Christopher Klopper - Academia.edu (original) (raw)

Papers by Christopher Klopper

In this final chapter we bring together three vignettes that look at the various ways arts educat... more In this final chapter we bring together three vignettes that look at the various ways arts education knowledge has been embodied in practice. The vignettes are explored in a holistic way, providing consideration to a broad range of multidisciplinary aspects of arts education. Each of the vignettes uses old knowledge, new knowledge and borrowed knowledge to help inform the implementation of the arts. As we read these stories we are able to reflect on the future practice of arts education in school classrooms and be inspired to tap into the potential.

Wow Tommy! I never knew clever kids could do art!-Year 4 student from Beachside State School A rt... more Wow Tommy! I never knew clever kids could do art!-Year 4 student from Beachside State School A rts-based learning experiences produce positive learning outcomes, such as creating productive attitudes to learning, facilitating development of a greater sense of personal and cultural identity and fostering more creative and imaginative ways of thinking in young children (Bamford 2006; Eisner 2002; Robinson 2001). Internationally; there is a growing body of evidence that arts-based learning and engagement has a range of positive outcomes in terms of the lives of young people both in and out of school settings (Bamford 2006; Deasy 2002; Seidel, Tishman, Winner, Hetland and Palmer 2009). The Australian curriculum learning area of the arts equally recognizes the distinctiveness of dance, drama, media arts, music and visual arts, and further recognizes the connections between the art forms. It promotes the arts as fundamental to student learning and the expansion of capacity to 'perceive, create, think, feel, symbolize, communicate,-understand, and become confident and creative individuals' (Australian Curriculum, Assessment and Reporting Authority [ACARA] 2010: 2). From Kindergarten to Year Eight, all art forms are taught through a balance of three organizing strands: generating, realizing and responding. Within these broad categories, each art form has its own specific terminology, concepts and processes. Students learn to use art form-specific concepts, skills and processes in their making and responding, while developing aesthetic knowledge through their arts learning (ACARA 2011). The very nature of the learning area requires pupils to be exposed to dance, drama, music, media and visual art, which can be a rather daunting task for even the most experienced teacher. It is highly improbable to find an expert in all five art forms; however, what is more important is for teachers to become experts at facilitating teaching and learning activities in all art forms so that the students in their classroom are exposed to the arts and access channels of creativity and further study. This chapter reports on a year-long project, the Arts 2 Excellence programme, which aimed to build the capacity and confidence of identified teachers and students through artsbased learning experiences. The project responded to the problem identified by classroom teachers at Beachside State School by offering quality arts-based learning experiences. The project was conceptualized as an applied form of participatory action research in a dynamic setting. The participatory action research methodology was employed to cyclically evaluate the question: 'How can a ,;hole-school approach to arts-based learning experiences build capacity and confidence in students and staff?' Creswell (2012) explains that participatory

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the NorthWest University, South Africa Tswana students as they prepared musical artefacts for 'export' that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The 'importers', Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing a hybrid musical exchange was achieved. This intercultural music exchange results in a collective and participatory music-making initiative.

In this chapter three vignettes are presented that look at the various ways arts education knowle... more In this chapter three vignettes are presented that look at the various ways arts education knowledge has been embodied into practice. The vignettes are explored in a holistic way, providing consideration to a broad range of multidisciplinary aspects of arts education. Each of the vignettes uses old knowledge, new knowledge and borrowed knowledge to help inform the implementation of the arts. As we read these stories we are able to reflect on the future practice of arts education in school classrooms and be inspired to tap into the educational possibilities and potential.

Reforming Vietnamese Higher Education, 2019

The chapter explores the research capacity of academics within the contexts of Vietnamese and Aus... more The chapter explores the research capacity of academics within the contexts of Vietnamese and Australian universities in the following ways: (1) research productivity, (2) the research policies that support the engagement of academics in research, and (3) the national programmes that aim to enhance the research capacity of the academics. It provides insights and recommendations that have the potential to stimulate research activities that promote both the quantity and the quality of research outcomes for all.

This article documents the current classroom practice of creative arts education of respondent cl... more This article documents the current classroom practice of creative arts education of respondent classroom teachers in the New South Wales Greater Western Region, Australia. The study provides a descriptive account of classroom practice in creative arts education through the employment of a quantitative methodology. A questionnaire was designed and distributed to teachers as the sole data collection instrument and analysed to identify innovative classroom practices that anticipate the needs and challenges of creative arts education and the young people it serves. A significant gap in the literature regarding the nature of creative arts education classroom practice was identified. The criticality that such a description of current practice be produced is asserted, with a view towards illuminating current classroom practices and working towards improved models and practices of creative arts education in K-6 classrooms. IJEA Vol. 12 No. 11 http://www.ijea.org/v12n11/ 2

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the North-West University, South Africa Tswana students as they prepared musical artefacts for ‘export’ that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The ‘importers’, Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing a hybrid musical exchange was achieved. This intercultural music exc...

In response to the provocative statement made by Bamford surrounding the lack of Australian resea... more In response to the provocative statement made by Bamford surrounding the lack of Australian research in arts education (cited in Gibson and Anderson, 2008, p.103: 'While substantial studies into the benefits of arts education have been undertaken in the USA and the UK, very little research has been conducted into the impact of arts education in Australian schools ... There is urgent need for a detailed study of the impact of arts programmes within the context of Australian schools', Christopher Klopper organised The Arts in Practice Symposium 2010 at Griffith University, Gold Coast, Australia funded by the Griffith Institute for Educational Research. The symposium proposed to lay the foundation for a closer examination of classroom-based arts education practice in Australia. The heart of curriculum transfer and transformation is in the classroom. And we are interested in documenting: What teachers are actually doing in relation to teaching arts education in the school classr...

World Academy of Science, Engineering and Technology, International Journal of Social, Behavioral, Educational, Economic, Business and Industrial Engineering, 2013

The PRO-Teaching project was first piloted in 2009 at Griffith University, Australia with six aca... more The PRO-Teaching project was first piloted in 2009 at Griffith University, Australia with six academic teachers from the School of Education and Professional Studies and one from the School of lnformation and Communication Technology. This pilot assisted in streamlining the process and documentation, prior to implementation in the then Science, Environment, Engineering and Technology (SEET) Group in 2010. Two years later and more than 125 teachers involved, the Griffith PRO-Teaching project was awarded a university grant in 2012, to support offering PRO-Teaching to all academic teachers across the university wishing to focus on the Griffith principles of teaching to promote excellence in teaching. PRO-Teaching was designed to make use of a developmental form of peer review and observation of teaching with the intent to create a collaborative and supportive relationship for teachers to discuss and share ideas around their teaching practice. Using a sequenced approach, data collection...

Australian journal of music education, 2010

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the North-West University, South Africa Tswana students as they prepared musical artefacts for 'export' that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The 'importers', Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing this intercultural music exchange results in a colle...

Australian journal of music education, 2015

This paper reports on a design-based research project that investigated the possibilities of crea... more This paper reports on a design-based research project that investigated the possibilities of creating a novel learning environment in a music teacher education course that would enhance student engagement and learning outcomes. It substantiates the pedagogical possibilities and practicalities of implementing instructional delivery technologies to augment music education as a valuable and productive way forward in addressing ongoing issues of quality and sustainability in initial teacher education. A range of pedagogical possibilities used to augment face-to-face interaction is presented. These illustrate how creating opportunities for students to engage in a range of social interaction and collaborative activities encourages a diversity of perspectives and dynamic exchange - a technological revolution through instructional evolution.

This study documents and analyzes the environment where music education happens in a regional Con... more This study documents and analyzes the environment where music education happens in a regional Conservatorium in New South Wales, Australia. The study aimed to gain insight into the structure, nature and professional practice of a regional conservatorium, and iden- tify innovative pedagogical possibilities. An ethnographic case study was undertaken over one year, with intensity ranging from weeklong immersion schedules to occasional short- term observation of activities. Schwab's (1969) commonplaces of schooling (Milieu, sub- ject matter, students and teachers) were applied as apriori themes, providing a scaffold for preliminary classification and further exploration of the data. Empirical themes were iden- tified as they emerged through data analysis, and subsequently applied. A dominant find- ing of the study underscores that relationship is at the heart of curriculum transfer in the music studio.

In this chapter we set the scene with respect to work integrated learning (WIL) and international... more In this chapter we set the scene with respect to work integrated learning (WIL) and international students by looking at the global context and then focussing on the Australian setting. We consider some of the challenges and opportunities afforded by WIL for international education framed by the three pillars of the National Strategy for International Education 2025 (Australian Government, National strategy for international education 2025. Retrieved from https://nsie.education.gov.au/sites/nsie/files/docs/national_strategy_for_international_education_2025.pdf, 2016a) 10-year plan for developing international education in Australia. A glimpse into the way three Australian universities align with the three pillars provides some insight into the strategic direction of these institutions. We then turn to the case of one organisational unit in a university, in this instance in an initial teacher education context, to consider how that unit enacts broader WIL policy. Particular attention...

By discussing the future challenges to musical arts education in Africa in which local cultural p... more By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication. This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of 'differentiation', 'integration' and 'disassociation' within musical arts practice. An analysis of selected internationa...

Following Clandinin and Connolly's definition of narrative inquiry, lived experience is centr... more Following Clandinin and Connolly's definition of narrative inquiry, lived experience is central to the methodology. This book provides opportunities for the exploration of arts experiences. The originality in this book is the incorporation of different stakeholder voices and stories being appraised by the EITM Evaluation Matrix. The overall analysis shows the true benefit and cost of arts education within the Australian landscape. Unique insights into what it means to participate in arts education from varying perspectives are provided. The unique perspectives from teachers, artists, students, and arts organisations are shared throughout.

Globally, universities are facing complex issues which often leads to transformational change. Am... more Globally, universities are facing complex issues which often leads to transformational change. Among the changes, university governance and accountability management have been noted as areas of reform. The main drivers are globalisation, burgeoning knowledge-based economies, rapidity of new technologies adoption, and global competitiveness. The impact of these drivers and subsequent reform is ultimately reflected in the changing nature of academic work being undertaken by academic staff. Academic staff are inclined to negatively reflect on their experience of the changing nature of their academic work. This paper reports on a study conducted in Australia that explores the lived experiences of sixteen academics working in a range of public universities and experiencing transformational change. The study adopts a qualitative research approach to support inductive and open generation of new thinking to emerge from the data. The data collection method consists of in-depth, one-on-one, f...

In this final chapter we bring together three vignettes that look at the various ways arts educat... more In this final chapter we bring together three vignettes that look at the various ways arts education knowledge has been embodied in practice. The vignettes are explored in a holistic way, providing consideration to a broad range of multidisciplinary aspects of arts education. Each of the vignettes uses old knowledge, new knowledge and borrowed knowledge to help inform the implementation of the arts. As we read these stories we are able to reflect on the future practice of arts education in school classrooms and be inspired to tap into the potential.

Wow Tommy! I never knew clever kids could do art!-Year 4 student from Beachside State School A rt... more Wow Tommy! I never knew clever kids could do art!-Year 4 student from Beachside State School A rts-based learning experiences produce positive learning outcomes, such as creating productive attitudes to learning, facilitating development of a greater sense of personal and cultural identity and fostering more creative and imaginative ways of thinking in young children (Bamford 2006; Eisner 2002; Robinson 2001). Internationally; there is a growing body of evidence that arts-based learning and engagement has a range of positive outcomes in terms of the lives of young people both in and out of school settings (Bamford 2006; Deasy 2002; Seidel, Tishman, Winner, Hetland and Palmer 2009). The Australian curriculum learning area of the arts equally recognizes the distinctiveness of dance, drama, media arts, music and visual arts, and further recognizes the connections between the art forms. It promotes the arts as fundamental to student learning and the expansion of capacity to 'perceive, create, think, feel, symbolize, communicate,-understand, and become confident and creative individuals' (Australian Curriculum, Assessment and Reporting Authority [ACARA] 2010: 2). From Kindergarten to Year Eight, all art forms are taught through a balance of three organizing strands: generating, realizing and responding. Within these broad categories, each art form has its own specific terminology, concepts and processes. Students learn to use art form-specific concepts, skills and processes in their making and responding, while developing aesthetic knowledge through their arts learning (ACARA 2011). The very nature of the learning area requires pupils to be exposed to dance, drama, music, media and visual art, which can be a rather daunting task for even the most experienced teacher. It is highly improbable to find an expert in all five art forms; however, what is more important is for teachers to become experts at facilitating teaching and learning activities in all art forms so that the students in their classroom are exposed to the arts and access channels of creativity and further study. This chapter reports on a year-long project, the Arts 2 Excellence programme, which aimed to build the capacity and confidence of identified teachers and students through artsbased learning experiences. The project responded to the problem identified by classroom teachers at Beachside State School by offering quality arts-based learning experiences. The project was conceptualized as an applied form of participatory action research in a dynamic setting. The participatory action research methodology was employed to cyclically evaluate the question: 'How can a ,;hole-school approach to arts-based learning experiences build capacity and confidence in students and staff?' Creswell (2012) explains that participatory

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the NorthWest University, South Africa Tswana students as they prepared musical artefacts for 'export' that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The 'importers', Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing a hybrid musical exchange was achieved. This intercultural music exchange results in a collective and participatory music-making initiative.

In this chapter three vignettes are presented that look at the various ways arts education knowle... more In this chapter three vignettes are presented that look at the various ways arts education knowledge has been embodied into practice. The vignettes are explored in a holistic way, providing consideration to a broad range of multidisciplinary aspects of arts education. Each of the vignettes uses old knowledge, new knowledge and borrowed knowledge to help inform the implementation of the arts. As we read these stories we are able to reflect on the future practice of arts education in school classrooms and be inspired to tap into the educational possibilities and potential.

Reforming Vietnamese Higher Education, 2019

The chapter explores the research capacity of academics within the contexts of Vietnamese and Aus... more The chapter explores the research capacity of academics within the contexts of Vietnamese and Australian universities in the following ways: (1) research productivity, (2) the research policies that support the engagement of academics in research, and (3) the national programmes that aim to enhance the research capacity of the academics. It provides insights and recommendations that have the potential to stimulate research activities that promote both the quantity and the quality of research outcomes for all.

This article documents the current classroom practice of creative arts education of respondent cl... more This article documents the current classroom practice of creative arts education of respondent classroom teachers in the New South Wales Greater Western Region, Australia. The study provides a descriptive account of classroom practice in creative arts education through the employment of a quantitative methodology. A questionnaire was designed and distributed to teachers as the sole data collection instrument and analysed to identify innovative classroom practices that anticipate the needs and challenges of creative arts education and the young people it serves. A significant gap in the literature regarding the nature of creative arts education classroom practice was identified. The criticality that such a description of current practice be produced is asserted, with a view towards illuminating current classroom practices and working towards improved models and practices of creative arts education in K-6 classrooms. IJEA Vol. 12 No. 11 http://www.ijea.org/v12n11/ 2

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the North-West University, South Africa Tswana students as they prepared musical artefacts for ‘export’ that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The ‘importers’, Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing a hybrid musical exchange was achieved. This intercultural music exc...

In response to the provocative statement made by Bamford surrounding the lack of Australian resea... more In response to the provocative statement made by Bamford surrounding the lack of Australian research in arts education (cited in Gibson and Anderson, 2008, p.103: 'While substantial studies into the benefits of arts education have been undertaken in the USA and the UK, very little research has been conducted into the impact of arts education in Australian schools ... There is urgent need for a detailed study of the impact of arts programmes within the context of Australian schools', Christopher Klopper organised The Arts in Practice Symposium 2010 at Griffith University, Gold Coast, Australia funded by the Griffith Institute for Educational Research. The symposium proposed to lay the foundation for a closer examination of classroom-based arts education practice in Australia. The heart of curriculum transfer and transformation is in the classroom. And we are interested in documenting: What teachers are actually doing in relation to teaching arts education in the school classr...

World Academy of Science, Engineering and Technology, International Journal of Social, Behavioral, Educational, Economic, Business and Industrial Engineering, 2013

The PRO-Teaching project was first piloted in 2009 at Griffith University, Australia with six aca... more The PRO-Teaching project was first piloted in 2009 at Griffith University, Australia with six academic teachers from the School of Education and Professional Studies and one from the School of lnformation and Communication Technology. This pilot assisted in streamlining the process and documentation, prior to implementation in the then Science, Environment, Engineering and Technology (SEET) Group in 2010. Two years later and more than 125 teachers involved, the Griffith PRO-Teaching project was awarded a university grant in 2012, to support offering PRO-Teaching to all academic teachers across the university wishing to focus on the Griffith principles of teaching to promote excellence in teaching. PRO-Teaching was designed to make use of a developmental form of peer review and observation of teaching with the intent to create a collaborative and supportive relationship for teachers to discuss and share ideas around their teaching practice. Using a sequenced approach, data collection...

Australian journal of music education, 2010

Cultural boundaries are no longer geographically dictated. This intercultural music making initia... more Cultural boundaries are no longer geographically dictated. This intercultural music making initiative made provision for the social cohesion of the North-West University, South Africa Tswana students as they prepared musical artefacts for 'export' that convey, confirm and explore their culture of birth. Advancement in emerging digital technologies assisted to facilitate the export through video, on-line chat room and web-cam communication. Such technology supports the conveyance of originality, authenticity and context. The exporters were not remotely detached from the musical artefact but were connected digitally. The 'importers', Charles Sturt University, Australia were able to access the musical artefacts through repeated, close and careful encounters. The students in Australia were then tasked with having to create a performance of the musical artefact using Orff melodic and non-melodic instruments. In so doing this intercultural music exchange results in a colle...

Australian journal of music education, 2015

This paper reports on a design-based research project that investigated the possibilities of crea... more This paper reports on a design-based research project that investigated the possibilities of creating a novel learning environment in a music teacher education course that would enhance student engagement and learning outcomes. It substantiates the pedagogical possibilities and practicalities of implementing instructional delivery technologies to augment music education as a valuable and productive way forward in addressing ongoing issues of quality and sustainability in initial teacher education. A range of pedagogical possibilities used to augment face-to-face interaction is presented. These illustrate how creating opportunities for students to engage in a range of social interaction and collaborative activities encourages a diversity of perspectives and dynamic exchange - a technological revolution through instructional evolution.

This study documents and analyzes the environment where music education happens in a regional Con... more This study documents and analyzes the environment where music education happens in a regional Conservatorium in New South Wales, Australia. The study aimed to gain insight into the structure, nature and professional practice of a regional conservatorium, and iden- tify innovative pedagogical possibilities. An ethnographic case study was undertaken over one year, with intensity ranging from weeklong immersion schedules to occasional short- term observation of activities. Schwab's (1969) commonplaces of schooling (Milieu, sub- ject matter, students and teachers) were applied as apriori themes, providing a scaffold for preliminary classification and further exploration of the data. Empirical themes were iden- tified as they emerged through data analysis, and subsequently applied. A dominant find- ing of the study underscores that relationship is at the heart of curriculum transfer in the music studio.

In this chapter we set the scene with respect to work integrated learning (WIL) and international... more In this chapter we set the scene with respect to work integrated learning (WIL) and international students by looking at the global context and then focussing on the Australian setting. We consider some of the challenges and opportunities afforded by WIL for international education framed by the three pillars of the National Strategy for International Education 2025 (Australian Government, National strategy for international education 2025. Retrieved from https://nsie.education.gov.au/sites/nsie/files/docs/national_strategy_for_international_education_2025.pdf, 2016a) 10-year plan for developing international education in Australia. A glimpse into the way three Australian universities align with the three pillars provides some insight into the strategic direction of these institutions. We then turn to the case of one organisational unit in a university, in this instance in an initial teacher education context, to consider how that unit enacts broader WIL policy. Particular attention...

By discussing the future challenges to musical arts education in Africa in which local cultural p... more By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication. This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of 'differentiation', 'integration' and 'disassociation' within musical arts practice. An analysis of selected internationa...

Following Clandinin and Connolly's definition of narrative inquiry, lived experience is centr... more Following Clandinin and Connolly's definition of narrative inquiry, lived experience is central to the methodology. This book provides opportunities for the exploration of arts experiences. The originality in this book is the incorporation of different stakeholder voices and stories being appraised by the EITM Evaluation Matrix. The overall analysis shows the true benefit and cost of arts education within the Australian landscape. Unique insights into what it means to participate in arts education from varying perspectives are provided. The unique perspectives from teachers, artists, students, and arts organisations are shared throughout.

Globally, universities are facing complex issues which often leads to transformational change. Am... more Globally, universities are facing complex issues which often leads to transformational change. Among the changes, university governance and accountability management have been noted as areas of reform. The main drivers are globalisation, burgeoning knowledge-based economies, rapidity of new technologies adoption, and global competitiveness. The impact of these drivers and subsequent reform is ultimately reflected in the changing nature of academic work being undertaken by academic staff. Academic staff are inclined to negatively reflect on their experience of the changing nature of their academic work. This paper reports on a study conducted in Australia that explores the lived experiences of sixteen academics working in a range of public universities and experiencing transformational change. The study adopts a qualitative research approach to support inductive and open generation of new thinking to emerge from the data. The data collection method consists of in-depth, one-on-one, f...