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This article explores the implementation of PEARL (Political, Embodied, Active, and Reflective Learning) in two courses at The University of Queensland: a first-year introductory Indigenous Studies course and a second year Indigenous Education course. We draw on findings from a 2-year (2010-2011) Office for Learning and Teaching (then ALTC) funded curriculum renewal project and findings from a pilot project (2013) implementing PEARL in a compulsory Indigenous Education course for all pre-service teacher educators in primary and secondary teacher training at The University of Queensland. Drawing transformative education theory into conversation with critical pedagogy and anti-colonial/racist education, we share student data from focus groups, questionnaires and reflective journals to examine the shift in students' understanding of Indigenous issues, histories and peoples. Finally, we reflect on the ways the results hold great potential for the further implementation of PEARL into other university level courses, specifically in relation to a "pedagogy of solidarity" between Indigenous and non-Indigenous people.

In this paper, I use a bricolage of arts-based research and writing practices to explore narratives by Grade 4 children about their experiences in a drumming circle called "Bam Bam" as represented in a text they created with me called An ABC of drumming. The term "narrative" is used here in a contemporary sense to simultaneously invoke a socially and musically situated and constructed story (Chase, 2005 p. 657); as an "account to self and others" (Barrett & Stauffer, 2009, p. 7) about drumming in a particular place, with a particular group of children during a particular set of events; and, to explore narratives of drumming as the "shared relational work" of myself as a drummer, teacher, researcher and "story-teller/story-liver" (Connelly & Clandinin, 1990, p. 12) alongside the children. In synchronicity with the ABC of drumming produced by the children, the paper itself is framed and written creatively around letters of the alphabet and variously includes poetry and data or research poetry; ethnographic "thick descriptions" (Geertz, 1973) of our drumming circle; and, visual and textual expressions by the children. By doing so, my aim is to move collectively from 'narrative as a "story-presented" to narrative as a "form of meaning-making", indeed, a form of "mind-making"' (Barrett & Stauffer, 2009, p. 10) about the children's experience of drumming and the drumming circle itself. The central question underpinning this paper then is, what makes children's experience in a drumming circle meaningful, and how do they make sense of such meaning?

For tertiary educators in Indigenous Australian Studies, decolonising discourse in education has held much promise to make space for the diversity of Indigenous Australian peoples to be included, accessed, understood, discussed, and engaged with in meaningful ways. However, Tuck and Yang provide us with the stark reminder that decolonisation requires the return of Indigenous lands and does not equate to social justice. In this article, we take up Tuck and Yang's concerns about decolonisation discourse into the terrain of transformative learning and pedagogical practice in Indigenous Australian Studies. We first position ourselves personally, professionally, and politically as non-Indigenous educators in the context of Indigenous Australian Studies in higher education and introduce the transformative learning environment of Political, Embodied, Active, and Reflective Learning (PEARL) in which we are currently involved. We then explore in more detail PEARL's relationship to critical pedagogy, critical race theory, and decolonisation as praxis in the context of Indigenous Australian Studies. Ultimately, we enter into this discussion in a spirit of "unknowing" to question previously held assumptions about the transformative, socially just, and decolonizing potential of our educational praxis in Indigenous Australian Studies while at the same time exploring the possibilities, as Maxine Greene encourages, of decolonised vistas in this field as yet "unknown."

In this paper, the author is going to turn around and around ideas about feminist pedagogy and feminist politics in the academy in a similar way to take us to the kind of "social somewhere" of which Barone and Eisner write, to look at the same material in familiar and unusual ways--here a fiction, there a fanciful retelling of facts, somewhere else a freehand drawing and everywhere conversations of the friendly kind. Scene 1 of the story begins in a meeting room in a university, where at that particular moment, the rationale to continue or end women and gender studies is the main topic of discussion. Scene 2 presents a feminist response to the assumption that women and gender studies is no longer needed, wanted, and therefore no longer justified as an area of undergraduate study in universities in the form of a "feminesto." In Scene 3, the author is joined by a friend called "Ms. Feminist Pedagogy" to explore the teaching and learning imperatives that ground them as feminists in the academy. Scene 4 brings together individual women and gender studies stories in a shared conversation over coffee where the author and her colleagues talk about what being feminist in the academy means to them, what it looks and feels like to be a feminist academic, and the kinds of feminist pedagogical performances that are central to their work in women and gender studies. The paper closes by returning to the beginning--to the author's interview with Merle Thornton--to consider what the future might hold for those of us who are not afraid say the "f word" in higher education.

In this article, I take a creative and autoethnographic approach to reflect upon processes of decolonisation in Indigenous Australian studies classrooms. Positioning myself as a non-Indigenous educator, I take the reader on a journey through my search for pedagogy which makes space for the colonial, difficult and messy politics of race, whiteness and knowledge to be actively challenged, deconstructed and reimagined in this context as PEARL.

This article explores the shift in terminology that occurred in a 2-year Australian Learning and Teaching Council (ALTC)-funded curriculum renewal project that set out to broadly explore current teaching and learning practice in Indigenous Australian studies (www.teaching4change.edu.au). While we started with the term "Problem-Based Learning", it became clear as the project progressed that the terminology we were using was not politically or pedagogically appropriate. As the data began to reveal, the research team became increasingly uncomfortable with the colonial underpinnings and associations of the term "Problem-Based Learning" (PBL), and began to explore the possibility of redefining what we do as something else entirely. A key outcome of the project was that PBL became PEARL, to describe the Political, Embodied, Active, and Reflective aspects of this teaching and learning approach in Indigenous Australian studies. The shift from PBL to PEARL was unexpected, but has resulted in exciting possibilities for migrating and extending theories of teaching and learning in Indigenous Australian studies into critical pedagogy, critical race theory and transformative education. Drawing on critical pedagogy, critical race theory and transformative education theory, this article explores the rationale behind the shift in terminology from PBL to PEARL. We also draw on student data from focus groups, questionnaires and lecturer reflection to examine the ways the results from this project hold great potential for the further implementation of PEARL into primary and secondary classrooms, specifically in relation to pedagogical practice in embedding Indigenous perspectives.

Reflective journal writing is acknowledged as a powerful method for promoting student learning in higher education contexts. Numerous scholars highlight the benefits of reflective writing and journaling for students and teachers in a wide range of teaching areas. There is however, little discussion of how reflective writing is used in teaching and learning in Indigenous Australian studies. This paper explores how reflective writing can help students think critically about the complexities of researching and writing about Indigenous Australian performance. We discuss ways of incorporating and enhancing reflection in teaching and learning Indigenous Australian studies and examine how the use of reflective writing in Indigenous Australian studies can engage rather than educate; democratise rather than dictate knowledge; critically question and reflect upon rather than control and censor what we can know; and actively transform instead of passively inform. (Contains 1 table and 2 figures.)

There is perhaps no image more maternal and musical than that of a young mother cradling a child to her breast as she softly sings a sweet lullaby. Yet the way that a mother experiences, relates to and renders meaningful the social and musical moment of singing to her children remains silent and hidden in popular and academic discourse. In this paper, I will explore how music becomes mothering; that is, the way that women sing maternity and use music to mother; what music brings to their thoughts, feelings and identities as mothers; and, what kinds of interactions and interrelationships are created with their children through music as play and performance of mothering. Through auto-ethnographic processes of reflection and research about my own experiences as the mother of two sons, and engagement with a wide array of discourses about mothering; the voices and perspectives of women take centre stage in this paper. My main concern is to make visible the musical worlds of mothers and children and make known the power of maternal song in creating places of excitement, empowerment, love and peace in the home for mothers and children. (Contains 12 figures.)

"Play school" is an icon of Australian children's television and an important part of Australian life--this programme, perhaps more than any other, has taken and continues to take centre stage in our living rooms and social worlds as young children. "Play school" is invested with an enormous amount of cultural capital and hence plays a significant role in the way that children engage and learn about social interaction, life and values in Australian culture. Aimed at preschoolers under the age of five, everything in the programme is done to relate as closely as possible to the social world and developmental level of the child and thereby assist their social, psychological and cognitive development. Through a combination of songs and dances, stories, dress up games and moments to "look through the window" into the real world outside "Play school", children are presented with a variety of sounds and images to engage with social concepts. In this paper we explore discourses of race, otherness and Indigeneity on "Play school" by deconstructing Aboriginalist images and representations featured on the programme and in doing so ask questions about the types of "race making" that this programme engages in. (Contains 3 notes.)

This paper reports on an education programme conducted with first-time mothers. The study aimed to establish whether mothers found an education session on lullaby singing beneficial for them and their babies as well as reporting what lullabies were sung and why. Twenty first-time mothers were provided with examples of lullabies and asked to sing lullabies to their babies at bedtime at least four times per week over a six-week period. Data contained in interviews and in diaries kept by the mothers were used to evaluate the value of the education session, the range of lullabies sung and their frequency of use, and to gain insight into mothers' thinking when choosing lullabies. Results indicate that mothers sing a broad range of lullabies utilising a repertoire of between five and seven lullabies. Reasons for selecting lullabies varied between the different mothers and for different lullabies but most frequently, selections were based on the perception that they were quietening, calming or relaxing for their babies. Selections were also based on whether mothers knew the lullabies and were confident to sing them. The education session was evaluated with mothers reporting on how singing lullabies facilitated a deeper understanding of their babies' responses, and enhanced their own feelings associated with motherhood. Recommendations are made as to the type and context of future education sessions.

In this paper I explore the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. I examine what decolonisation means in this context by describing the ways in which the curriculum, the students and me, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like? (Contains 1 figure.)

Problem-based learning (PBL) is a pedagogical approach in which students encounter a problem and systematically set about finding ways to understand the problem through dialogue and research. PBL is an active process where students take responsibility for their learning by asking their own questions about the problem and in this paper we explore the potential of PBL as a "location of possibility" (hooks, 1994, p. 207) for an engaged, dialogic, reflective and critical classroom. Our discussion centres on a course called ABTS2010 "Aboriginal Women", taught by the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland where PBL is used frequently, and a specific PBL package entitled "Kina v R" aimed at exploring social and legal justice issues for Indigenous Australian women. From both a historical and contemporary perspective, we consider the types of understandings made possible about justice for Aboriginal and Torres Strait Islander women for students in the course through the use of a PBL approach.

Indigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

One perpetual concern among Indigenous Australian peoples is authenticity of voice. Who has the right to speak for, and to make representations about, the knowledges and cultures of Indigenous Australian peoples? Whose voice is more authentic, and what happens to these ways of knowing when they make the journey into mainstream Western academic classrooms? In this paper, I examine these questions within the politics of "doing" Indigenous Australian studies by focusing on my own experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland. My findings suggest that representation is a matter of problematizing positionality and, from a pedagogical standpoint, being aware of, and willing to address, the ways in which power, authority, and voice are performed and negotiated as teachers and learners of Indigenous Australian studies.

A college course in Queensland (Australia) brings Indigenous women into the class to teach their music and dance. Performative pedagogy involves students as audience and participants, providing opportunities to critically engage with the social, political, and ethical dimensions of power and knowledge in the university setting. Student comments address performance as embodied knowledge, representation, identity politics, and self-reflexivity. (Contains 23 references.) (TD)

A White Australian professor of a class on Indigenous women's dance has her Aboriginal sister-in-law conduct workshops on Indigenous dance. The classroom dynamics resulting from the complex power relationships (teacher as White woman, Aboriginal family member, and students) disturbs Western paradigms. The responsibility of "safely delivering" Indigenous knowledge is likened to that of a midwife. (TD)