Creative Arts

For some time employers have identified that one of the most sought after graduate attributes is the ability to function as an effective member of a team. In the creative and performing arts disciplines, which are often individually oriented in nature, the development and implementation of curricula that enable students to attain high-level teamwork skills suitable for participation in multi-disciplinary collaboration is not only necessary but it can be challenging for both educators and students. Indeed the ability to evidence where and how students develop teamwork or collaborative skills will become increasingly critical, as a result of the impending standards framework that is soon to be implemented by the Tertiary Education Quality Standards Agency (TEQSA). This paper overviews the ways in which Creative Exchange, a multi-disciplinary teaching and learning capstone subject offered by the School of Creative Arts at James Cook University since 2009, provides direct evidence of the ways in which students develop strong teamwork skills and attributes. In addition to teamwork skills, students also continue to develop discipline-specific knowledge as well as insights into industry and community settings, given the work-integrated learning orientation of the projects themselves. Data obtained from creative and performing arts students and alumni who previously participated in Creative Exchange are analysed, in order to report on the extent to which they had achieved appropriate standards required for industry. In addition, ongoing benchmarking of the Creative Exchange model via consultations with national and international industry practitioners is presented to further contextualise the findings. The paper concludes by discussing future applications of the framework as well as a range of additional research directions and opportunities.

In the decade since the terrorist attacks of September 11 in the US, Australia has become a country where the global political discourse surrounding the “War-on-Terror” has infiltrated our very understanding of ourselves as a nation. Fed by anxieties regarding race and domestic security, refugees and asylum seekers have become the focus of political debate that has been dominated by rhetoric that constructs them as threats to the national wellbeing and has resulted in incessant calls to “Stop The Boats”. The term “un-Australian” has become a device used in many such debates to insinuate that those who challenge the dominant discourse are somehow irreverent of “Australia values”. This article will argue that resistance writing, in the form of poetry, in a time of cultural crisis is crucial because it disrupts the overriding narrative. Writing directly from their own personal experience of displacement and imprisonment, this article examines the work of refugees whose poetics reflect a real lived-in experience that challenges images of Australia as a nation of egalitarianism and mateship and argues that political poetry is essential for expressing the reality of cultural displacement and social injustice experienced by mandatorily detained asylum seekers in Australia. The power of the poetic form is not only that it provides a platform for political commentary for otherwise muted voices, but also because it creates a rupture in reality, a space where truth can be redefined and the power of language deconstructed. Furthermore, these un-Australian poems inspire a motion towards change, change that can diminish the desire for conflict and advocate a rejection of the doctrine of difference.

Our creative arts help to define our societies and our civilisation. Digital developments are democratising enjoyment of the arts and participation in the arts. The creative arts can address social issues, reach excluded groups, open-up creative, financial, entrepreneurial, active involvement, sustainability and other opportunities, break down barriers, widen perspectives, change expectations, bridge urban-rural divides and stimulate creative thinking, imagination and innovation. They can expose people to various physical/tangible expressions of individuals, movements and prevailing views from different ages, arenas and societies and encourage them to think, question and challenge. They can also enable people to produce designs, artefacts and other works that express their responses and views in a richer variety of ways than just the written or spoken word. An education in the creative arts can enhance, enable, enrich and empower. It can help to stimulate the exploration and commitment that can lead to responsible and fulfilling lifestyles and successful invention and entrepreneurship.

Readers of literature, listeners of music, appreciators of visual art-indeed, all recipients or "audiences" in any form of the creative and performance arts-do sometimes connect with the artistic work on a deeply personal and subjective level when the work strikes a relatable chord in them. Audiences tend to find themselves and their everyday reality mirrored, or "place-able," in the work's creative or enacted reality. This subjective experience has been termed "Psychofictive Reality".

As children grow older, they seem to lose their uninhibited enthusiasm for painting and drawing, and leave behind what is perhaps the best art-making of their lives. What can educators learn from the art-making of young children in early childhood settings? Can this learning be transferred to other educational settings, such as the primary school, to support children's ongoing art-making and creativity? This paper reports on an intensive art-making project in an early childhood setting, recognised for supporting children's creative art-making in an authentic and continuous manner. The philosophy, theories and pedagogical approaches used in this centre and in the project are reported and analysed with a view to developing deeper understanding of application of effective art education in primary schools. Specifically, the authors contend that best practice in early childhood education theory, philosophy and pedagogy can inspire effective art education in other educational settings.

In this paper, I examine the Caribbean reparations movement using an intersectional framework that is located within the Black radical tradition. In order to engage civil society in the discourse of reparations, I argue for the movement to have a strong youth-led component. In addition, I use Frantz Fanon s notion of new humanism, Sylvia Wynter s concept of the Third Event and Walter Rodney s groundings pedagogy as entry points for the Black radical imagination to develop and implement its own ideologies of liberation through a collective struggle towards Caribbean reparations. As such, the paper explores philosophies of Rastafari livity and traces how the social movement influenced the consciousness shift in individuals across working and middle classes in Jamaica in the 196 s to 197 s. The paper argues that Rastafari philosophies embody Fanon and Wynter s notions of the human in thinking through Caribbean reparations.

Based on a co-designing principle, this report identifies and matches innovative
practices to enhance inclusion and youth empowerment through volunteering in
the creative arts sector. This is based on research carried out by the AMIF-funded VOLPOWER research project.

The purpose of this paper is to discuss the contribution of street art as a new economy driver in Penang based on secondary data collected from literature review. This paper attempts to reveal the state and private initiatives in development of Penang’s street art. This paper provides a conceptual discussion about the role of street art and artists in Penang towards urban regeneration and creative place-making. The fame of street art started to flourish in Penang since 2012 when the Lithuanian artist, Ernest Zacharevic started painting a collection of murals within the inner city of George Town to portray local culture and heritage elements. Since then, sculptures, murals and other street art installations started to proliferate within George Town and other places around Penang Island. This has not only drawn the attention from the local communities but also attracted global visitors. Nowadays, Penang is not only well-known with its rich heritage and street food but also with its vibrant showcase of street art. Besides being a new key tourism product, street art is also playing a vital role in cultivating creativity and innovation among Penang’s community. Consequently, this generates impact in stimulating cross-sectors collaboration to strengthen the local economy. The discussion in this paper highlights the economic dividends generated from public art or street art through an artistic and creative public place-making process in a city. Based on the literature and relevant texts and documents, the finding in this paper provides an overview about the existing impact from Penang’s street art in driving or regenerating the local economy. This finding contributes as a reference for researchers who attempt to investigate the potential of art strategy or creative city strategy as a viable urban regeneration strategy.
Key Words: Street Art, Economy, Penang.

Occupying Disability: Critical Approaches to Community, Justice, and Decolonizing Disability Editors: Block, P., Kasnitz, D., Nishida, A., Pollard, N. (Eds.) • Groundbreaking new literature bringing together the fields of anthropology, disability studies and occupational therapy This book explores the concept of "occupation" in disability well beyond traditional clinical formulations of disability: it considers disability not in terms of pathology or impairment, but as a range of unique social identities and experiences that are shaped by visible or invisible diagnoses/impairments, socio-cultural perceptions and environmental barriers and offers innovative ideas on how to apply theoretical training to real world contexts. Inspired by disability justice and “Disability Occupy Wall Street / Decolonize Disability” movements in the US and related movements abroad, this book builds on politically engaged critical approaches to disability that intersect occupational therapy, dis...

Gijón, Ediciones Trea, 2011, 336 pp. ISBN: 978-84-9704-550-6
Este ensayo analiza el papel que cumple la razón en su relación con la creatividad artística desde el inicio de la modernidad hasta nuestros días. El principal motivo que da lugar a esta reflexión, es la identificación de un elevado índice de racionalización instrumental en el arte contemporáneo, manifestado principalmente a un nivel estructural y metodológico, al menos desde que el arte ha adquirido una atribución explícitamente ligada a los ámbitos del pensamiento y el conocimiento. La hipótesis de trabajo parte, así pues, de la situación de dominio a la que habría llegado la plena vigilia de la razón instrumental y tecnológica en el momento presente, así como la compulsión hipertrófica, en términos de gratuita redundancia, a la que dicho insomnio puede haber llevado a una creatividad enajenada de su elemento plástico.

A partir de este hecho, es revisada retrospectivamente la creciente influencia de la razón sobre el arte moderno, a través de sus principales etapas, estilos y movimientos históricos, al hilo del desarrollo y triunfo de un modelo cognitivo de naturaleza científico-tecnológico. Frente a este último, es defendido un concepto conciliador y humanista como es el de “razón plástica”, en el que se reconoce la imprescindible compenetración de ambos términos en el fenómeno creativo. En definitiva, el ensayo se construye como una autocrítica al sistema del arte, visto dialécticamente desde sus hoy enfrentados fundamentos racionales y plásticos, a la vez que atendiendo, complementariamente, a las contradicciones entre los medios y los fines que surgen de dicha relación dialéctica. 

Cabe por último destacar que, a diferencia de los habituales modelos de aproximación crítica al arte, este libro no se centra en un discurso basado en los contenidos iconográficos e historiográficos de la obra artística, sino en los problemas que plantea la génesis, el desarrollo fáctico, formativo y material, e, incluso, las condiciones de recepción de la obra. Es precisamente en ellos donde radica uno de los mayores dilemas que presenta la creación artística contemporánea: aquel que viene dado por la mayor o menor adecuación y correspondencia entre promesa y realidad, o lo que es lo mismo, entre un a priori racional, más común y pragmáticamente llamado proyecto artístico, y la plasmación efectiva en términos plásticos del mismo. Pues entendemos que, como artistas, son esos y no otros los problemas a cuya elucidación podemos contribuir ofreciendo aportaciones teóricas verdaderamente originales. Enfoque, por otra parte, del que adolece la bibliografía general sobre arte.

The National Youth Manifesto (NYM) is a blueprint document that highlights key policy priorities/demands by youth to the political parties, candidates. The NYM agenda has existed since 2011 – 2016 and 2016 – 2021 and now 2021-2026 symbolizing as a ‘youth collective voice’ in Uganda’s development discourse.

The Manifesto is spearheaded by African Youth Development Link under the consortium of the Youth Coalition for Electoral democracy a network of other like-minded youth-led and youth-focused Civil Society Organizations (CSOs) united in the desire to create synergy in various electoral democracy efforts in Uganda.  since 2014,  synergized efforts to bridge existing policy gaps and future vulnerabilities, risks and assumptions by proposing actions feeding into development programs from a youth lens.  we generated key youth demands from a target total sample size of 1218 youth respondents (including 543 female, 467 male, and 102 PWDS)  from across the targeted 50 districts in the five regions of Uganda and were consulted at different levels .

Starting from a practitioner's standpoint, this study investigates creativity as a system in which individual talent, desire and ambition operate. In the context of sustaining these motivations, personally and Contents Abstract 1 Chapter 1. Introduction 5 Creative industries beginnings 7 The 13 segments of the creative industries sector 8 Creativity industries as a response to changing conditions 9 Key questions arising from creative industries discourse 10 Chapter 2. Definitions of creativity: Creation, divinity, philosophy, problem-solving 12 Creation 13 Early distinctions 14 Evolution 15 Philosophy 16 Divine creators, production and problem-posing 17 Aesthetics, struggle and conniving 18 The creative process explained 20 Chapter 3. Mainstreaming culture: Arts to industry 23 Creative industries: A product not of industry but of history 23 New conditions 23 Civic humanism 24 Creative industries: A new personal identity 25

The importance of creativity as an attribute of the 21st Century learner is now widely acknowledged and a global trend across all disciplines. To meet both current and future needs of both students and society a university education must develop and support creativity in learners. This paper was developed to outline the range of creative disciplines, the diversity and interconnectedness of the disciplines, and how this is reflected in the needs for appropriate pedagogical models and consequently spaces for learning, both formal and informal.

A number of pedagogical models focussed on supporting and encouraging creativity are currently in practice. However, new models are emerging as creative disciplines are becoming augmented with new and innovative technologies, including biotechnologies, and the vast possibilities of contemporary creative media. This paper addresses the Creative Disciplines of Visual Arts, Performing Arts, Design Arts, Media Arts, Literary Arts and Hybrid Arts and explains the need for Creative Curricula. Creative disciplines are diverse yet interconnected and whilst individually unique, they are essentially interdisciplinary and linked to needs of cultural and social contexts and professional practice.

Engaging students in creative disciplines is linked to the learners through the affective dimensions of the curriculum and motivational factors, and involves experiential learning situated in authentic learning contexts. Design considerations for spaces for learning for creative disciplines must focus beyond contemporary requirement and allow for future expansion or rearrangement depending on needs and areas of development.

The Creative Arts in Ghana have a huge potential for national development. This book looks at what constitutes the Creative Arts, what the key issues are and how to ensure that the sector is well resourced and positioned to make a meaningful development to nation building.

Constructed broadly according to the principles of musical fugue, this piece of creative writing is presented as a performance autoethnography, enacted through a multi-voiced ethnodrama between a fictionalized version of the author and two imaginary doctoral students. In successive episodes, it discusses the difference between autoethnography and autobiography, the value and limitations of single-subject ethnographic study, and the types of materials that constitute valid documentation for the purposes of autoethnography, including creative writing based on music-theoretical devices as well as musical works themselves, in addition to more conventional modes of discourse. These dialogic interludes are articulated by periodic returns to the principal subject of the conversation: the working definition of autoethnography and its potential application to Arts-Based Educational Research (ABER) with specific respect to music studies.

The unprecedented COVID-19 pandemic has disrupted the operation of Malaysian public universities and infinitely affected the way academics work. It is a devastating challenge where academics in the field of creative arts strived to cope with a transition from shifting face to face studio-based teaching and learning activities to online teaching and mentoring. This gave rise to a sudden change for them to carry out their administrative duties full-time at home and to re-adjust to alternative academic activities during the cordon sanitaire. This article describes the experiences and unusual situations faced by the academics, as well as their responses to this crisis in different dimensions starting from the initial stage of the Movement Control Order until the period they resumed work in the university office. The discussion proceeds with how the global pandemic has affected their teaching routine in the field of creative arts at present with a focus on music and film specialisations. This phenomenon-derived ethnography significantly employs self-conscious observation along the online teaching process uniquely conducted for a few respective courses in designated Malaysian public universities when the pandemic-triggered disruption was experienced. With a discussion only limited to observation based on the data gathered for the teaching component, the authors hope to recommend a practical approach in reinvigorating academic practices during and post COVID-19 period.

The unprecedented COVID-19 pandemic has disrupted the operation of Malaysian public universities and infinitely affected the way academics work. It is a devastating challenge where academics in the field of creative arts strived to cope with a transition from shifting face to face studio-based teaching and learning activities to online teaching and mentoring. This gave rise to a sudden change for them to carry out their administrative duties full-time at home and to re-adjust to alternative academic activities during the cordon sanitaire. This article describes the experiences and unusual situations faced by the academics, as well as their responses to this crisis in different dimensions starting from
the initial stage of the Movement Control Order until the period they resumed work in the university office. The discussion proceeds with how the global pandemic has affected their teaching routine in the field of creative arts at present with a focus on music and film specialisations. This phenomenonderived ethnography significantly employs self-conscious observation along the online teaching process uniquely conducted for a few respective courses in designated Malaysian public universities when the pandemic-triggered disruption was experienced. With a discussion only limited to observation based on the data gathered for the teaching component, the authors hope to recommend a practical approach in reinvigorating academic practices during and post COVID-19
period.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

While reports of ‘Nirbhaya’ referring to the brutal gang rape of a young woman on a moving bus in Delhi 2012 have been prolific, less attention has been paid to other media and artistic representations on the subject. In this article, I consider how the atrocity has been mediated through multiple outlets in India as part of a reinvigorated aesthetics of grief, anger, critique and protest. Building on earlier feminist modes of artistic engagement and describing it as the ‘Nirbhaya effect’, I consider outlets such as online films, canvas art, posters, photography, murals, comic books, satirical skits, and ‘social experiments’ that continue unabated in India despite the state’s censorship of the BBC documentary on the issues raised, India’s Daughter. The creative outlets may be considered in terms of five overlapping registers: memorialisation, affirmative solidarity, ironic provocations, rescripting the master narrative, and sensationalization. Altogether, they indicate the many potentials and limitations of a violent wound in the social fabric channelled through the creative arts and digital media.

http://signsjournal.org/

A publication of the Creative Arts Practice Research Theme at Trinity College, co-edited with Philip Coleman of the School of English. The booklet focuses on interdisciplinary work involving creative arts practices in the 2013-15 period at TCD.

A literature review exploring the psychological bases of creativity, and proposing social, cultural, and psychological influences on creative output. Here, creativity was evaluated in the domains of visual art (paintings, sculpture), music (across varied genres and artists) and literature (authors and poets).

Most tertiary students dream about their futures at some time during their studies, and the creation of a portfolio can play an important role in the formation of future identity. In today’s culture, technology is rapidly expanding and changing and our society is becoming progressively more networked, digitilised and globalised. Teaching and learning processes are affected by technological developments. and the portfolio has been modified to utilise this technology (Penny & Kinslow, 2006). The process of developing electronic portfolios promoted a technology-enriched environment for creative arts students to cultivate their learning and knowledge. This paper reports from an OLT (formerly ALTC) funded project at its mid-way point. The project is introducing ePortfolios to students through existing curriculum in the creative and performing arts at four universities in Australia. The project forms part of continuing work to research practices in technology supported teaching and learning.

Artist residencies typically provide artists the required time and space away from their usual obligations and environment of everyday life to research, develop and produce new creative work. They are often an important component of an artists’ professional development offering a new context to work in which may include a range of resources including physical facilities of studio, equipment and lodging or connections to new audiences or artistic peers for collaboration. While many independent residencies are competitively awarded with funding opportunities, other forms of residency are developed collaboratively through artist-led initiatives focused on a particular salient theme. Over the past two decades, there has been a worldwide increase in the number of residencies and their diverse forms: from traditional institutional models of patronage and seclusion to contemporary forms of social practice projects making art with local communities. On the one hand, thinking about residencies can include artist retreats, colonies, and artist-run initiatives which may take a particular shared curatorial focus such as social or environmental sustainability. On the other hand, cultural institutions may extend their interests in public engagement and community engagement by developing cross-sectoral partnerships or hosting creative people in cultural heritage houses, libraries, galleries or universities.
Increasingly, international artists residencies now provide opportunities for socially and politically motivated artists to develop site-responsive projects for public interaction with local community members and organisations. This article examines this unpredictable and recent world-wide explosion of artist residencies and the diversity of forms generated over the last century, from traditional institutional models of patronage and isolated artists’ labour to contemporary forms of social practice projects making art with local communities to explore contemporary global concerns. Offering a broad ranging typology of residencies as social form, this article examines the historical contexts, stakeholder motivations, and social value of residencies with careful attention to the potential for harm of these creative interventions in the public realm. Drawing on local and global examples, this paper identifies the historical social roots of residencies, then explores both community-engaged, institutional, and international forms, before describing the re-emerging trend of artists seeking sustainable practices at a local scale. Political shifts towards the democratisation of the arts from most western governments over recent decades position institutional interests also on engagement between artists and the public. This makes way for the consideration for alternative artist-run initiatives and new contemporary art and social practices. The paper concludes by considering a new category of residency as ‘life-as-practice.’

The requirements for effective contemporary leadership are changing along with leadership perspectives and priorities as more creative, innovative and entrepreneurial responses are required in the face of multiple challenges, opportunities and possibilities. Openness, diversity and collaboration and understanding the nature of the creativity, innovation and entrepreneurship required, their interrelation, and the factors that help and/or hinder them have become more important. Changing business models, challenges and opportunities are creating new arenas for both leadership and entrepreneurship and their success requirements are converging to such an extent that in certain contexts they may soon be almost indistinguishable.

Published in the June 2017 issue of Effective Executive (Vol. XX, No. 2, June, pp 12-30) a quarterly journal published by IUP Publications, a division of ICFAI. The citation is:

Coulson-Thomas, Colin (2017), Leadership for Creativity, Innovation and Entrepreneurship,  Effective Executive, Vol. XX No. 2, June, pp 12-30

The National Statement on Ethical Conduct in Human Research (2007) establishes a working set of guidelines for the ethical conduct for research within Australian Universities. One of the primary principles relates to questions of “public good.” The question of public good comes under the principle of beneficence. Beneficence involves an ethical judgment about whether “the likely benefits of the research must justify any risks of harm or discomfort to the participants, to the wider community, or to both.” (National Statement, p. 13)

The question of minimizing risk and discomfort becomes a key point of tension when artists become engaged in artistic research and their ‘research’ becomes subject to the guidelines of The National Statement. Driven by the aesthetics of the sublime, the avant-garde impetus demands that art produces discomfort and brings its audience into crisis. For artists this discomfort and crisis is precisely art’s benefit, whilst for an ethics committee such discomfort may be deemed an unacceptable risk. Here-in lies a conflict between the notion of beneficence as defined by the code and those recognized by the artistic community.

It raises the question: What is the value of art to a society if it becomes so comfortable that it no longer provokes artistic shock? Through an examination of the work of socially engaged artists Amy Spiers and Catherine Ryan, this essay examines how artists reconfigure the notion of beneficence as a principle that incorporates provocation and discomfort.

Keywords: artistic research, ethics, socially engaged art, beneficence.

J.R.R. Tolkien is recognized as one of the great literary creators of fantastic worlds. The English author added to his literary work a reflection on the role of the fantasy writer in his theory of sub-creation. This literary theory-exhibited mainly in his essay 'On Fairy-Stories' and in his letters-is based on the author's own cos-movision, clearly influenced by his Catholicism, and contemplates literary creation as an analogy of divine creation. This article deals with the Christian foundation present in the idea of participation in Creation that we find in Tolkien's theory of sub-creation. It proposes an overview of the main theological questions that support this participation, taking especially into account the contribution that John Paul II makes on this issue in his '

In recent years, creative inquiry as a methodology for creative learning and personal
discovery has been widely adopted as a core feature in creative learning across disciplines. In this paper, to respond to the research scholarly interest in the art of creative learning, the researcher has made an attempt to propose an interesting creative learning methodology known as “Inquiry-based Figure Drawing” particularly for art and design pedagogy at the undergraduate education level.
The paper is written based on practice-based research to discuss creative learning
methodology, which focused on creative inquiry approach for students’ artistic project
development under creative design discipline. The paper is organized in two sections. (1) Propose “Creative Inquiry-based Figure Drawing” as creative inquiry learning methodology for creative design practices. (2) The case study on the implementation of “Creative Inquiry-based Figure Drawing”. The use of a creative inquiry learning methodology, that guides student’s creative development, can certainly build a strong platform for teaching, learning, and curriculum in creative design education. It is hoped that this paper will provide insights into an understanding of creative learning methodology approach particularly for undergraduate education in the creative design discipline.

This article reflects on the purposes and functions of examination criteria for Masters’ research degrees with creative practice components. With a particular focus on dance projects that incorporate both a performed and a written expression of the research, we consider how a rubric for creative practice
research degrees might address formative and summative assessment purposes and clarify goals for learners, supervisors, examiners and academic institutions. Our discussion is situated within a South Pacific postgraduate learning context
and is informed by post-colonial and post-Cartesian concerns over how dance knowledge is recognized in global academia. Much current literature has argued how particular research methods and diverse approaches to the presentation of
research outputs can destabilize dominant, logocentric methods of valuing knowledge. Our queries extend this argument into the actual quantifiable measuring and evaluation of such knowledge, which Masters’ grading necessitates in order to maintain its value as an institutional currency. This leads
to the reflections on the rubric for Masters’ degrees with Creative Practice components that is currently used within the Dance Studies programme of the University of Auckland, and how this rubric might be seen as contributing to an
evolving ‘cultivated’ community of practice within postgraduate examination. The rubric continues to grow through ongoing consultation with postgraduate students, supervisory staff, internal and external examiners and international
experts in creative arts academia. Our reflections extend the argument for how creative practice might be further rationalized within academia.

For some time employers have identified that one of the most sought after graduate attributes is the ability to function as an effective member of a team. In the creative and performing arts disciplines, which are often individually oriented in nature, the development and implementation of curricula that enable students to attain high-level teamwork skills suitable for participation in multi-disciplinary collaboration is not only necessary but it can be challenging for both educators and students. Indeed the ability to evidence where and how students develop teamwork or collaborative skills will become increasingly critical, as a result of the impending standards framework that is soon to be implemented by the Tertiary Education Quality Standards Agency
(TEQSA). This paper overviews the ways in which Creative Exchange, a multidisciplinary teaching and learning capstone subject offered by the School of Creative Arts at James Cook University since 2009, provides direct evidence of the ways in
which students develop strong teamwork skills and attributes. In addition to teamwork skills, students also continue to develop discipline-specific knowledge as well as insights into industry and community settings, given the work-integrated learning orientation of the projects themselves. Data obtained from creative and performing arts students and alumni who previously participated in Creative Exchange are analysed, in order to report on the extent to which they had achieved appropriate standards required for industry. In addition, ongoing benchmarking of the Creative
Exchange model via consultations with national and international industry practitioners is presented to further contextualise the findings. The paper concludes by discussing future applications of the framework as well as a range of additional research directions and opportunities.