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Traditionally, assessment for university students in the humanities has been in an essay format, but this has changed extensively in the last decade. Assessments now may entail auditory and visual presentations, films, mind-maps, and other modes of communication. These formats are outside the established conventions of humanities and may be considered as creative works. Exploring definitions and research in the field of assessment of creativity, highlighting ways to explicitly assess the creative aspects of student work. An obligatory first year common unit titled "Cultural intelligence and capability" is examined as a model of how creative assessment can be used to extend engagement with subject material. Implications of considering creative aspects, in an explicit way, are reviewed. The underpinning argument is that in the current learning settings, creativity should be seen as an intrinsic part of appraisal criteria in the humanities as much as in the arts.

What enables success for students studying in the humanities can be a contested space; dependent not only on the view taken on the content and purpose of specific subjects, but also on the nature of teaching and learning. This paper examines the process of redeveloping an elective unit in a Tertiary Enabling Programme to prepare students for study in undergraduate humanities areas. The research involved consulting with academics from different disciplines in a regional university and analysing their views on what enhances student success. These discussions are reviewed in light of literature on best practice in teaching and learning for foundation and first-year university students, particularly exploring Pierre Bourdieu's notion of extending "cultural capital" while expanding "habitus" to emerge confidently into the field of academic life. We conclude that fostering students' awareness of personal perspective on historical and contemporary events, alongside encouraging awareness of the constructed nature of meaning in particular events is central to developing the kind of thinking valued by lecturers in humanities subjects.

Biodiversity is an abstract concept, attracting various responses from different people according to where they have come from and what ecosystems they have been closely linked to. In theory, most people would agree that protecting biodiversity is an important process, but in practice, few people commit to actions on a local level. This paper explores a situation faced in the Northern Territory where environmental educators seek to engage hearts, hands and minds to protect biodiversity but it is difficult to gain commitment given a diverse and transient community such as exists in Darwin. The survey of 175 tertiary students at Charles Darwin University develops insights into how individuals perceive and name local mangrove and savanna ecosystems, and which areas they would want to conserve. Results have implications for local environmental education. Suggestions are made about how awareness of and actions for biodiversity in the Top End could be extended. (Contains 2 tables and 4 figures.)

Traditionally, assessment for university students in the humanities has been in an essay format, but this has changed extensively in the last decade. Assessments now may entail auditory and visual presentations, films, mind-maps, and other modes of communication. These formats are outside the established conventions of humanities and may be considered as creative works. Exploring definitions and research in the field of assessment of creativity, highlighting ways to explicitly assess the creative aspects of student work. An obligatory first year common unit titled “Cultural intelligence and capability” is examined as a model of how creative assessment can be used to extend engagement with subject material. Implications of considering creative aspects, in an explicit way, are reviewed. The underpinning argument is that in the current learning settings, creativity should be seen as an intrinsic part of appraisal criteria in the humanities as much as in the arts. [ABSTRACT FROM AUTHOR]

In the process of developing short films with women in Australian Aboriginal (Yolŋu) communities in northeast Arnhem Land, questions arose about how the content and the process of production were defined and adjusted to suit both parties. This research examines how filmmakers take roles as health educators and howYolŋuwomen as the “actors” define and direct the film. It explores ways that the filmmakers tried to ensure thatYolŋuidentity was maintained in a biomedical agenda through the use of storytelling in language. An important dialogue develops regarding ownership and negotiation of health information and knowledge, addressing this intersection in a way that truly characterizes the spirit of community-based participatory research. Although the filmmaking processes were initially analyzed in the context of feminist and educational empowerment theories, we conclude that Latour’s (2005) theory of actor networks leads to a more coherent way to explore participatory filmmaking as a health education tool. The analysis in this work provides a framework to integrate health communication, Indigenous women’s issues, and filmmaking practices. In contrasting participatory filmmaking with health promotion and ethnographic film, the importance of negotiating the agenda is revealed. [ABSTRACT FROM PUBLISHER]