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Pianist/Keyboardist for SH48 National Tour 2016, Rotorua
The 2016 national tour of SH48, a musical by Hamilton-based Chris Williams, used a pre-recorded soundtrack for which I played the piano and keyboard parts
Pianist/Keyboardist for SH48 National Tour 2016, New Plymouth
The 2016 national tour of SH48, a musical by Hamilton-based Chris Williams, used a pre-recorded soundtrack for which I played the piano and keyboard parts
Collective Explorations of Pedagogy
A presentation to the teaching team of Wintec's Paetahi Tumu Korero in preparation for involvement in a Participatory Action Research Project
Making steps on their own: Teachers' perspectives on learner autonomy
Although learner autonomy has been discussed for more than thirty years in Applied Linguistics, there seems to be less literature available documenting teachers’ perspectives.
This study, conducted at the Waikato Institute of Technology in New Zealand was modelled on a former study by Borg and Al-Busaidi (2012). It found that most teachers thought that there were strong links between learner autonomy and learner motivation and confidence. They thought that learners seemed to be strongly influenced by social and psychological influences.
Yet teachers also perceived that they had a role to play in developing the capacity of learners to become more autonomous. However, in an additional enquiry about teachers’ views on the autonomy of limited literacy learners, there were more divergent views. The data reveals how teachers endeavour to provide an environment which provides learners with spaces to develop themselves, but are aware too that others may require more scaffolding
Lewis Morley, Photographer Double DVD set
Considered one of the most significant voices of 1960's London, Lewis Morley took one of the mostsingular iconic images of this period - a naked Christine Keeler on an Arne Jacobson chair. At the heightof the Profumo Scandal, this image of sex and power has often overshadowed his remarkable sampling of fringe actors, musicians and fringe-dwellers of London's swinging Sixties. These players included David Frost, Joe Orton, Charlotte Rampling, Peter Cook, Dudley Moore, the firstpublished photo of fashion models Twiggy, Jean Shrimpton and the young actor Michael Caine. Brian Epstein, Clint Eastwood, Judi Dench, Lindsay Anderson, Peter O'Toole, Vanessa Redgrave, John Cleese, Francois Truffaut, Salvador Dali, Tom Jones and Barry Humphries - indeed, almost everyone who was 'The Sixties".
In 1971, as Swinging London faded and Britain entered a recession, Lewis and his family emigrated to Australia, where he worked extensively for Australian design & fashion magazines. He continued his portrait work including artists Lloyd Rees, Brett Whiteley, controversial figure Juni Morosi, and writer Peter Carey.
The set includes a new documentary "Caught In The Act" Lewis Morley's Theatre photograph, and extras
Te Mata Ira: Guidelines for Genomic Research with Māori.: Te Mata Ira: Guidelines for Genomic Research with Māori.
Māori ethical frameworks recognise that all research in New Zealand is of interest to Māori and outline community expectations of appropriate behavior in research to deliver the best outcomes for Māori. Research contributes to the
broader development objectives of society. Ethics has a specific role in guiding key behaviours, processes and methodologies used in research.
This document outlines a framework for addressing Māori ethical issues within the context of genetic or genomic research. It draws on a foundation of mātauranga
(Māori knowledge) and tikanga Māori (Māori protocols and practices) and will be useful for researchers, ethics committee members and those who engage in consultation or advice about genomic research with Māori in local, regional,
national or international settings
Recipes for life
What do the fragments and booklets that make up early New Zealand recipe books show us, beyond instructions for food preparation? This paper will consider a selection of papers and books from the early 20th Century as historical and social texts which offer clues to trends, conditions, food styles and domestic economy; but more than this, recipes for life and flashes of life lived through the kitchens they served. Under the surface of these simple instructive texts lie deeper currents of meaning
Assessing youg ELLs: Gaps between the literature, policy, and practice.
In February 2015, all New Zealand schools moved to assessing English Language Learners (ELLs) using the English Language Learning Progressions (ELLP) to determine eligibility for additional funding to support these learners. This paper firstly provides the background to the current assessment situation, and summarises the literature regarding key principles of assessment. It then describes key guidelines made available to schools by the Ministry of Education for using the new assessment system, particularly the use of Overall Teacher Judgements (OTJs). The paper then presents findings from interviews with three primary school English language specialist teachers regarding their experiences with using the new system, known as ‘ELLP assessment’. The gaps that exist between the literature, Ministry guidelines, and ESOL teacher practice are described, and recommendations are made for bridging these gaps. Currently little is known regarding teacher practice in regard to ELLP assessment, so this study fills a gap in the literature relating to the assessment of young ELLs in the New Zealand context
He Pikinga Waiora Implementation Framework
The Framework has indigenous self-determination at its
core. All four elements have conceptual fit with Kaupapa
Māori aspirations and all have demonstrated evidence
of positive implementation outcomes.
A coding scheme derived from the Framework was
applied to 13 studies of diabetes prevention in indigenous communities in Australia, Canada, New Zealand, and the United States. Cross-tabulations demonstrated
that cultural centeredness (p=.008) and community
engagement (p=.009) explained differences in diabetes
outcomes and community engagement (p=.098)
explained difference in blood pressure outcomes.
The Framework is intended as a planning tool to guide
the successful development and implementation of
interventions. Funders can use the Framework to assess
the likely effectiveness of proposed interventions.
Community organizations can use the Framework to
work with researchers or policy makers to strengthen
each of the four elements
Humor takes the stage: A performance of couples' humor
Prologue:"A theory of humor is not humorous" (Critchley, 2001): how then might a researcher theorize and re-present humor-in-action? In responding to this problem in my doctoral research, I turned to performance theory (Alexander, 2005; Gergen, 2001) as a means to bring to life particular research findings. These findings, about humor in coupe relationships, took me into an unanticipated area of theory. At this point, I found myself amongst serious theory about humor that seemed at odds with my lived experience of the pleasure of humor in the research conversations. Performance theory offered a strategy by which I engaged simultaneously with serious theory and humor-in-action. Calling on performance theory, I put Humor on the stage to perform as both actor and research subject as I show in the performance that follows.
This performance is extracted from a study (Talbot, 2012) that involved the parties in a couple relationship in a reflexive process of audiencing their own conversations. Each of the five couples got to act in, view, re-view and review their conversations as couples-spect-actors making and audiencing DVD recordings. I came to call this process 'reflexive audiencing practices'. Employing performance, this article demonstrates some of the effects for couples of reflexively audiencing their own lives, and in particular the playing out of humor. The performance begins.
Welcome to the theatre. Behind the curtain the stage is set