• D.I.Y: Hydrophonics.

      Locke, Caroline; University of Derby; University of Chichester (University of Chichester, 2015)
      D.I.Y Too is a new book about “do it yourself” performance, with contributions made by over 30 arts practitioners and collectives. It's a sequel of sorts - or rather; a continuation - to a recent text that platformed a growing community of voices in theatre, art, dance and performance making. Its aim is to articulate and contextualise an ethos and practice within contemporary art called "DIY" theatre and performance. This book is a text that provokes, prescribes, instructs, argues, plays, advises, promotes and describes. Its emphasis is on how theatre makers can encourage and evolve performance making by sharing their theories and practices, to help empower more artists to engage with this way of working. Critically (or theoretically) this book addresses a wide range of perspectives on "DIY" theatre and performance and identifies key axioms and dichotomies between ethos and style. Contributors: Accidental Collective: Pippa Bailey: Simon Bowes: Daniel Bye: Karen Christopher: Helen Cole: Dirty Market: Fictional Dogshelf: Emma Frankland and Keir Cooper: Gob Squad: Donald Hutera: Mamoru Iriguchi: Dan Koop: Lila Dance: Caroline Locke: LOW PROFILE: Rachel Mars: Harun Morrison: Hannah Nicklin: Joseph O'Farrell (JOF): Paper Cinema: Patternfight: Plastic Castles: Sh!t Theatre: Sleeping Trees: Sleepwalk Collective: Tassos Stevens: Shamira Turner, Little Bulb: Uninvited Guests: Hannah Jane Walker: Melanie Wilson: Greg Wohead: Caroline Wright and Helen Paris.
    • The Dangerous Rise of Therapeutic Education

      Hayes, Dennis; Ecclestone, Kathryn; University of Derby; University of Sheffield (Routledge Education Classic Editions, 2019-02-07)
      The Dangerous Rise of Therapeutic Education confronts the silent ascendancy of a therapeutic ethos across the educational system and into the workplace. Controversial and compelling, Kathryn Ecclestone and Dennis Hayes’ classic text uses a wealth of examples across the education system, from primary schools to university and the workplace, to show how therapeutic education is turning children, young people and adults into anxious and self-preoccupied individuals rather than aspiring, optimistic and resilient learners who want to know everything about the world. Remaining extremely topical, the chapters illuminate the powerful effects of therapeutic education, including: How therapeutic learning is taking shape, now and in the future How therapeutic ideas from popular culture have come to govern social thought and policies How the fostering of dependence and compulsory participation in therapeutic activities that encourage the disclosing of emotions, can undermine parents’ and teachers’ confidence and authority How therapeutic forms of teacher training undermine faith in the pursuit of knowledge How political initiatives in emotional literacy, emotional wellbeing and ‘positive mental health’ propagate a diminished view of human potential throughout the education system and the workplace. The Dangerous Rise of Therapeutic Education is an eye-opening read for every teacher and leader across the field of education, and every parent and student, who is passionate about the power of knowledge to transform people’s lives. It is a call for a debate about the growing impact of therapeutic education and what it means for learning now and in the future.
    • Dealing with the ever changing policy landscape: Learning from international practice

      Hooley, Tristram; University of Derby (Career Development Association of New Zealand, 2016)
    • Death, landscape and memorialisation in Victorian urban society: Nottingham's General Cemetery (1837) and Church Cemetery (1856)

      Elliott, Paul; University of Derby (The Thoroton Society, 2021-05-13)
      This article argues that through their buildings, landscaping, planting, monuments and management, Nottingham’s Victorian garden cemeteries functioned as heterotopias and heterochronias enabling visitors to traverse the globe, serving as portals to remote places and linking past with present and future and the living and dead. By the 1820s, the town faced problems associated with a high population density, crowded churchyards and poor public health, exacerbated by space restrictions caused by burgess rights to surrounding common lands. From the 1830s campaigners called for a comprehensive enclosure act with associated public green spaces intended to compensate the burgesses for loss of rights of common. As the first specially-designed public green space established under the reformed corporation, the General Cemetery (1837) played a crucial role in winning support for the Nottingham Enclosure Act (1845). This enabled the creation of the Nottingham Arboretum (1852) and other interconnected public parks and walks, providing additional space for the General Cemetery and land for a new Anglican Church Cemetery (1856). Landscaped and planted like a country-house garden with some (but not universal) interdenominational support, the General Cemetery provided a model for the public parks laid out after the 1845 act. It was also seen as an arboretum because of its extensive tree collection, which pre-dated the arboretums in Derby (1840) and Nottingham (1852). The Church Cemetery too, with its commanding location, landscaping, planting, antiquities and rich historical associations, likewise effectively served as another public park. Although quickly joined by other urban and suburban cemeteries in the Nottingham vicinity, the two Victorian garden cemeteries served the needs of a modern industrial population whilst invoking memories of communities long gone. Like the botanical gardens, arboretums, art galleries, museums and libraries, the two cemeteries were intended to further the objectives of middle-class rational recreationists as well as to serve moral and religious purposes and foster urban identity, even if, like them, they remained institutions divided by class and religion.
    • Deep Space

      Crossley, John; University of Derby (Sound on Sound Ltd., 2015)
      For this ambitious project, John Crossley had a full live band play through a 16-speaker system, to create an immersive performance inspired by the Rosetta spacecraft’s journey through the solar system.
    • A defining moment in personal tutoring: reflections on personal tutoring definitions and their implications

      Walker, Ben; University of Lincoln (University of Lincoln, 2018)
      Despite personal tutoring being a highly important area, it has a contested nature. One contention concerns its definition: in simple terms, what personal tutoring is and, by extension, what effective personal tutoring is. A book on personal tutoring (Stork and Walker, 2015) I co-authored entitled Becoming an Outstanding Personal Tutor - which aims to define the role of the personal tutor in further education as well as explain and demonstrate how to carry out the role effectively) - raises a number of questions to be explored further. These have been brought into sharper focus by both my journey from further to higher education and as a result of my ‘practical’ role as a manager of personal tutoring. The most urgent of these questions are centred on the theme of definition. What alternative definitions are out there? Are single definitions sufficient for the complexity of tutoring? When it comes to personal tutoring, what constitutes a definition anyway? The urgency stems from the increased importance placed on personal tutoring resulting from contextual developments and as shown from the findings of key research reports on the retention and success of students. Similarly, if there is a broad consensus that personal tutoring is vital, then further debate around what it stands for, and should stand for, in terms of good practice, needs to take place. Informed by critical pedagogy, this article will consider these questions of definition and the potential implications for organisations, those undertaking the role and students.
    • Defining the female artist: Marion Adnams and surrealism

      Forde, Teresa; University of Derby (07/03/2018)
      Marion Adnams’ work can be placed into different periods and subject matter and curating her work involves making decisions about such criteria. But to what extent are wider grouping useful in defining an artist’s work and does placing Marion Adnams in the context of Surrealism offer any insights into her practice? The relationship of women artists to Surrealism and the female/male dichotomies within the movement will be considered in relation to the ways in which they resonate with motifs and themes within Marion Adnams’ own work. French Surrealism was largely envisaged as a collective movement, encapsulated in its British counterpart in the work of artists such as Nash and Agar, in painting, found objects and poetry, which may provide an understanding of Marion’s individual yet surrealist approach to her work.
    • Deformed Electronic Dance Music

      Vandemast-Bell, Paul; University of Derby (2016)
      This performance investigates the ways in which improvisation and digital repetition can be brought together to produce what I have termed ‘Deformed EDM (Electronic Dance Music)’. Digital repetition is generally employed in EDM performance to create fluid transitions between predetermined loops synchronised to a global tempo. I am interested in what lies beyond the boundaries of conventional 4/4, loop-based EDM performance and new modes of live interaction beyond the norm. In the performance I explore the tension between musician/machine and control/unpredictability. The performance is made possible by nativeKONTROL’s Clyphx MIDI Remote Scripts for Ableton Live and a custom Ableton Push Controller mapping, which allows the user to extend and rework the relationship between musician and machine. In extending the creative possibilities of commercial devices beyond what they offer 'out of the box', novel forms of interaction can be uncovered and new musical terrain observed. Original electronic source material is reimagined through real-time loop manipulation to create synchronous/asynchronous rhythms and textures, evolved with effects and dynamic processors.
    • Delivering drama: drama in education practitioner Ava Hunt on what it's like to work in a war-torn region

      Hunt, Ava (Arts Industry, 2008-10-24)
      An account of the challenges of introducing drama skills to English teachers in Sri Lanka, against complex social issues of a war torn country.
    • The democratic development potential of a cultural ecosystem approach

      Barker, Victoria; University of Derby (University of Warwick, 2020-01-20)
      Culture is increasingly being deployed as a tool to deliver development policy, with ‘development’ seen as a process rather than as an outcome, in the same way that culture can be seen (and has a long history of such) as a “noun of process” (Williams 1976: 87). This has been usefully summed up by Duxbury, Kangas & De Beukelaer referencing Sen (1999) as the underlying idea that “development should not be considered as a finality (generally expressed in a monetary value derived from work) but the extent to which people are able to participate in political, social and economic life” (2017: 216). Development policy encompasses a broad range of focus from the industrial and economic to sustainable and human development agendas. Cultural policy itself is now predominantly framed within a model of economic growth, which limits opportunities to discuss more inclusive, accessible and participatory aspects that form this paper’s approach to democratic development. The following discussion explores the potential for cultural policy activity to develop inclusive and rich relationships from local to international scales, and to broaden the discussion of growth beyond the economic, through the device of the cultural ecosystem.
    • Designing a new documentary landscape: A renegotiation of documentary voice through animated collage

      Bosward, Marc; Bevan, Greg; University of Derby; University of Aberystwyth (Intellect, 2013-12)
      Documentaries represent issues and aspects of the socio-historical world. They do so through a selection and combination of audio and visual components. Inevitably, this practice makes intrinsic claims about documentary’s ability to represent the world both accurately and reliably. Facts, information, balance and reliability are the bedrock of documentary vocabulary. Comparatively few practitioners have genuinely interrogated the veracity of their craft; authenticity, evidence and objectivity remain central to the language of their practice. As the result of a mediated process, a documentary film is, at best, a crafted version of reality and its conventions are designed and developed to convince audiences of the authenticity of their particular representation of the world. Documentary’s traditional journalistic and pseudo-scientific status has hampered its development as a discursive art form capable of exploring a much broader sphere of human experience. Using a selection of still images, this article aims to contextualize, reflect on and illuminate the short, animated documentary Fforest (2009) by G. Bevan and M. Bosward. Drawing on the practice and principles of collage, the film seeks to expand the language of documentary production by deliberately undermining traditional approaches to knowledge, authority and fact. It explores potential new terrain for documentary by generating a non-realist, visual aesthetic that is not bound to traditional discourses of ‘sobriety’, whilst reaffirming the documentary as a composition which must be designed and assembled, in which authorial voice must be constructed rather than simply stated, and in which meaning is not necessarily explicit.
    • Destroying creativity

      Lennox, Peter; Wilson, Chris; Brown, Michael; University of Derby (23/06/2016)
    • Developing a new generation of careers leaders: An evaluation of the Teach First Careers and Employability Initiative

      Hooley, Tristram; Dodd, Vanessa; Shepherd, Claire; University of Derby (International Centre for Guidance Studies, University of Derby, 2016)
    • Developing a new generation of careers leaders: Executive summary

      Hooley, Tristram; Dodd, Vanessa; Shepherd, Claire; University of Derby (International Centre for Guidance Studies, University of Derby, 2016)
    • Developing an identity as an EdD leader: A reflexive narrative account.

      Tupling, Claire; Outhwaite, Deborah Emily; University of Derby; University of Warwick (Sage, 2017-11-22)
      This article considers the challenges encountered by a recently appointed assistant programme leader in establishing an identity as a leader of an EdD programme. In discussing literature on the development of the EdD, the article recognizes an existing concern with student identity but highlights a need to consider the development of the EdD leader’s identity as a leader. Employing a reflexive narrative, the article emphasizes the centrality of the leader’s disabled identity in considering the role of assistant programme leader and thus becoming a leader. The EdD is identified as a social space where colleagues are often engaged in their professional learning with the EdD leadership team providing support. This article tracks some of the commonplace behaviours around such learning in a post-1992 institution, and discusses the implications for EdD leadership and management teams when trying to consider and implement changes to established organizational cultures.
    • Developing creativity in early childhood studies students

      Yates, Ellen; Twigg, Emma (Elsevier, 2017-03)
      The study aimed to identify first year BA (Hons) Early Childhood Studies students' perceptions of and confidence in, their own creativity, in an East Midlands university in the United Kingdom and to inform the teaching of a first year Play and Creativity module at the same institution. The Play and Creativity Module makes use of the democratic definition of creativity (NACCCE, 1999) and Jeffrey and Woods (2003) concept of teaching for creativity by encouraging students to engage in practical activities to develop skills and confidence in their own capabilities. Though there is plenty of research which explores these ideas within the field of early childhood there is less research which focuses on best practice in Higher Education. The study identified a clear improvement in students confidence in their own creativity and their confidence to implement the activities experienced in the module sessions within their own practice. Students developed a deeper understanding of the concept of little creativity (Craft, 2002) and the democratic definition of creativity (NACCCE, 1999) and recognised the importance of providing a wide range of opportunities and resources for children to develop creativity. The practical activities within the module also supported students professional skills such as team working, listening to others and the importance of collaboration and reflection on practice. In addition, the practical and procedural elements of practice how to do with children was identified as being an area which was illuminated by completing the module and contributed to professional practice.
    • Developing creativity in early childhood studies students.

      Yates, Ellen; Twigg, Emma; University of Derby (2016)
      The study aimed to identify Early Childhood Studies students’ perceptions of, and confidence in, their own creativity, in an East Midlands university in England; and the influence of practical, creative activities on their practice with children. The study was qualitative in nature, framed within the interpretative paradigm and based on a first year Play and Creativity module which includes practical creative activity and the development of skills to enhance confidence. The key role of the practitioner in supporting children’s creativity has been highlighted (Craft 2002, Wright 2010) alongside the need for skills and confidence in practitioners. (Aubrey and Dahl 2013, Chien and Hui 2010) A study group of 25 was opportunity sampled from the full cohort of 90. Students completed questionnaires at the beginning and end of the module, alongside self- reflection sheets after five practical activities. Results were coded and analysed thematically. The study complied with the institution’s ethical procedures and participation was voluntary. Students were free to withdraw at any point. The results indicated improvement in students’ confidence in their own creativity and their ability to apply the skills developed within their practice. Students developed a wider understanding of the nature of creativity, including the importance of the environment, resources and opportunities for children to explore . The module supported students’ professional skills, including, team working, listening skills, collaboration and the importance of reflection on practice. The study concluded that practical activities within the module should continue to form part of the Early Childhood Studies Degree programme.
    • Developing ethical geography students? The impact and effectiveness of a tutorial-based approach

      Healey, Ruth L.; Ribchester, Chris; University of Chester (Informa UK Limited, 2016-02-17)
      This paper explores the effectiveness of a tutorial based approach in supporting the development of geography undergraduates’ ethical thinking. It was found that overall the intervention had a statistically significant impact on students’ ethical thinking scores as assessed using Clarkeburn et al.’s (2003) Meta-Ethical Questionnaire (MEQ). The initiative led to a convergence of scores, having a bigger impact on those who had a relatively low score prior to the intervention. Interestingly the approach had the biggest impact on students who self-identified as physical geographers. Unlike some previous research there was little evidence of difference between male and female students.
    • Developing local narratives for objects in national collections: Lessons learned from the “Number Please? Working with the Enfield Exchange” project.

      Geoghegan, Hilary; McIlvenna, Kathleen; van der Vaart, Merel; Institute of Historical Research (Wiley, 2017-06-19)
      Museums of science, technology, and engineering are developing new ways of interpreting and displaying their collections. Increasingly objects are being placed within narratives of everyday use; the human side of technology. The focus of this article is a section of one of the last UK manual telephone switchboards, which was acquired by the Science Museum, London, following its decommissioning in 1960. This artifact offers a unique insight into a communication technology that relied extensively on female telephonists, a distinct way of understanding gender roles in the twentieth century. The authors explore strategies for developing local narratives for objects from national collections and reflect on lessons learned from a cross-institutional collaboration. This article highlights: the value of local historians, community events and oral histories to developing local narratives; how these activities informed understandings of the telephone switchboard; work life in the communications industry; the relationship between women and technology; and practical strategies that can enhance collections and museum practice through collaboration.