Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Thesis (Ph.D.) -- University of Western Sydney, 2004. / Title from electronic document (viewed 15/6/10) Presented for the degree of Doctor of Philosophy, University of Western Sydney, 2004. Includes bibliography.

<p dir="ltr">In higher education environments, instructional design plays a pivotal role in creating user experiences and fostering learner-centeredness. The purpose of this three-manuscript dissertation is to explore the intersection of learner-centered instruction and instructional design through a theory to practice approach within higher education.</p><p dir="ltr">The first study in this dissertation establishes how learner-centered pedagogy, using geospatial tools, can be effectively translated into practice in higher education. Findings reveal that higher education instructors are confident in their technological knowledge (TK) and can adapt geospatial tools across various disciplines, enabling self-directed, project-based, and problem-solving oriented learning experiences. This approach is supported by strategies such as adaptation and flexibility, integration and use of culturally relevant examples, and cultivating a comprehensive understanding of GIS. The findings emphasize the importance of culturally relevant pedagogy, scaffolding, and fostering learner autonomy, which are crucial for preparing industry-ready learners across diverse disciplines and cultural contexts.</p><p dir="ltr">The second paper in this dissertation makes a conceptual contribution by focusing on culturally relevant pedagogy (CRP) within learner-centered pedagogy. The research highlights the salient literature in CRP as it pertains to instructional design and provides a working definition of CRP from an instructional designer's perspective. To mobilize CRP in practice, we offer the intersection of two approaches; Merrill’s First Principles of Instruction (Merrill, 2002; 2012). The study explores potential connections between CRP and instructional design, suggesting the adoption of a learner-centered approach that integrates CRP with Merrill’s First Principles of Instruction. This integration aims to guide higher education instructors in creating instructional materials that promote academic success, cultural competence, and sociopolitical consciousness.</p><p dir="ltr">The third study, a systematic review of literature, examines cases where instructors implemented learner-centered pedagogies that are culturally relevant, responsive, and sustaining. The results indicated that instructors in these studies place focus on embodying the purpose of these asset-based pedagogies and emphasize the unique needs of learners and instructional goals. The complexity of CRP instruction necessitates ongoing reflection and adjustment by the instructor, with curricular enactments aiming to challenge established norms while promoting student agency and relevance. Various spaces were identified for implementing these pedagogies, including community engagement, connecting concepts to students' lives, creating safe and caring spaces, and fostering critical discussion. Examples illustrating the conceptualization and implementation of these pedagogies in higher education offer instructors practical insights into bridging the gap between theory and practice within learner-centered instruction.</p>

Compared to males in almost any social group in all affluent nations, Australia's Aboriginal and Torres Strait Islander men suffer from substantially more serious illnesses and early death. To date, research done by or in collaboration with Indigenous communities has revealed the extent of the problems that arise from diabetes, heart disease, hypertension, cancers, respiratory diseases, psychological disorders, accidental injuries, violence and other causes. Reproductive health, however, rarely has been studied among Indigenous men. To date, research in this field has been limited mainly to studies of sexually transmitted infections. No data has been published on Aboriginal men's symptoms of prostate disease or erectile dysfunction, nor has the clinical screening and treatment of these disorders among these men been assessed. In-depth search of the worldwide web demonstrated that little information on these issues was available from other Indigenous populations. It does appear that Indigenous men in Australia, New Zealand and North America are less likely than European-ancestry men to die from prostate cancer, or for living cases to be recorded on cancer registries. This may arise because Indigenous men genuinely have a lower risk, or because they are not captured by official statistics, or because they do not live long enough to develop severe prostate disease. We also know very little about other reproductive health problems such as sexual dysfunction and specifically erectile difficulties. One reason for our scant knowledge is that research mainly relies on self-report of sensitive information. The aim of the research study was to improve the understanding of sexual and reproductive health problems experienced by Indigenous men. This is best gathered by Aboriginal males who are inside the culture of middleaged and older Indigenous men, but until now this has not been attempted. In this study we adopted the World Health Organization (WHO) definitions for Reproductive and Sexual Health (WHO, 2001). Thus, we consider reproductive system disorders (prostate disease, erectile dysfunction) and related health care-seeking, and also men's perceptions about a "satisfying and safe sexual life". The methodology was framed within an Aboriginal and Torres Strait Islander research protocol that advocates respect for cultural, social and community customs. A mixed method design combined qualitative inquiry (4 focus groups and 18 in-depth interviews) and quantitative survey (n=301) involving men living in remote, rural and urban communities (Tiwi Islands, Darwin and north and south-east Queensland). Survey data were compared to recently published self-reports from 5990 randomly selected men aged over 40 years in Australia (Holden et al., 2005, The Lancet, 366, 218-224. The qualitative interviews revealed that most men were silent about reproductive health. They were unwilling to reveal their inner feelings to wives or partners, and they were unwilling to discuss such issues with doctors and other health care workers. Men's reaction to sexual difficulties included shame, denial, substance abuse and occasionally violence. On a positive note many men said they want to learn about it, so they understand how to cope with such problems. The Indigenous men reported symptoms of erectile dysfunction at least as much as non-Indigenous men in other Australian studies. Bivariate analysis showed that erectile dysfunction was correlated with many health and lifestyle variable. However multivariate analysis revealed that only three factors significantly predicted ED: presence of chronic disease, presence of pain when working, and living in a remote geographic location The quantitative survey data indicate that Indigenous men have more symptoms of prostate disease than non-Indigenous men. The syndrome appears to be poorly managed in clinical practice (e.g. rates of PSA testing and digital-rectal examination are only one-third the rate reported by non-Aboriginal men, despite equivalent likelihood of GP visits). The research study adds to the literature by providing better insight and depth into the issues impacting on Aboriginal and Torres Strait Islander males experiencing reproductive and sexual health difficulties. It also provides a platform to undertake comprehensive research with Aboriginal and Torres Strait Islander men to explore a wider spectrum of questions in this important but neglected area. Implications for education of primary healthcare workers and community-based awareness campaigns for Indigenous males are discussed. Most of all, this study revealed "layers" of silence around sexual and reproductive health of Indigenous men. This includes silence in the scientific establishments in health services, and in the community. It is hoped that this study puts the voices of the men forward to help to break down this silence.

<p dir="ltr">Student attitudes towards chemistry are a contributing factor to their success in chemistry courses and retention in STEMM in higher education. In the last decade, STEMM attrition rates have been an area of concern in the United States. Research in K12 classrooms has demonstrated that culturally relevant pedagogies (CRP) can improve student learning and attitudes toward STEMM. CRP consists of instructional practices and lessons that connect with students’ cultural backgrounds, experiences, and interests. However, few studies on these practices address long term improvements or treatments in a higher education setting. Integration of ethnoscience in course material is a CRP strategy that utilizes cultural systems of knowledge in relation to coursework. This strategy is now an area of interest in the field of chemistry education. This study uses an action research methodology to integrate ethnochemistry into a large, multicultural, first-year general chemistry course and evaluate the impact on student attitudes towards chemistry.</p>

This thesis is a work of Christian theology. Its purpose is twofold: firstly to develop an adequate understanding of reconciliation at the level of peoples and nations; and secondly to make a practical contribution to resolving the problems in Australia for the welfare of all the peoples, and of the land itself. The history of the relationships between the Indigenous and non-Indigenous peoples in Australia has left many problems, and no matter what the non-Indigenous people try to do, the Indigenous peoples of Australia continue to experience themselves as being in a state of siege. Trying to understand what is happening, and what can be done to resolve the problems for the peoples of Australia and the land, have been the implicit drivers for the theological development in this thesis. This thesis argues that the present generation in any trans-generational dispute is likely to continue to sin in ways that are shaped by the sins of the past, which explains why Indigenous peoples in Australia find themselves in a stage of siege, even when the non-Indigenous peoples are trying to pursue policies which they believe are for the welfare of all. The only way to resolve this is for the peoples of Australia to seek reconciliation. In particular, the non-Indigenous peoples need to repent, both of their own sins, and the sins of their forebears. Reconciliation processes have become part of the international political landscape. However, there are real concerns about the justice of pursuing reconciliation. An important part of the theological development of this thesis is therefore to show that pursuing reconciliation establishes justice. It is shown that the nature of justice, and of repentance, can only be established by pursuing reconciliation. Reconciliation is possible because God has made it possible, and is working in the world to bring reconciliation. Because land is an essential part of Indigenous identity in Australia, the history of land in court cases and legislation in Australia over the past half century forms an important case study in this work. It is shown that, although there was significant repentance within the non-Indigenous legal system in Australia, the degree of repentance available through that legal system is inherently limited, and so a more radical approach is needed in order to seek reconciliation in Australia. A final chapter considers what the non-Indigenous people of Australia need to do in order to repent.