplinary collaboration between the University of Melbourne Faculty of Fine Arts and Music (FFAM), the Graduate School of Education (MGSE), the Centre for the Study of Higher Education (MCSHE), the Social & Cultural Imformatics Plaform (SCIP) and the Melbourne Data Analytics Platform (MDAP). The #DataCreativities collaboration seeks to learn from the data created by the creative industry communities as they rapidly moved to new forms of online interaction in order to survive in a socially distanced environment (for example (Braus & Morton, 2020)). We use this to develop a new framework for data generation and visualization in the context of higher education as a form of feedback loop that can inform innovative pedagogical practice and research (Ferdig et al., 2020). The project data collection and analysis began by creating visualisations of the teaching and learning activities embodied in the universities learning management system (Canvas) to discover patterns of usage and interaction as the creative arts disciplines switched from studio-based on campus to remote online teaching and learning modes. The analysis of the data visualisations from creative and education domains formed a continuous loop of acting and reacting (Glaveanu et al., 2013) as they rapidly developed new modes of interaction in response to COVID19. In learning from these data as visual patterns, the project is focused upon identifying new modes of teaching and learning that are sustainable beyond an emergency response to COVID19. The data visualization project involves the identification of an Ecology of Resources or EoR (Luckin, 2008) that encompasses social media via a hashtag #Datacreativities (Twitter, TikTok, YouTube) open software publishing (Omeka, Figshare) and Altmetrics (Priem et al., 2010) - creating a feedback loop between the model of a COVID19 rapid pivot from face-to-face Arts community to building an online community, and traditional higher education teaching and learning and research practices and metrics (Williams & Padula, 2015). Early stages visualisations helped turn data into information. Collaborative bringing together of our experience and expertise helped turn information into knowledge. Making visualisations of data formed practice-based research (Candy, 2016) transforming abstract data into observable, malleable digital artefacts (Kallinikos,Aaltonen& Marton, 2010). The presentation will showcase some of the data visualisations produced by the #Datacreativities team and the mapping between the professional arts community and arts education practice on response to COVID19. The presentation will also outline the emergent data visualisation framework and how the ecology of resources facilitates a feedback loop back into informing teaching and learning and research.

RESUMOA Universidade Federal Rural do Rio de Janeiro possui diversos programas de bolsas de ensino, pesquisa e extensão. A grande maioria é destinada aos seus próprios graduandos, mas a bolsa de apoio técnico-acadêmico pode ser desfrutada por alunos externos que ainda estejam cursando o ensino médio. Essa bolsa destina-se prioritariamente a estudantes de baixa renda, regularmente matriculados nos cursos de graduação e no Colégio Técnico da UFRRJ e no ensino médio de colégios da cidade de Seropédica/RJ. A bolsa destina-se à realização de atividades de apoio técnico-acadêmico e de interesse institucional, abrangendo ensino, pesquisa, extensão e administração acadêmica, como uma forma de aprendizagem complementar, possibilitando ao estudante uma melhor integração à Universidade e uma formação complementar. O objetivo desse trabalho foi descrever as atividades desenvolvidas por quatro estudantes do ensino médio de Seropédica/RJ como bolsistas de Apoio Técnico-Acadêmico na disciplina de Anatomia Humana e avaliar a importância dessa experiência para a sua formação educacional e pessoal. Todas as tarefas desenvolvidas pelas bolsistas de apoio técnico-acadêmico foram destinadas ao enriquecimento das aulas da graduação dos cursos de Farmácia e de Psicologia. Mas, sobretudo, contribuiu de maneira ímpar para a formação educacional, o crescimento profissional e o amadurecimento pessoal de cada uma dessas bolsistas, que a partir da experiência obtida deram seguimento aos seus estudos. Três ingressaram no Colégio Técnico da UFFRJ, tendo concluído esse ensino técnico, e dentre estas, duas se matricularam em cursos de graduação na própria UFRRJ.Palavras-chave: Educação. Ensino-aprendizagem. Inserção acadêmica. ABSTRACTThe Federal Rural University of Rio de Janeiro has several scholarship programs for teaching, research and extension. The vast majority are intended for their own graduates, but the scholarship for technical and academic support can be enjoyed by external students who are still in high school. This scholarship is primarily intended for low-income students, regularly enrolled in undergraduate courses, at the Technical College of UFRRJ, and in high schools in the city of Seropédica/RJ. The scholarship is intended to carry out activities of technical and academic support and of institutional interest, covering teaching, research, extension and academic administration, as a form of complementary learning, enabling the student to better integrate into the University and provide additional training. The objective of this paper was to describe the activities developed by four high school students from Seropédica/RJ as scholarship holders of technical-academic support in the discipline of Human Anatomy and to evaluate the importance of this experience for their educational and personal training. All the tasks developed by the technical and academic support fellows were aimed at enriching the undergraduate classes of Pharmacy and Psychology courses. But, above all, it contributed in a unique way to the educational formation, professional growth and personal maturity of each one of these fellows, who based on the experience obtained, continued their studies. Three entered the Technical College of UFFRJ, having completed this technical education, and among these, two enrolled in undergraduate courses at UFRRJ itself.Keywords: Education. Teaching-learning. Academic insertion.

Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.

Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.

O artigo analisa como o Programa Institucional de Bolsas de Iniciação à Docência – PIBID se coloca como uma epistemologia de formação de professores que considera o cotidiano escolar como espaço de produção de experiências do ser professor. Tem como principal objetivo compreender como o PIBID possibilita a vivência do chão escolar e como esta constitui-se em experiências formativas do ser professor. A pesquisa desenvolveu-se a partir de abordagem (auto)biográfica, que é de natureza qualitativa e caracteriza-se por ser um método que possibilita ao sujeito que narra construir e revelar sentidos para o vivido, para suas experiências, logo para o seu processo de formação. Como dispositivos de pesquisa, foram utilizados memorial de formação e entrevistas narrativas de três licenciandos do curso de Letras de uma instituição pública de Ensino Superior do Estado da Bahia. O estudo revelou que no PIBID o conceito de formação é concebido epistemologicamente como um movimento reflexivo de compreensão da profissão docente, analisado a partir da inserção dos licenciandos no cotidiano da escola. Viver e conhecer o chão da escola significa poder produzir experiências da docência no contexto real do exercício profissional.Palavras-chave: PIBID. Formação de professores. Cotidiano EscolarPIBID as an epistemology of teacher training in the everyday schoolABSTRACT The article analyzes how the Institutional Program of Initiatives to Teaching - PIBID is an epistemology of teacher training that considers the daily school life as a space for the production of experiences of being a teacher. Its main objective is to understand how the PIBID makes possible the experience of the school ground and how it is constituted in formative experiences of being a teacher. The research developed from a (self) biographical approach, which is qualitative in nature and is characterized by being a method that allows the subject who narrates to construct and reveal meanings for the lived, for his experiences, soon for his process training. As research devices, training memo and narrative interviews were used of three graduates of the course of Literature of a public institution of Higher Education of the State of Bahia. The study revealed that in the PIBID the concept of formation is epistemologically conceived as a reflexive movement of understanding of the teaching profession, analyzed from the insertion of the licenciandos in the daily life of the school. Living and knowing the school floor means being able to produce experiences of teaching in the real context of professional practice.Keywords: PIBID Teacher training. Everyday SchoolPIBID como una epistemología de la formación de profesores en el cotidiano escolarRESUMENEl artículo analiza cómo el Programa Institucional de Becas de Iniciación a la Docencia - PIBID se plantea como una epistemología de formación de profesores que considera el cotidiano escolar como espacio de producción de experiencias del ser profesor. Tiene como principal objetivo comprender cómo el PIBID posibilita la vivencia del suelo escolar y cómo ésta se constituye en experiencias formativas del ser profesor. La investigación se desarrolló a partir de un enfoque (auto) biográfico, que es de naturaleza cualitativa y se caracteriza por ser un método que posibilita al sujeto que narra construir y revelar sentidos para lo vivido, para sus experiencias, luego para su proceso de formación. Como instrumentos de investigación, fueron utilizados memorial de formación y entrevistas narrativas de tres licenciandos del curso de Letras de una institución pública de Enseñanza Superior del Estado de Bahía. El estudio reveló que en el PIBID el concepto de formación es concebido epistemológicamente como un movimiento reflexivo de comprensión de la profesión docente, analizado a partir de la inserción de los licenciandos en el cotidiano de la escuela. Vivir y conocer el suelo de la escuela significa poder producir experiencias de la docencia en el contexto real del ejercicio profesional.Palavras clave: PIBID. Formación de profesores. Cotidiano Escolar.

e4152113This paper presents an integrative literature review in which we tried to point out the trends of studies conducted on beginning teachers and to identify whether and how those studies have made recommendations, based on the results of the research, to promote the professional insertion of teachers at the beginning of their career. The mapping period ranged from 2000 to 2019 and the corpus of analysis was the papers presented during the Anped annual meetings, the dissertations and theses available in the Capes Theses and Dissertations catalog, in addition to the articles available on the SciELO and Educ@ websites. It is worthy to highlight in the findings of the review that, after 2014, there was an important increase in publications on the topic. In more recent years, interest emerged on studies with graduates of public programs of initiation to teaching in initial training, with emphasis on Pibid and on continuing education actions proposed by state and municipal departments. There has also been an increase in studies focusing on training actions to support and monitor teachers who enter the profession, highlighting contributions made by the use of training devices and collaborative groups. On the other hand, some gaps persist, and it is concluded that there is still much to be improved in research so that there will be effective contribution in the constitution of the field, since there are few studies that problematize their results and make deep analyses and interpretations, so that one can generate more comprehensive, and consistent knowledge that enables to indicate paths, actions, and practices that favor the teachers’ professional insertion.ResumoEste texto apresenta uma revisão integrativa da literatura em que se buscou analisar as tendências dos estudos sobre o professor iniciante e identificar se e como as produções têm indicado, a partir dos resultados das pesquisas, recomendações para promover a inserção profissional dos docentes no início da carreira. Optou-se por realizar o levantamento no período de 2000 a 2019 e tomou-se, como corpus de análise, os trabalhos apresentados nas reuniões anuais da Anped, as dissertações e teses disponíveis no catálogo de Teses e Dissertações da Capes e, ainda, os artigos disponíveis no website do SciELO e do Educ@. Destacam-se nos achados da revisão que, depois de 2014, houve um aumento importante de publicações sobre o tema. Nesse período mais recente emergiu o interesse pelo estudo com egressos de programas públicos de iniciação à docência na formação inicial com destaque ao Pibid e de ações de formação continuada propostas em secretarias estaduais e municipais. Aumentaram, também, os trabalhos com foco nas ações formativas de apoio e acompanhamento ao professor que ingressa na profissão, destacando-se as contribuições do uso de dispositivos de formação e dos grupos colaborativos. 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Inserção profissional, políticas e práticas sobre a iniciação à docência: avaliando a produção dos congressos internacionais sobre o professorado principiante. Avaliação, Campinas, vol.20, n.1, p.73-86, 2015.CUNHA, Maria Isabel da. O campo da iniciação à docência universitária como um desafio. In: 33a. Reunião Anual da ANPEd, Caxambu, Minas Gerais, 2010.DEMO, Pedro. Metodologia do conhecimento científico. São Paulo: Atlas, 2000.FIORENTINI, Dario; CRECCI, Vanessa. Desenvolvimento Profissional DOCENTE: Um Termo Guarda-Chuva ou um novo sentido à formação? Formação Docente, Belo Horizonte, v. 05, n. 08, p. 11-23, jan-jun. 2013.HUBERMAN, Michaël. O ciclo de vida profissional dos professores. In: NÓVOA, Antonio. (Org.). Vidas de Professores. 2. ed. Porto, Portugal: Porto Editora, nº. 4. Coleção Ciências da Educação, 1995. p. 31-61.MARCELO GARCÍA, Carlos. Formação de professores: para uma mudança educativa. Tradução de Isabel Narciso. Porto: Portugal, 1999.MARCELO, Carlos. 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Cadernos de Pesquisa, São Paulo, v. 47, n. 166, p. 1106-1133 out./dez. 2017.PAPI, Silmara de Oliveira Gomes; MARTINS, Pura Lúcia Oliver. As pesquisas sobre professores iniciantes: algumas aproximações. Educação em Revista, Belo Horizonte, v. 26, n. 03, p. 39?56, dez. 2010.REALI, Aline M.; TANCREDI, Regina M. S. P.; MIZUKAMI, Maria das Graças N. Programa de mentoria online para professores iniciantes: fases de um processo. Cadernos de Pesquisa, São Paulo, v. 40, n. 140, p. 479-506, maio/ago. 2010.SILVA, Maria Celeste Marques da. O primeiro ano da docência: o choque com a realidade. In: ESTRELA, Maria Teresa. (Org.). Viver e construir a profissão docente. Coleção Ciências da Educação. Portugal, Porto, 1997.TARDIF, Maurice. Saberes docentes e formação profissional. 2. ed. Petrópolis: Vozes, 2002.TARDIF, Maurice; RAYMOND, Danielle. Saberes, tempo e aprendizagem do trabalho no magistério. Educação & Sociedade, Campinas, ano XXI, n 209 o 73, Dez., 2000.VAILLANT, Denise; MARCELO, Carlos. Ensinando a Ensinar: as quatro etapas de uma aprendizagem. 1º ed. Curitiba: Editora UTFPR, 2012.VEENMAN, Simon. El proceso de llegar a ser profesor: un análisis de la formacción inicial. In: VILLA, Aurelio. (Coord.). Prespectivas y problemas de la función docente. Madrid: Narcea, 1988. p. 39-68.

Objective: evaluate the profile of the graduates of Nursing a public college from the perception of skills developed during graduation and the process of professional insertion. Method: quantitative, exploratory and descriptive study. The sample was composed of 216 graduates. The data was collected by a validated questionnaire and sent to a population of 470 egresses via electronic mail. For the analysis of the data, frequencies, mean and standard deviation were applied and, for the correlation, the chi-square test. Results: the majority of the participants were female (88%) and the mean age was 29.62 years. The majority (65%) had an employment relationship, 14% worked in a single institution and 48% started working six months after graduation. Regarding the form of work, 56% work in care, with an average of 4.5 minimum wages and a weekly workload between 37 and 44 hours. The majority reported competence acquisition to practice the profession, assisting the patient in his integrality with ethics and applying technical and scientific concepts in care. Conclusion: the study made it possible to describe the singularities of nurses’ education, their insertion in the world of work and the impact on the educational institution, as well as the presentation of specific competences from the perspective of the graduates themselves.

Abstract This research, carried out across 2017–2018, investigated Royal Birmingham Conservatoire (RBC) graduates’ experiences of working as instrumental teachers. A total of 31 participants (who graduated across 2012–2016 and studied an optional ‘Further Pedagogy’ module in their final year) responded to a questionnaire, and two were observed whilst teaching, and subsequently interviewed (2018). Results indicate that RBC students who chose to extend their pedagogical training beyond the core provision offered in the third year proved highly employable as instrumental teachers. Graduates considered teaching to be both fulfilling and challenging and were able to use insights gained ‘on the job’ to advise others. Whilst the sample was clearly limited, these findings contribute to an improved understanding of how instrumental teacher education in conservatoires might be further developed to effectively prepare students for the profession.

The study intended to look back the experiences of the last batch of the university graduates taking Music, Arts and Physical Education as the area of specialization in Education in one of the Higher Education Institutions in Cebu, Philippines. Specifically, the study elaborated on the graduates’ personal and professional characteristics, retrospective evaluation, perceived levels of self-efficacy and lived experiences of the graduates on how the program aided them in their teaching profession. Concurrent mixed method was utilized in the study: (1) descriptive retrospective survey using a questionnaire (quantitative) and (2) narrative inquiry design (qualitative) using semi-structured interview with the nine graduates as the key informants of the study. All nine graduates are employed, with seven of them teaching in their field. Graduates’ retrospective evaluation of their university experience revealed that their practicum experience was the most relevant which provided them the edge and opportunity to taste the reality of teaching. The strength of the program is identified in dance and sports while the teaching of health, music and arts-related courses were regarded weak. Graduates perceived level of self – efficacy was high as indicated by their ability to develop initiatives towards professional growth, and to work with people of different backgrounds. Further, three (3) emerging themes revealed as the self-instilled work values of the graduates such as persistence, love of work and open-mindedness that assisted them to be able to sustain and survive in their teaching career. This study concluded that Music, Arts and Physical Education (MAPE) is still relevant even with the existence of the new mandated Physical Education curricular program to the development of the knowledge, skills, attitudes and competencies of the MAPE graduates vis-à-vis to the demand and need of the labor market and of what is expected from them in this changing time. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0798/a.php" alt="Hit counter" /></p>

This study investigates the careers of 28 classical pianists in Australia to develop greater understanding of skills needed to build professional music careers and to highlight implications for higher music education training. Semi-structured interviews were analyzed for emerging themes using Subotnik and Jarvin’s scholarly productivity or artistry (SP/A) model, looking for connections between distinct skills developed during education and their role in the building of professional careers. Participants in this study began learning to play the piano at an early age and pursued lessons during primary education, developing their technique, learning numerous works, and participating in competitions. In high school, the pianists learned to play other instruments, studied more complex and demanding piano solo repertoire, and participated in extra-curricular music activities. During performance-focused undergraduate study, all concentrated on improving technique, building solo and collaborative repertoire (including contemporary music), and exploring other music-related areas. Postgraduate study overseas and concertizing broadened their understanding of world-class standards. The participants undertook casual music jobs at the start of their careers, but eventually many achieved permanent full-time employment. Hard work, ability to learn quickly, natural gifts/talent, and passion for music helped these pianists build successful portfolio careers. The findings reveal that today’s tertiary music graduates will require diverse music and entrepreneurial skills, and a positive attitude. The implications highlight the need for the development of wide-ranging playing skills beyond solo performance and entrepreneurial competency as important factors for music careers.

Abstract The aim of the study was to analyze the graduate’s profile of the PhD course in Postgraduate Program in Physical Education (PPPE), Federal University of Santa Catarina. Information from the 92 PhD graduates from 2006 to 2018 was collected from secondary sources of public domain sites. Three independent evaluators filtered the information through double typing. The data revealed that more than 50% of the graduates were male, 58.7% had a scholarship, and 27.8% had a sandwich doctorate in foreign institutions. Only 17.4% of graduates completed postdoctoral training. The highest proportion has employment as effective teachers (73.3%), mainly in public higher education institutions. The concentration themes in the area of Physical Activity and Health (PAH) predominate in the titles of the conclusion work. During the formative trajectory, 48.9% of the graduates changed, at least, once in the concentration area, 44.6% remained in the same area and 6.5% investigated the three distinct concentration areas during undergraduate, masters and doctoral studies. The majority develop PAH (50.0%), followed by Pedagogical (25.5%) and Biodynamics and Human Performance (17.8%). Thus, the doctors training in PPPE seems to design a profile according to the idealized by the course, with professional possibilities of insertion in higher education and engagement in scientific investigations.

Music education has been an integral part of national economic empowerment and development strategies in industrialized and developed nations globally, due to its impact on productivity, sustainability and economic development. However, the harness of youth‘s potentials through music education has not accelerated economic development in Nigeria. The study, therefore, seeks to investigate the impact of music education on youth empowerment. Purposive sample technique was adopted to select 10 academic staff members each from the five tertiary institutions that offering music education, totaling 50 participants as a sample size for the study. A structured questionnaire designed for the study was used to collect relevant information from the study’s participants. Data analysis was performed with the aid of mean, standard deviation and linear regression. The study establishes that music education is a driving force of youth empowerment. The study also confirms that inadequate funding of education and the poor state of infrastructural facilities are the major challenges that crippled music education in Nigeria. Subsequently, the study recommends that government, non-government organizations, renowned professional musicians and private investors should invest especially in music education. This will go a long way to empower young graduates with an array of skills for sustainable development.

Resumo Este artigo tem como foco a experiência de um programa de formação de professores realizada no âmbito do Edital PROEXT. O Programa combinou cursos de formação musical, produção de material didático e uma investigação de cunho sociográfico-musical. A pesquisa teve como objetivo analisar a inserçãoo de práticas musicais na comunidade e suas relações com a educação musical. As dimensões sociomusicais, socioprofissionais e socioeducativas presentes nas práticas musicais locais podem contribuir para se pensar a música na escola. Abstract This article focuses on the experience of a teacher training program conducted under the Edital PROEXT, which includes musical training courses, production of teaching material and sociographic research in music. This study aims to analyze the insertion of musical practices in the community and their relationship with music education. Sociomusical, professional and educational dimensions in local musical practices can contribute to thinking of music within the school.

Resumen La educación superior técnico profesional tiene su foco en adquisición de competencias prácticas que aseguren la efectiva inserción de sus egresados en el mercado laboral. El objetivo del presente artículo es explorar el liderazgo y la cultura académica percibida por los docentes y directivos en instituciones de educación superior de Chile teniendo en consideración la calidad. Para este fin se llevaron a cabo entrevistas semiestructuradas en tres Centros de Formación Técnica y tres Institutos Profesionales. El análisis de datos se efectuó a través del Software NVivo 12.0 permitiendo realizar estudios de conglomerados, correlaciones de Pearson y generación de modelos, construidos a partir de las percepciones de docentes y directivos. Los hallazgos sugieren que en los Centros de Formación Técnica el líder considera aspectos democráticos, fomenta la participación y comunicación entre los miembros, y coloca énfasis en lineamientos estratégicos e indicadores de desempeño para el logro de la acreditación institucional. Por el contrario, en los Institutos Profesionales se resaltan fuertes niveles de jerarquización en la toma de decisiones, así como en definición de lineamientos, estándares e indicadores para asegurar la calidad educativa. Se concluye, que el liderazgo y la cultura se realzan como factores relevantes para el logro de la calidad. Abstract Higher technical professional education focuses on the acquisition of practical skills that ensure the effective insertion of its graduates in the labor market. The objective of this article is to explore the leadership and academic culture perceived by teachers and managers in higher education institutions in Chile, taking quality into account. For this purpose, semi-structured interviews were carried out in three Technical Training Centers and three Professional Institutes. The data analysis was carried out through the NVivo 12.0 Software allowing conglomerate studies, Pearson correlations and generation of models, built from the perceptions of teachers and managers. The findings suggest that in the Technical Training Centers the leader considers democratic aspects, encourages participation and communication among members, and places emphasis on strategic guidelines and performance indicators for the achievement of institutional accreditation. On the contrary, in the Professional Institutes there are strong levels of hierarchy in decision-making, as well as in the definition of guidelines, standards and indicators to ensure educational quality. It is concluded that leadership and culture are highlighted as relevant factors for the achievement of quality.

Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional. The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45). Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51). Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Background The Graduate Certificate of Creative Industries (Creative Practice) (CQU ‘CB82’) was developed in 2011 to meet the national Australian Quality Framework agency’s Level 8 (Graduate Certificate) standards in terms of what is called in their policies, the “level” of learning. This states that, following the program, graduates from this level of program “will have advanced knowledge and skills for professional or highly skilled work and/or further learning … [and] will apply knowledge and skills to demonstrate autonomy, well-developed judgment, adaptability and responsibility as a practitioner or learner” (AQF). The program was first delivered in 2012 and, since then, has been offered both two and three terms a year, attracting small numbers of students each term, with an average of 8 to 12 students a term. To meet these requirements, such programs are sometimes developed to provide professional and work-integrated learning tasks and learning outcomes for students (Patrick et al., Smith et al.). In this case, professionally relevant and related tasks and outcomes formed the basis for the program, its learning tasks, and its assessment regime. To this end, each student enrolled in this program works on an individual, self-determined (but developed in association with the teaching team and with feedback from peers) creative/professional project that is planned, developed, and delivered across one term of study for full- time students and two terms for part- timers. In order to ensure the AQF-required professional-level outcomes, many projects are designed and/or developed in partnership with professional arts institutions and community bodies. Partnerships mobilised utilised in this way have included those with local, state, and national bodies, including the local arts community, festivals, and educational support programs, as well as private business and community organisations. Student interaction with curation occurs regularly at art schools, where graduate and other student shows are scheduled as a regular events on the calendar of most tertiary art schools (Al-Amri), and the curated exhibition as an outcome has a longstanding tradition in tertiary fine arts education (Webb, Brien, and Burr). Yet in these cases, it is ultimately the creative work on show that is the focus of the learning experience and assessment process, rather than any focus on engagement with the curatorial process itself (Dally et al.). When art schools do involve students in the curatorial process, the focus usually still remains on the students' creative work (Sullivan). Another interaction with curation is when students undertaking a tertiary-level course or program in museum, and/or curatorial practice are engaged in the process of developing, mounting, and/or critiquing curated activities. These programs are, however, very small in number in Australia, where they are only offered at postgraduate level, with the exception of an undergraduate program at the University of Canberra (‘215JA.2’). By adopting “the exhibition” as a component of the learning process rather than its end product, including documentation of students’ work in progress as exhibition pieces, and incorporating it into a more general creative industries focused program, we argue that the curatorial experience can become an interactive learning platform for students ranging from diverse creative disciplines. The Student Experience Students in the program under consideration in this case study come from a wide spectrum of the creative industries, including creative writing, film, multimedia, music, and visual arts. Each term, at least half of the enrolments are distance students. The decision to establish an on-campus exhibition space was an experimental strategy that sought to bring together students from different creative disciplines and diverse locations, and actively involve them in the exhibition development and curatorial process. As well as their individual project work, the students also bring differing levels of prior professional experience to the program, and exhibit a wide range of learning styles and approaches when developing and completing their creative works and exegetical reflections. To cater for the variations listed above, but still meet the program milestones and learning outcomes that must (under the program rules) remain consistent for each student, we employed a multi-disciplinary approach to teaching that included strategies informed by Gardner’s theory of multiple intelligences (Gardner, Frames of Mind), which proposed and defined seven intelligences, and repeatedly criticised what he identified as an over-reliance on linguistic and logical indices as identifiers of intelligence. He asserted that these were traditional indicators of high scores on most IQ measures or tests of achievement but were not representative of overall levels of intelligence. Gardner later reinforced that, “unless individuals take a very active role in what it is that they’re studying, unless they learn to ask questions, to do things hands on, to essentially re-create things in their own mind and transform them as is needed, the ideas just disappear” (Edutopia). In alignment with Gardner’s views, we have noted that students enrolled in the program demonstrate strengths in several key intelligence areas, particularly interpersonal, musical, body-kinaesthetic, and spacial/visual intelligences (see Gardner, ‘Multiple Intelligences’, 8–18). To cater for, and further develop, these strengths, and also for the external students who were unable to attend university-based workshop sessions, we developed a range of resources with various approaches to hands-on creative tasks that related to the projects students were completing that term. These resources included the usual scholarly articles, books, and textbooks but were also sourced from the print and online media, guest speaker presentations, and digital sites such as You Tube and TED Talks, and through student input into group discussions. The positive reception of these individual project-relevant resources is evidenced in the class online discussion forums, where consecutive groups of students have consistently reflected on the positive impact these resources have had on their individual creative projects: This has been a difficult week with many issues presenting. As part of our Free Writing exercise in class, we explored ‘brain dumping’ and wrote anything (no matter how ridiculous) down. The great thing I discovered after completing this task was that by allowing myself to not censor my thoughts by compiling a writing masterpiece, I was indeed “free” to express everything. …. … I understand that this may not have been the original intended goal of Free Writing – but it is something I would highly recommend external students to try and see if it works for you (Student 'A', week 5, term 1 2015, Moodle reflection point). I found our discussion about crowdfunding particularly interesting. ... I intend to look at this model for future exhibitions. I think it could be a great way for me to look into developing an exhibition of paintings alongside some more commercial collateral such as prints and cards (Student 'B', week 6, term 1 2015, Moodle reflection point). In class I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating (Student 'C', week 8, term 1 2015, Moodle reflection point). The application of Gardner’s principles and strategies dovetailed with our framework for assessing learning outcomes, where we were guided by Boud’s seven propositions for assessment reform in higher education, which aim to “set directions for change, designed to enhance learning achievements for all students and improve the quality of their experience” (26). Boud asserts that assessment has most effect when: it is used to engage students in productive learning; feedback is used to improve student learning; students and teachers become partners in learning and assessment; students are inducted into the assessment practices of higher education; assessment and learning are placed at the centre of subject and program design; assessment and learning is a focus for staff and institutional development; and, assessment provides inclusive and trustworthy representation of student achievement. These propositions were integral to the design of learning outcomes for the exhibition. Teachers worked with students, individually and as a group, to build their capacity to curate the exhibition, and this included such things as the design and administration of invitations, and also the physical placement of works within the exhibition space. In this way, teachers and students became partners in the process of assessment. The final exhibition, as a learning outcome, meant that students were engaged in productive learning that placed both assessment and knowledge at the centre of subject and project design. It is a collation of creative pieces that embodies the class, as a whole; however, each piece also represents the skills and creativity of individual students and, in this way, are is a trustworthy representations of student achievement. While we aimed to employ all seven recommendations, our main focus was on ensuring that the exhibition, as an authentic learning experience, was productive and that the students were engaged as responsible and accountable co-facilitators of it. These factors are particularly relevant as almost all the students were either currently working, or planning to work, in their chosen creative field, where the work would necessarily involve both publication, performance, and/or exhibition of their artwork plus collaborative practice across disciplinary boundaries to make this happen (Brien). For this reason, we provided exhibition-related coursework tasks that we hoped were engaging and that also represented an authentic learning outcome for the students. Student Curatorship In this context, the opportunity to exhibit their own works-in-progress provided an authentic reason, with a deadline, for students to both work, and reflect, on their creative projects. The documentation of each student’s creative process was showcased as a stand-alone exhibition piece within the display. These exhibits not only served not only to highlight the different learning styles of each student, but also proved to inspire creativity and skill development. They also provided a working model whereby students (and potential enrollees) could view other students’ work and creative processes from inception to fully-realised project outcomes. The sample online reflections quoted above not only highlight the effectiveness of the online content delivery, but this engagement with the online forum also allowed remote students to comment on each other’s projects as well as to and respond to issues they were encountering in their project planning and development and creative practice. It was essential that this level of peer engagement was fostered for the curatorial project to be viable, as both internal and external students are involved in designing the invitation, catalogue, labels, and design of the space, while on-campus students hang and label work according to the group’s directions. Distance students send in items. This is a key point of this experiment: the process of curating an exhibition of work from diverse creative fields, and from students located thousands of kilometres apart, as a way of bringing cohesion to a diverse cohort of students. That cohesiveness provided an opportunity for authentic learning to occur because it was in relation to a task that each student apparently understood as personally, academically, and professionally relevant. This was supported by the anonymous course evaluation comments, which were overwhelmingly positive about the exhibition process – there were no negative comments regarding this aspect of the program, and over 60 per cent of the class supplied these evaluations. This also met a considerable point of anxiety in the current university environment whereby actively engaging students in online learning interactions is a continuing issue (Dixon, Dixon, and Axmann). A key question is: what relevance does this curatorial process have for a student whose field is not visual art, but, for instance, music, film, or writing? By displaying documentation of work in progress, this process connects students of all disciplines with an audience. For example, one student in 2014 who was a singer/songwriter, had her song available to be played on a laptop, alongside photographs of the studio when she was recording her song with her band. In conjunction with this, the cover artwork for her CD, together with the actual CD and CD cover, were framed and exhibited. Another student, who was also a musician but who was completing a music history project, sent in pages of the music transcriptions he had been working on during the course. This manuscript was bound and exhibited in a way that prompted some audience members to commented that it was like an artist’s book as well as a collection of data. Both of these students lived over 1,000 kilometres from the campus where the exhibition was held, but they were able to share with us as teaching staff, as well as with other students who were involved in the physical setting up of the exhibition, exactly how they envisaged their work being displayed. The feedback from both of these students was that this experience gave them a strong connection to the program. They described how, despite the issue of distance, they had had the opportunity to participate in a professional event that they were very keen to include on their curricula vitae. Another aspect of students actively participating in the curation of an exhibition which features work from diverse disciplines is that these students get a true sense of the collaborative interconnectedness of the disciplines of the creative industries (Brien). By way of example, the exhibit of the singer/songwriter referred to above involved not only the student and her band, but also the photographer who took the photographs, and the artist who designed the CD cover. Students collaboratively decided how this material was handled in the exhibition catalogue – all these names were included and their roles described. Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Outcomes and Conclusion We believe that the curation of an exhibition and the delivery of its constituent components raises student awareness that they are, as creatives, part of a network of industries, developing in them a genuine understanding of the way the creating industries works as a profession outside the academic setting. It is in this sense that this curatorial task is an authentic learning experience. In fact, what was initially perceived as a significant challenge—, that is, exhibiting work in progress from diverse creative fields—, has become a strength of the curatorial project. In reflecting on the experiences and outcomes that have occurred through the implementation of this example of curatorial practice, both as a learning tool and as a creative outcome in its own right, a key positive indicator for this approach is the high level of student satisfaction with the course, as recorded in the formal, anonymous university student evaluations (with 60–100 per cent of these completed for each term, when the university benchmark is 50 per cent completion), and the high level of professional outcomes achieved post-completion. The university evaluation scores have been in the top (4.5–5/.5) range for satisfaction over the program’s eight terms of delivery since 2012. Particularly in relation to subsequent professional outcomes, anecdotal feedback has been that the curatorial process served as an authentic and engaged learning experience because it equipped the students, now graduates, of the program with not only knowledge about how exhibitions work, but also a genuine understanding of the web of connections between the diverse creative arts and industries. Indeed, a number of students have submitted proposals to exhibit professionally in the space after graduation, again providing anecdotal feedback that the experience they gained through our model has had a sustaining impact on their creative practice. While the focus of this activity has been on creative learning for the students, it has also provided an interesting and engaging teaching experience for us as the program’s staff. We will continue to gather evidence relating to our model, and, with the next iteration of the exhibition project, a more detailed comparative analysis will be attempted. At this stage, with ethics approval, we plan to run an anonymous survey with all students involved in this activity, to develop questions for a focus group discussion with graduates. We are also in the process of contacting alumni of the program regarding professional outcomes to map these one, two, and five years after graduation. We will also keep a record of what percentage of students apply to exhibit in the space after graduation, as this will also be an additional marker of how professional and useful they perceive the experience to be. In conclusion, it can be stated that the 100 per cent pass rate and 0 per cent attrition rate from the program since its inception, coupled with a high level (over 60 per cent) of student progression to further post-graduate study in the creative industries, has not been detrimentally affected by this curatorial experiment, and has encouraged staff to continue with this approach. References Al-Amri, Mohammed. “Assessment Techniques Practiced in Teaching Art at Sultan Qaboos University in Oman.” International Journal of Education through Art 7.3 (2011): 267–282. AQF Levels. Australian Qualifications Framework website. 18 June 2015 ‹http://www.aqf.edu.au/aqf/in-detail/aqf-levels/›. Boud, D. Student Assessment for Learning in and after Courses: Final Report for Senior Fellowship. Sydney: Australian Learning and Teaching Council, 2010. Brien, Donna Lee, “Higher Education in the Corporate Century: Choosing Collaborative rather than Entrepreneurial or Competitive Models.” New Writing: The International Journal for the Practice and Theory of Creative Writing 4.2 (2007): 157–170. Brien, Donna Lee, and Axel Bruns, eds. “Collaborate.” M/C Journal 9.2 (2006). 18 June 2015 ‹http://journal.media-culture.org.au/0605›. Burton, D. Exhibiting Student Art: The Essential Guide for Teachers. New York: Teachers College Press, Columbia University, New York, 2006. CQUniversity. CB82 Graduate Certificate in Creative Industries. 18 July 2015 ‹https://handbook.cqu.edu.au/programs/index?programCode=CB82›. CQUniversity Noosa Exhibition Space. 20 July 2015 ‹http://www.cqunes.org›. Dally, Kerry, Allyson Holbrook, Miranda Lawry and Anne Graham. “Assessing the Exhibition and the Exegesis in Visual Arts Higher Degrees: Perspectives of Examiners.” Working Papers in Art & Design 3 (2004). 27 June 2015 ‹http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol3/kdabs.html›. Degree Shows, Sydney College of the Arts. 2014. 18 June 2015 ‹http://sydney.edu.au/sca/galleries-events/degree-shows/index.shtml› Dixon, Robert, Kathryn Dixon, and Mandi Axmann. “Online Student Centred Discussion: Creating a Collaborative Learning Environment.” Hello! Where Are You in the Landscape of Educational Technology? Proceedings ASCILITE, Melbourne 2008. 256–264. Donmoyer, Robert. “Generalizability and the Single-Case Study.” Case Study Method: Key Issues, Key Texts. Eds. Roger Gomm, Martyn Hammersley, and Peter Foster. 2000. 45–68. Falk, J.H. “Assessing the Impact of Exhibit Arrangement on Visitor Behavior and Learning.” Curator: The Museum Journal 36.2 (1993): 133–146. Flyvbjerg, Bent. “Five Misunderstandings about Case-Study Research.” Qualitative Inquiry 12.2 (2006): 219–245. Gardner, H. Frames of Mind: The Theory of Multiple Intelligences, New York: Basic Books, 1983. ———. Multiple Intelligences: New Horizons in Theory and Practice, New York: Basic Books, 2006. George Lucas Education Foundation. 2015 Edutopia – What Works in Education. 16 June 2015 ‹http://www.edutopia.org/multiple-intelligences-howard-gardner-video#graph3›. Gerring, John. “What Is a Case Study and What Is It Good For?” American Political Science Review 98.02 (2004): 341–354. Hooper-Greenhill, Eilean. “Museums and Communication: An Introductory Essay.” Museum, Media, Message 1 (1995): 1. Jennings, Paul. The Public House in Bradford, 1770-1970. Keele: Keele University Press, 1995. Levy, Jack S. “Case Studies: Types, Designs, and Logics of Inference.” Conflict Management and Peace Science 25.1 (2008): 1–18. Merriam, Sharan B. Qualitative Research: A Guide to Design and Implementation: Revised and Expanded from Qualitative Research and Case Study Applications in Education. Jossey-Bass, 2009. Miles, M., and S. Rainbird. From Critical Distance to Engaged Proximity: Rethinking Assessment Methods to Enhance Interdisciplinary Collaborative Learning in the Creative Arts and Humanities. Final Report to the Australian Government Office for Learning and Teaching, Sydney. 2013. Monash University. Rethinking Assessment to Enhance Interdisciplinary Collaborative Learning in the Creative Arts and Humanities. Sydney: Office of Learning and Teaching, 2013. Muller, L. Reflective Curatorial Practice. 17 June 2015 ‹http://research.it.uts.edu.au/creative/linda/CCSBook/Jan%2021%20web%20pdfs/Muller.pdf›. O’Neill, Paul. Curating Subjects. London: Open Editions, 2007. Patrick, Carol-Joy, Deborah Peach, Catherine Pocknee, Fleur Webb, Marty Fletcher, and Gabriella Pretto. The WIL (Work Integrated Learning) Report: A National Scoping Study [Final Report]. Brisbane: Queensland University of Technology, 2008. Rule, A.C. “Editorial: The Components of Authentic Learning.” Journal of Authentic Learning 3.1 (2006): 1–10. Seawright, Jason, and John Gerring. “Case Selection Techniques in Case Study Research: A Menu of Qualitative and Quantitative Options.” Political Research Quarterly 61.2 (2008): 294–308. Smith, Martin, Sally Brooks, Anna Lichtenberg, Peter McIlveen, Peter Torjul, and Joanne Tyler. Career Development Learning: Maximising the Contribution of Work-Integrated Learning to the Student Experience. Final project report, June 2009. Wollongong: University of Wollongong, 2009. Sousa, D.A. How the Brain Learns: A Teacher’s Guide. 2nd ed. Thousand Oaks, CA: Corwin Press, 2001. Stake, R. “Qualitative Case Studies”. The Sage Handbook of Qualitative Research. 3rd ed. Eds. N.K. Denzin and Y.S. Lincoln. Thousand Oaks, CA: Sage, 2005. 433-466. Staniszewski, Mary Anne. The Power of Display: A History of Exhibition Installations at the Museum of Modern Art. Cambridge, MA: MIT Press, 1998. Sullivan, Graeme. Art Practice as Research: Inquiry in Visual Arts. Thousand Oaks, CA: Sage, 2010. University of Canberra. “Bachelor of Heritage, Museums and Conservation (215JA.2)”. Web. 27 July 2015. Ventzislavov, R. “Idle Arts: Reconsidering the Curator.” The Journal of Aesthetics and Art Criticism 72.1 (2014): 83–93. Verschuren, P. “Case Study as a Research Strategy: Some Ambiguities and Opportunities.” International Journal of Social Research Methodology 6.2 (2003): 121–139. Webb, Jen, and Donna Lee Brien. “Preparing Graduates for Creative Futures: Australian Creative Arts Programs in a Globalising Society.” Partnerships for World Graduates, AIC (Academia, Industry and Community) 2007 Conference, RMIT, Melbourne, 28–30 Nov. 2007. 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Discussions of the economic theory of planned obsolescence—the purposeful embedding of redundancy into the functionality or other aspect of a product—in the 1980s and 1990s often focused on the impact of such a design strategy on manufacturers, consumers, the market, and, ultimately, profits (see, for example, Bulow; Lee and Lee; Waldman). More recently, assessments of such shortened product life cycles have included calculations of the environmental and other costs of such waste (Claudio; Kondoh; Unruh). Commonly utilised examples are consumer products such as cars, whitegoods and small appliances, fashion clothing and accessories, and, more recently, new technologies and their constituent components. This discourse has been adopted by those who configure workers as human resources, and who speak both of skills (Janßen and Backes-Gellner) and human capital itself (Chauhan and Chauhan) being made obsolete by market forces in both predictable and unplanned ways. This includes debate over whether formal education can assist in developing the skills that make their possessors less liable to become obsolete in the workforce (Dubin; Holtmann; Borghans and de Grip; Gould, Moav and Weinberg). However, aside from periodic expressions of disciplinary angst (as in questions such as whether the Liberal Arts and other disciplines are becoming obsolete) are rarely found in discussions regarding higher education. Yet, higher education has been subsumed into a culture of commercial service provision as driven by markets and profit as the industries that design and deliver consumer goods. McKelvey and Holmén characterise this as a shift “from social institution to knowledge business” in the subtitle of their 2009 volume on European universities, and the recent decade has seen many higher educational institutions openly striving to be entrepreneurial. Despite some debate over the functioning of market or market-like mechanisms in higher education (see, for instance, Texeira et al), the corporatisation of higher education has led inevitably to market segmentation in the products the sector delivers. Such market segmentation results in what are called over-differentiated products, seemingly endless variations in the same product to attempt to increase consumption and attendant sales. Milk is a commonly cited example, with supermarkets today stocking full cream, semi-skimmed, skimmed, lactose-free, soy, rice, goat, GM-free and ‘smart’ (enriched with various vitamins, minerals and proteins) varieties; and many of these available in fresh, UHT, dehydrated and/or organic versions. In the education market, this practice has resulted in a large number of often minutely differentiated, but differently named, degrees and other programs. Where there were once a small number of undergraduate degrees with discipline variety within them (including the Bachelor of Arts and Bachelor of Science awards), students can now graduate with a named qualification in a myriad of discipline and professional areas. The attempt to secure a larger percentage of the potential client pool (who are themselves often seeking to update their own skills and knowledges to avoid workforce obsolescence) has also resulted in a significant increase in the number of postgraduate coursework certificates, diplomas and other qualifications across the sector. The Masters degree has fractured from a research program into a range of coursework, coursework plus research, and research only programs. Such proliferation has also affected one of the foundations of the quality and integrity of the higher education system, and one of the last bastions of conventional practice, the doctoral degree. The PhD as ‘Gold-Standard’ Market Leader? The Doctor of Philosophy (PhD) is usually understood as a largely independent discipline-based research project that results in a substantial piece of reporting, the thesis, that makes a “substantial original contribution to knowledge in the form of new knowledge or significant and original adaptation, application and interpretation of existing knowledge” (AQF). As the highest level of degree conferred by most universities, the PhD is commonly understood as indicating the height of formal educational attainment, and has, until relatively recently, been above reproach and alteration. Yet, whereas universities internationally once offered a single doctorate named the PhD, many now offer a number of doctoral level degrees. In Australia, for example, candidates can also complete PhDs by Publication and by Project, as well as practice-led doctorates in, and named Doctorates of/in, Creative Arts, Creative Industries, Laws, Performance and other ‘new’ discipline areas. The Professional Doctorate, introduced into Australia in the early 1990s, has achieved such longevity that it now has it’s own “first generation” incarnations in (and about) disciplines such as Education, Business, Psychology and Journalism, as well as a contemporary “second generation” version which features professionally-practice-led Mode 2 knowledge production (Maxwell; also discussed in Lee, Brennan and Green 281). The uniquely Australian PhD by Project in the disciplines of architecture, design, business, engineering and education also includes coursework, and is practice and particularly workplace (or community) focused, but unlike the above, does not have to include a research element—although this is not precluded (Usher). A significant number of Australian universities also currently offer a PhD by Publication, known also as the PhD by Published Papers and PhD by Published Works. Introduced in the 1960s in the UK, the PhD by Publication there is today almost exclusively undertaken by academic staff at their own institutions, and usually consists of published work(s), a critical appraisal of that work within the research context, and an oral examination. The named degree is rare in the USA, although the practice of granting PhDs on the basis of prior publications is not unknown. In Australia, an examination of a number of universities that offer the degree reveals no consistency in terms of the framing policies except for the generic Australian Qualifications Framework accreditation statement (AQF), entry requirements and conditions of candidature, or resulting form and examination guidelines. Some Australian universities, for instance, require all externally peer-refereed publications, while others will count works that are self-published. Some require actual publications or works in press, but others count works that are still at submission stage. The UK PhD by Publication shows similar variation, with no consensus on purpose, length or format of this degree (Draper). Across Australia and the UK, some institutions accept previously published work and require little or no campus participation, while others have a significant minimum enrolment period and count only work generated during candidature (see Brien for more detail). Despite the plethora of named degrees at doctoral level, many academics continue to support the PhD’s claim to rigor and intellectual attainment. Most often, however, these arguments cite tradition rather than any real assessment of quality. The archaic trappings of conferral—the caps, gowns and various other instruments of distinction—emphasise a narrative in which it is often noted that doctorates were first conferred by the University of Paris in the 12th century and then elsewhere in medieval Europe. However, challenges to this account note that today’s largely independently researched thesis is a relatively recent arrival to educational history, being only introduced into Germany in the early nineteenth century (Bourner, Bowden and Laing; Park 4), the USA in a modified form in the mid-nineteenth century and the UK in 1917 (Jolley 227). The Australian PhD is even more recent, with the first only awarded in 1948 and still relatively rare until the 1970s (Nelson 3; Valadkhani and Ville). Additionally, PhDs in the USA, Canada and Denmark today almost always incorporate a significant taught coursework element (Noble). This is unlike the ‘traditional’ PhD in the UK and Australia, although the UK also currently offers a number of what are known there as ‘taught doctorates’. Somewhat confusingly, while these do incorporate coursework, they still include a significant research component (UKCGE). However, the UK is also adopting what has been identified as an American-inflected model which consists mostly, or largely, of coursework, and which is becoming known as the ‘New Route British PhD’ (Jolley 228). It could be posited that, within such a competitive market environment, which appears to be driven by both a drive for novelty and a desire to meet consumer demand, obsolescence therefore, and necessarily, threatens the very existence of the ‘traditional’ PhD. This obsolescence could be seen as especially likely as, alongside the existence of the above mentioned ‘new’ degrees, the ‘traditional’ research-based PhD at some universities in Australia and the UK in particular is, itself, also in the process of becoming ‘professionalised’, with some (still traditionally-framed) programs nevertheless incorporating workplace-oriented frameworks and/or experiences (Jolley 229; Kroll and Brien) to meet professionally-focused objectives that it is acknowledged cannot be met by producing a research thesis alone. While this emphasis can be seen as operating at the expense of specific disciplinary knowledge (Pole 107; Ball; Laing and Brabazon 265), and criticised for that, this workplace focus has arisen, internationally, as an institutional response to requests from both governments and industry for training in generic skills in university programs at all levels (Manathunga and Wissler). At the same time, the acknowledged unpredictability of the future workplace is driving a cognate move from discipline specific knowledge to what have been described as “problem solving and knowledge management approaches” across all disciplines (Gilbert; Valadkhani and Ville 2). While few query a link between university-level learning and the needs of the workplace, or the motivating belief that the overarching role of higher education is the provision of professional training for its client-students (see Laing and Brabazon for an exception), it also should be noted that a lack of relevance is one of the contributors to dysfunction, and thence to obsolescence. The PhD as Dysfunctional Degree? Perhaps, however, it is not competition that threatens the traditional PhD but, rather, its own design flaws. A report in The New York Times in 2007 alerted readers to what many supervisors, candidates, and researchers internationally have recognised for some time: that the PhD may be dysfunctional (Berger). In Australia and elsewhere, attention has focused on the uneven quality of doctoral-level degrees across institutions, especially in relation to their content, rigor, entry and assessment standards, and this has not precluded questions regarding the PhD (AVCC; Carey, Webb, Brien; Neumann; Jolley; McWilliam et al., "Silly"). It should be noted that this important examination of standards has, however, been accompanied by an increase in the awarding of Honorary Doctorates. This practice ranges from the most reputable universities’ recognising individuals’ significant contributions to knowledge, culture and/or society, to wholly disreputable institutions offering such qualifications in return for payment (Starrs). While generally contested in terms of their status, Honorary Doctorates granted to sports, show business and political figures are the most controversial and include an award conferred on puppet Kermit the Frog in 1996 (Jeffries), and some leading institutions including MIT, Cornell University and the London School of Economics and Political Science are distinctive in not awarding Honorary Doctorates. However, while distracting, the Honorary Doctorate itself does not answer all the questions regarding the quality of doctoral programs in general, or the Doctor of Philosophy in particular. The PhD also has high attrition rates: 50 per cent or more across Australia, the USA and Canada (Halse 322; Lovitts and Nelson). For those who remain in the programs, lengthy completion times (known internationally as ‘time-to-degree’) are common in many countries, with averages of 10.5 years to completion in Canada, and from 8.2 to more than 13 years (depending on discipline) in the USA (Berger). The current government performance-based funding model for Australian research higher degrees focuses attention on timely completion, and there is no doubt that, under this system—where universities only receive funding for a minimum period of candidature when those candidates have completed their degrees—more candidates are completing within the required time periods (Cuthbert). Yet, such a focus has distracted from assessment of the quality and outcomes of such programs of study. A detailed survey, based on the theses lodged in Australian libraries, has estimated that at least 51,000 PhD theses were completed in Australia to 2003 (Evans et al. 7). However, little attention has been paid to the consequences of this work, that is, the effects that the generation of these theses has had on either candidates or the nation. There has been no assessment, for instance, of the impact on candidates of undertaking and completing a doctorate on such facets of their lives as their employment opportunities, professional choices and salary levels, nor any effect on their personal happiness or levels of creativity. Nor has there been any real evaluation of the effect of these degrees on GDP, rates of the commercialisation of research, the generation of intellectual property, meeting national agendas in areas such as innovation, productivity or creativity, and/or the quality of the Australian creative and performing arts. Government-funded and other Australian studies have, however, noted for at least a decade both that the high numbers of graduates are mismatched to a lack of market demand for doctoral qualifications outside of academia (Kemp), and that an oversupply of doctorally qualified job seekers is driving wages down in some sectors (Jones 26). Even academia is demanding more than a PhD. Within the USA, doctoral graduates of some disciplines (English is an often-cited example) are undertaking second PhDs in their quest to secure an academic position. In Australia, entry-level academic positions increasingly require a scholarly publishing history alongside a doctoral-level qualification and, in common with other quantitative exercises in the UK and in New Zealand, the current Excellence in Research for Australia research evaluation exercise values scholarly publications more than higher degree qualifications. Concluding Remarks: The PhD as Obsolete or Retro-Chic? Disciplines and fields are reacting to this situation in various ways, but the trend appears to be towards increased market segmentation. Despite these charges of PhD dysfunction, there are also dangers in the over-differentiation of higher degrees as a practice. If universities do not adequately resource the professional development and other support for supervisors and all those involved in the delivery of all these degrees, those institutions may find that they have spread the existing skills, knowledge and other institutional assets too thinly to sustain some or even any of these degrees. This could lead to the diminishing quality (and an attendant diminishing perception of the value) of all the higher degrees available in those institutions as well as the reputation of the hosting country’s entire higher education system. As works in progress, the various ‘new’ doctoral degrees can also promote a sense of working on unstable ground for both candidates and supervisors (McWilliam et al., Research Training), and higher degree examiners will necessarily be unfamiliar with expected standards. Candidates are attempting to discern the advantages and disadvantages of each form in order to choose the degree that they believe is right for them (see, for example, Robins and Kanowski), but such assessment is difficult without the benefit of hindsight. Furthermore, not every form may fit the unpredictable future aspirations of candidates or the volatile future needs of the workplace. The rate with which everything once new descends from stylish popularity through stages of unfashionableness to become outdated and, eventually, discarded is increasing. This escalation may result in the discipline-based research PhD becoming seen as archaic and, eventually, obsolete. Perhaps, alternatively, it will lead to newer and more fashionable forms of doctoral study being discarded instead. Laing and Brabazon go further to find that all doctoral level study’s inability to “contribute in a measurable and quantifiable way to social, economic or political change” problematises the very existence of all these degrees (265). Yet, we all know that some objects, styles, practices and technologies that become obsolete are later recovered and reassessed as once again interesting. They rise once again to be judged as fashionable and valuable. Perhaps even if made obsolete, this will be the fate of the PhD or other doctoral degrees?References Australian Qualifications Framework (AQF). “Doctoral Degree”. AQF Qualifications. 4 May 2009 ‹http://www.aqf.edu.au/doctor.htm›. Australian Vice-Chancellors’ Committee (AVCC). Universities and Their Students: Principles for the Provision of Education by Australian Universities. Canberra: AVCC, 2002. 4 May 2009 ‹http://www.universitiesaustralia.edu.au/documents/publications/Principles_final_Dec02.pdf›. 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There are three stages in internet dating: first, the emailing back and forth; second, the phone conversation; and third, the meeting for 'coffee'. But before we discuss the three stages, here are some hints about the preliminary work you have to do. At the outset, you have to trawl through the thousands of people who have placed their profiles on the site. This is aided by limiting your search to a certain age spread, and your city or region. Then you can narrow it down further by checking educational background, whether they have kids, whether they write in New Age jargon, etc You have to try to assess, from their self-descriptions, which ones are likely to be compatible. You also scrutinise their photos, of course, as they will yours — but don't trust these images entirely — more on that later. Self-description. Almost without exception, women and men who describe their main interests as 'romantic walks on the beach and candle-lit dinners' have no real interests and as much personality as a lettuce. Those who say what matters to them is "good food and wine with a classy guy/lady" have a personality, but it's a repugnant one. Here is a useful binary opposition that could provide a useful key to gauging compatibility: people vary in terms of their degree of interiority and exteriority. People with interiority have the ability to think a little abstractly, can discuss emotions, probably read books as well as watch films. They analyse life rather than just describing it. People mainly given to exteriority find their pleasure in doing things — like boating or nightclubs or golf. They see themselves in the world in a different way. Of course, we are all a mixture of the two — and perhaps the best bet is someone who isn't at one extreme end of the spectrum or the other. Useful tip 1. The 'spiritual woman': for reasons unclear, and despite the fact that Australia is one of the most pagan nations on Earth, a disproportionate number of women, rather than men, claim to be religious. Perhaps because in general, women are still more inclined to interiority than men. But most religious women don't expect a partner to be. Instead, the people to be very careful about are the New Agers — they are a large and growing sub-group and apparently spend much of their time devouring books on spirituality, personal growth and self-love. If you have any sort of intellect, or are just a middling humanist who occasionally ponders "Is this all there is? " these people will drive you nuts with their vague platitudes about knowing their inner child. On the other hand, if they seem terrific in all other respects, you can probably gain their respect by saying in a reflective manner, "Is this all there is?" If you can arrange to be gazing at the star-stained night sky while saying this, all the better. This may seem calculating, but we are all putting on a performance when courting. A lot of single people have self-esteem and loneliness issues, and a personal God, the universe, and astrology make them feel less lonely. Useful tip 2: say that although you don't subscribe to mainstream religion, you feel close to some kind of spirituality when gardening — and add how you love to plant herbs. Some okay herbs to mention are: Rosemary, Thyme, Sage. Chuck a couple of these weed-like green things in your garden just in case. Useful tip 3: no matter what else you do, at all costs avoid anyone who smacks of fundamentalism. This cohort takes the Bible literally, think dinosaurs roamed the planet only a few years before Shakespeare, want gay people to admit they are an abomination - and above all, fundos cannot be reasoned with — not in your lifetime. They are deeply insecure and frightened people — which is sad, so be sympathetic to their plight - but don't get drawn into the vortex. Besides, talking about the approach of Armageddon every date gets a bit tedious. Education: It is usually best to pick someone who has an approximately similar level of education to yourself. Having a tertiary education often gives a person a different way of seeing themselves, and of perceiving others. On the other hand, it is possible to do a five year degree in a narrow professional area and know nothing at all useful about human beings and how they operate. (Ref: engineers, dentists, gynaecologists). There are high school graduates who are better-read and more intelligent than most products of a university. So it is up to the individual case. It is a plus to be interested in your partner's work, but not essential. It can be a minus to be in the same field. Ask yourself this: if you were living with this person and you asked them at night how their day had been, would the answer send you to sleep in less than a minute? A lovely man or woman who is an accountant will likely wax lyrical about having just discovered a $245 error in a billing data base. Their face will be flushed with pride. Can your respond appropriately? How often? Or the love of your life may work in an oncology ward, and regale you with the daily triumph of removing sputum from the chests of the moribund. Are you strong enough for that? And worst of all, you may go out with a writer or poet, who regularly drones on about how their rival always gets friendly reviews from his/her newspaper mates, even though they write books full of derivative, precious crap. Sense of humour (SOH): Most men and women will claim in their profile to have a sense of humour — to love to laugh — and, surprisingly often, to have a 'wicked sense of humour'. This is a difficult personal quality to get a bearing on. You may yourself be the kind of person who tricks themselves into thinking their date has a great sense of humour simply because they laughed at your jokes. That is not having a SOH. Having a SOH is possessing the ability to make others laugh — it is active as well as passive. Do they make you laugh? Are their emails touched with wit and whimsy — or just shades of cute? Is one of their close friends, the one who actually possesses a SOH, helping write their emails? It has been known to happen. You will gain a better sense of the SOH situation during the phone call, and definitely during the coffee. Interests: Most internet websites give people the chance to describe themselves by jotting down their favourite music, books, movies, sport. Often this is pretty much all you will know about what interests them, and it is an imperfect instrument. Many internet dating women say they like all music except heavy metal. Why there is this pervasive, gut-wrenching female fear of the E, A and B chords played loudly is a mystery. Anyway, some of those bands even throw in a G or C#m. But who cares. If you are a bloke, hide your Acca Dacca CDs and buy some world music CDs. New Agers of either sex will have collections full of warbling pan pipes, waterfalls and bird calls. If they are a great person in other respects, then you'll just have to get used to the flock of magpies and whip birds in the dining or bedroom. Photographs: Now, the photo on the profile is only a vague guide. It is useful for confirming the person belongs to homo sapiens, but not a lot else. Some people get a professional pic taken, but most include happy snaps, and that is a blow struck for candidness. The more the photo looks like a "glamour" shot, the softer the focus, the less reliable it is. You can get some idea of whether someone is attractive, handsome, cute or weird from the photo. But — and this is really important — they will always look different in the flesh. They will have grown a beard, cut or streaked their hair, and you will for the first time notice they have a nose the size of the AMP building. Fortunately for men, though women are not oblivious to the looks factor, they tend to be more tolerant and less shallow about it. There is a recent trend for women and men with children to put he most attractive and least manic one in the profile photo with them. This signifies: a) love me, love my kid, because I'm proud of James/Jessica/Jade; b) family values; c) at least my kid only has one head. Stage One. The first stage is in some ways the most enjoyable. It is low risk, low stress, you have the pleasurable experience of a comfortable adventure. There is anticipation, getting to know someone, being complimented on your fascinating emails and witty humour (if it's going well), and all the while wearing an old t-shirt and dirty, checked shorts or fluffy slippers. There is the extreme luxury of re-inventing yourself, of telling your favourite story (your own life-story) again and again to a new audience, the little joys of self-disclosures, the discoveries of like-interests, the occasion when they add at the bottom of their letter "looking forward to hearing from you soon". The writing stage is where you try to establish whether you have intellectual, emotional and cultural compatibility — and whether the person is sincere and relatively well-balanced (I stress 'relatively' — no one is perfect). The discovery process is one of exchanging increasingly personal information — work history, enthusiasms and dislikes, family background. She will want to know whether you are 'over' your last girlfriend/partner/wife. Not surprisingly. A lot of internet men are still bitter about their ex — either that, or they rave on about the saintliness of their ex. If encouraged, women will also tell you about the bastard who refused to pay maintenance. There are clearly a lot of those bastards out there. Both of these practices are unwise on the first coffee if you don't want to scare your potential partner off. In reality, you probably are still seething with hurt and injustice as a result of your last dumping, and maybe even the one before that. You may lie in bed at night thinking nostalgically of your ex's face — but this is a dark secret which you must never reveal. People will ask you to be open, but they don't want that open. Involve your friends: without exception, your close friends will enjoy being part of the process when you are deciding which men or women to contact on the internet. You first make a long short list by browsing through the hundreds of profiles. Print off those profiles, then get your friends to sort through them with you. If you have experience in being on selection panels for jobs, this will help. It is a quite complex matter of weighing up a whole range of variables. For example, candidate A will be gorgeous and sexy, have compatible interests, bearable taste in music, be the right age, but have two small children and live on the other side of town. Candidate B will be less attractive, but still look pretty good, have no children, and a very interesting job. Candidate C will be attractive, have two teenage children with whom he/she shares custody, a worthy but dull job, but seems to have an especially self-aware and witty personality. It's tough work rating these profiles, and the best you can do is whittle them down to a top three, and write to all of them. In the emailing stage, you will get more data to either enhance or diminish their desirability. And remember, no one is perfect: if you find someone with a beautiful brain and body who loves Celine Dion — just put up with it. As Buddhists point out, suffering cannot be avoided if you are to live a full life. But let your friends help you with that selection process — they will remind you of important issues that somehow escape your attention; such as: you really don't like other people's children in reality, just in theory. The last time you went out with someone who was newly broken up or divorced he/she hadn't got over his/her girlfriend/husband. Anyone who describes themselves as a 'passionate playmate' is probably unbalanced and tries to find male/female acceptance through over-sexualising or infantalising themselves. It means nothing that someone describes their children as "beautiful" — all mothers/fathers think that, even of the most ghastly, moronic offspring. You really don't like nightclubs any more and you are an awkward dancer. The last time you fell in love with, and tried to rescue, someone with serious emotional 'issues', it led to unimaginable misery, and you swore in future to leave such rescues to the professionals. And so on. Listen to your friends — they know you. And your bad choices impinge on their lives too. Writing is a powerful means of constructing a 'self' to project to others. There is a Thomas Hardy story about a young man who meets a beautiful girl at a fair — but he must return to London. They agree to write to each other. Only the beautiful girl is illiterate, so she asks her employer, an older woman, to ghost-write her love letters to the young man, and the employer kindly agrees. The young man falls in love with the soul and mind of the sensitive and intelligent writer of the letters and assumes the beautiful young girl has authored them. The employer also falls in love with him through his letters. Only on the day he marries the girl does he discover that he has married the wrong woman. This tale tells us about the richness of the written word, but it omits an important point — you can be intrigued and drawn to someone through his or her e-mails, but find on meeting him or her that there is no chemistry at all. Works Cited This creative non-fiction article was based on primary research. The largest Australian internet dating service is RSVP (www.rsvp.com.au). I mainly used that for my research and ensuing coffees/participant observation. There are other sites I checked out, including: www.datenet.com.au www.AussieMatchMaker.com.au www.findsomeone.com.au www.VitalPartners.com.au www.personals.yahoo.com.au There are also internet dating site guides such as: www.shoptheweb.com.au/dating.shtml www.theinternetdatingguide.com www.moonlitwalks.com www.singlesites.com/Australian_Dating.htm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Neilsen, Philip. "An extract from 'The Internet of Love'" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/internet.php>. APA Style Neilsen, P., (2002, Nov 20). An extract from "The Internet of Love". M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/internet.html

IntroductionAs the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. As such, we are invested in enhancing student engagement both within the framework of this individual program and at an institution level. Like many institutions which now offer degrees which are either partially or fully online, the program in question offers a blended learning environment, with internal students also expected to engage with online materials (Rovai and Jordan; Colis and Moonen). The program was developed in 2011, first offered in 2012, and conducted two and sometimes three terms a year since then.Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.Mentors and MentoringThe term mentor can have different meanings depending on the context in which the phrase is used. Ambrosetti and Dekkers note that “it is evident from the literature that there is no single definition for mentoring” (42). Drawing on an array of literature from a number of disciplines to qualify the definition of the term mentoring, Ambrosetti and Dekkers have identified a series of theorists whose definitions demonstrate the wide-ranging interpretation of what this act might be. Interestingly, they found that, even within the relatively narrow context of pre-service teacher research, words used to identify the term mentor varied from relatively collegial descriptors for the established teacher such as supporter, friend, collaborator, role model, and protector, to more formalised roles including trainer, teacher, assessor, and evaluator. The role to be played by a mentor—and how it is described—can also vary according to parameters around, and the purpose of, the mentoring relationship. That is, even though “mentoring, as described in literature, generally involves supporting and providing feedback to the mentee without judgment or criteria” (43), the dynamics of the mentor-mentee relationship may influence the perception and the nature of these roles. For example, the mentoring relationship between a teacher and pre-service teacher may be perceived as hierarchical whereby knowledge and feedback is “passed down” from mentor to mentee, that is, from a more authoritative, experienced figure to a less knowledgeable recipient. As such, this configuration implies a power imbalance between the roles.The relationships involved in peer-to-peer mentoring can be similarly defined. In fact, Colvin and Ashman describe the act of peer-mentoring as “a more experienced student helping a less experienced student improve overall academic performance”, and a relationship that “provides advice, support, and knowledge to the mentee” (122). Colvin and Ashman’s research also suggests that “if mentors and mentees do not have a clear sense of their roles and responsibilities, mentors will find it difficult to maintain any sort of self‐efficacy” (122)—a view that is held by others researchers in this field (see Hall et al.; Reid; Storrs, Putsche and Taylor). However, this collective view of peer-to-peer mentorship was not what we aimed to foster. Instead, we wanted our courses and program to both exhibit and inculcate practices and processes which we felt are more in line with our understanding of the creative industries, including a more organic, voluntary and non-hierarchical approach to peer-to-peer mentorship. This could use Ambrosetti and Dekker’s less hierarchical descriptors of supporter, friend, and collaborator listed above.Student CohortThe student cohort in this program regularly includes on-campus and distance education students in approximately equal ratios, with those studying by distance often geographically very widely dispersed across Australia, and sometimes internationally. The students in this program come from a diverse spectrum of creative industries’ art forms, including creative writing, digital media, film, music, and visual arts. Most enter the program with advanced skills, undergraduate or equivalent qualifications and/or considerable professional experience in their individual areas of creative practice and are seeking to add a postgraduate-level of understanding and scholarly extension to this practice (Kroll and Brien; Webb and Brien). Students also utilise a wide range of learning styles and approaches when developing and completing the creative works and research-informed reflective reports which comprise their assessment. All the students in the program’s courses utilise, and contribute to, a single online Moodle site each term. Some also wish to progress to research higher degree study in creative practice-led research projects (Barrett and Bolt) after completing the program.Applying Peer-to-Peer Mentoring in a Project-Based ProgramThe student cohort in this program is diverse, both geographically and in terms of the area of individual creative industries’ specialisation and the actual project that each student is working on. This diversity was a significant factor in the complexity of the challenge of how to make the course online site and its contents and tasks (required and optional) relevant and engaging for all students. We attempted to achieve this, in part, by always focusing on content and tasks directly related to the course learning outcomes and assessment tasks, so that their usefulness and authenticity in terms of the student learning journey was, we hoped, obvious to students. While this is a common practice in line with foundational conceptions of effective learning and teaching in higher education, we also proposed that we might be able to insure that course content was accessed and engaged with, and tasks completed, by linking the content and tasks in Moodle to the action of mentoring. In this, students were encouraged to discuss their projects in the online discussion forum throughout the term. This began with students offering brief descriptions of their projects as they worked through the project development stage, to reports on progress including challenges and problems as well as achievements. Staff input to these discussions offered guidance—both through example and (at times) gentle direction—on how students could also give collegial advice to other students on their projects. This was in terms of student knowledge and experience gained from previous work plus that learned during the program. In this, students reported on their own activities and how learning gained could potentially be used in other professional fields, as for example: “I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating” (‘Student 1’, week 8, Term 1 2015). Students also gave advice for others to follow: “I understand that this may not have been the original intended goal of Free Writing—but it is something I would highly recommend … students to try and see if it works for you” (‘Student 2’, week 5, Term 1 2015). As each term progressed, and trust built up—a key aspect of online collaboration (Holton) as well as a fruitful mentoring relationship (Allen and Poteet)—joint problem solving also began to take place in these discussions.As most of the students never interact face-to-face during the term, the relative impersonality of the online discussions in Moodle, although certainly not anonymous, seemed to provide a safe platform for peer-to-peer mentoring, even when this was offered by those who were also interacting in class as well. As facilitators of this process, we also sought to model best-practice interaction in this communication and ensure that any posts were responded to in an encouraging and timely manner (Aragon). As a result, the traffic within these forums generally increased each week so that, by the end of the term, every student (both external and internal) had contributed significantly to online discussions—even those who appeared to be more reluctant participants in the beginning weeks of the term. Strategies to Facilitate Peer-to-Peer MentoringSeeking to facilitate this process, we identified discrete points within the term’s course delivery at which we would encourage a greater level of engagement with the online resources and, through this, also encourage more discussion in the online discussion forum. One of the strategies we employed was to introduce specific interactions as compulsory components of the course but, at the same time, always ensuring that these mandated interactions related directly to assessment items. For example, a key assessment task requires students to write reflectively about their creative work and processes. We duly included information and examples of reflective writing as resources online. In order to further develop this skill for both internal and external students, we adopted an active and iterative learning approach to this task by asking students to write reflectively, each week, about the online resources provided to them. In asking students to do this, we reiterated that, at the end of term, a core part of the assessment item was that each student would be asked to describe, analyse and reflect on how they used these resources to facilitate their creative practice. At the end of the term, therefore, each student could collate his or her weekly responses, and use these as part of this assessment task. However, before this final reflection needed to be completed, these reflective musings were already being refined and extended as a result of the commentaries offered by other students responding to these weekly reflections. In this, these commenting students were, in fact, playing the role of peer-to-peer mentors, assisting each other to enhance their abilities in reflective thinking and writing.It should be stated that neither formal mentoring roles nor expectations of the process or its outcomes were pre-determined, defined or outlined to students by the teaching staff or communicated directly to them in any way (such as via the course materials). Instead, internal and distance students were encouraged to communicate with each other and offer guidance, help and support to each other (but which was never described as peer-to-peer mentorship) via their use of the Moodle learning managements system as both a group communication tool and a collaborative learning resource (Dixon, Dixon and Axmann). It is common for creative practitioners to collect data in the form of objects, resources, tools, and memories in order to progress their work and this habit has been termed that of the “bowerbird” (Brady). Knowing that it likely that many of our students are already proficient bowerbirds with many resources in their personal collections, we also facilitated a peer-to-peer mentoring activity in the form of an online competition. This competition asked students to post their favourite interactive resource onto the Moodle site, accompanied by a commentary explaining why and how it could be used. Many students engaged with these peer-posted resources and then, in turn, posted reflections on their usefulness, or not, for their own personal practice and learning. This, in turn, engendered more resources to be posted, shared, and discussed in terms of project problem-solving and, thus, became another ongoing activity that encouraged students to act as increasingly valued peer-mentors to each other.The Practical Application of Peer-to-Peer MentoringEach term, it is a course requirement that the student cohort, both internal and external, combine to create a group outcome—an exhibition of their creative work (Sturm, Beckton and Brien). For some students, the work exhibited is completed; for others, particularly part-time students, the work shown is frequently still in progress. Given that the work in the student exhibition regularly includes music and creative writing as well as visual art, this activity forces students to engage with their peers in ways that most of them have not previously encountered. This interaction includes communication across the internal and distance members of the cohort to determine what work will be included in the exhibition, and how work will be sent for display by external students, as well as liaising in relation to range of related considerations including: curatorial (what the exhibition will be named, and how work is to be displayed), cataloguing (how the works, and their contributors, are to be described), and the overall design of the catalogue and invitation (Sturm, Beckton and Brien). Students make these decisions, as a group, with guidance from staff mainly being offered in terms of practical information (such as what days and times the exhibition space can be accessed) and any limitations due to on-site health and safety considerations and other university-wide regulations.Student feedback has been very positive in relation to this aspect of the course (Sturm, Beckton and Brien), and its collective nature is often remarked on in both formal and informal feedback. We are also finding that some prospective students are applying to the program with a knowledge of this group exhibition and some information about how it is achieved. After graduation, students have reported that this experience of peer-to-peer working across the spectrum of creative industries’ art forms has given them a confidence that they were able to apply in real work situations and has, moreover been a factor that directly led to relevant employment. One student offered in unsolicited feedback: “It was a brilliant course that I gained a lot from. One year on, I have since released another single and work as an artist manager, independently running campaigns for other artists. The course also helped make me more employable as well, and I now work … as a casual admin and projects officer” (Student 3, 2015).Issues Arising from Peer-to-Peer MentoringAn intrinsic aspect of facilitating and encouraging this peer-to-peer mentoring was to allow a degree of latitude in relation to student online communication. The week-to-week reflection on the online resources was, for instance, the only mandated activity. Other participation was modeled and encouraged, but left to students as to how often and when they participated, as well as the length of their posts. In each term, we have found student involvement in discussions increased throughout the term, and tended to exceed our expectations in both quantity and quality of posts.We have also found that the level of intimate detail offered, and intimacy developed, in the communications was far greater than we had initially anticipated, and that there were occasions when students raised personal issues. Initially, we were apprehensive about this, particularly when one student discussed past mental health challenges. At the time, we discussed that the creative arts – whether in terms of its creation or appreciation – are highly personal practices (Sternberg), and that the tone taken by many of the creative individuals, theorists, and researchers whose materials we use as resources was often personally revealing (see, for example, Brien and Brady). By not interfering, other than ensuring that the tone students used with each other was always respectful and focused on the professional aspects of what was being discussed, we observed that this personal revelation translated into high levels of engagement in the discussions, and indeed, encouraged peer support and understanding. Thus, in terms of the student who revealed information about past health issues and who at one stage had considered withdrawing from the course, this student later related to staff—in an unsolicited communication—that these discussions led to him feeling well supported. This student has, moreover, continued to work on related creative practice projects after completing the program and, indeed, is now considering continuing onto Masters level studies.ConclusionIn relation to much of the literature of mentoring, this experience of student interaction with others through an online discussion board appears to offer a point of difference. While that literature reports on other examples of peer-to-peer mentoring, most of these follow the seemingly more usual vertical mentoring model (that is, one which is hierarchical), rather than what developed organically in our case as a more horizontal mode. This is, moreover, a mode which has many synergies with the community of practice and collaborative problem solving models which are central to the creative industries (Brien and Bruns).Collings, Swanson, and Watkins have reported on the positive impact of peer mentoring on student wellbeing, integration, and retention. In terms of effects and student outcomes, although we have not yet collected data on these aspects of this activity, our observations together with informal and University-solicited feedback suggests that this peer-to-peer mentoring was useful (in terms of their project work) and affirming and confidence-building (personally and professionally) for students who are both mentors and mentees. These peer-to-peer mentoring activities assisted in developing, and was encouraged by, an atmosphere in which students felt it was appropriate and safe to both offer support and critique of each others’ work and ideas, as well as encouragement when students felt discouraged or creatively blocked. Students, indeed, reported in class and online that this input assisted them in moving through their projects and, as program staff, we saw that that this online space created a place where collaborative problem-solving could be engaged in as the need arose—rather than in a more forced manner. As teachers, we also found these students became our post-graduate colleagues in the way more usually experienced in the doctoral supervisor-student relationship (Dibble and Loon).The above reports on a responsive learning and teaching strategy that grew out of our understanding of our students’ needs that was, moreover, in line with our institution’s imperatives. 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