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Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy.

The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees.

Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold.

A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.

A central issue in contemporary dance ethnography is that of writing the somatic – the attempt to articulate kinesthetic, bodily sensations that emerge in a particular culture or context, within a research format (Ness, 2008; Sklar, 2000). Emerging methods including performance making and poetic, narrative, experimental, or performative writing create space for recognition of choreographic and sensory knowledges within ethnographic research.This chapter presents a case study that illustrates what I term “movement-initiated writing”: writing that emerges through dance making, wherein the dance ethnographer is a participant observer in studio practice. This emic approach attempts to translate the felt affects of a specific world of movement into performances sited in the terrains of pages. This mode of writing draws on Roland Barthes’ (1977) notion of the “grain of the voice,” Gilles Deleuze's concept of the “minor literature” (Deleuze & Guattari, 1987), Hélène Cixous’s examples of écriture feminine (Cixous, 1991), and the field of performance writing.

David L. Altheide, Ph.D., is Emeritus Regents’ Professor of the Faculty of Justice and Social Inquiry in the School of Social Transformation at Arizona State University, where he taught for 36 years. His work has focused on the role of mass media and information technology in social control. His most recent books are Qualitative media analysis (2nd ed., Sage, 2012) and Terror post 9/11 and the media (Lang, 2009). Altheide received the Cooley Award three times, given to the outstanding book in symbolic interaction, from the Society for the Study of Symbolic Interaction: In 2007 for Terrorism and the politics of fear (2006); in 2004 for Creating fear: News and the construction of crisis (2002); and in 1986 for Media power (1985). Altheide received the 2005 George Herbert Mead Award for lifetime contributions from the Society for the Study of Symbolic Interaction, and the society’s Mentor Achievement Award in 2007.

Rarely are we invited to know the where of a writer’s writing; not the stance or angle or point of view they take on their narrative, but rather, the physical space and time they occupy as they write. This, of course, is an integral facet of the writer’s craft – and perhaps art. Writers (or in this case, ethnographers) may write “winter wonderland” tales in summer, or pieces exploring the inner workings of mind while on an impressive, event-packed holiday. They may write with calm and ease while flying at 11,277 meters above the Tasman Sea in a jostling, raucous ride that tests the resolve of all who fly. They may end up taking notes at their chosen “site,” transcribing in cramped student quarters, and writing in between early-morning feedings. Does place (and, come to it, time) affect what they have to say? What they choose to write? How they – or we – interpret what “facts” or “data” or “evidences” they call to bear on their individual take of the “truth”?

The purpose of this paper is to discuss Deveron Project’s (DP) Walking Institute, the only programme in the UK dedicated to commissioning artists to create walks. The author argues that the Walking Institute offers a model for tourism practices that engage local and international stakeholders in the creation of new global relationships. His research expands current critical discourse around the intersection between walking, tourism and art, and argues for DP’s approach as a way to create community-based, critically reflexive modes of tourism.

This paper is based on research completed for his doctoral thesis and combines practice-based and qualitative methods. The author has visited Huntly on two separate occasions, and have had conversations with project stakeholders, spent time visiting local attractions, and participated in local events and artists’ walks. The analysis draws on theories from performance studies and those being developed within cultural geography and the mobilities paradigm.

The Walking Institute provides a model for a community based approach to global tourism that calls on the artistic medium of walking to create a critical, reflexive mode of engagement. Through this model, the Walking Institute provides an innovative approach to tourism that offers potential tourists with a mode of local engagement beyond the consumption of the picturesque.

There is very little research into DP’s model, or the intersection between tourism and the burgeoning artistic medium of walking. This paper offers original insight into DP’s model and its relationship to a new field: walking art. Additionally, it informs current understandings of tourism through a demonstration of how a rural arts organisation is engaging with the global tourism industry.

Patient and public involvement (PPI) is increasingly central to the delivery of health services research. However, it has proved challenging to evaluate the impact of PPI on the implementation of research into clinical practice and health service delivery. The purpose of this paper is to develop and test a conceptual model explaining how PPI in the research process might impact on implementation.

A scoping review of knowledge translation and implementation science literature was performed to develop a conceptual model of the impact of PPI in research on implementation. A retrospective case study of a research project was used to illustrate the model.

The authors identified five domains in which PPI can impact on the implementation of research into practice. The review demonstrated that successful implementation depends on developing relational models of knowledge production, valuing experiential knowledge, engaging in collaborative practice, making use of knowledge brokers or tools for knowledge facilitation and embedding these factors into the implementation context. In the case study the authors were able to find examples that illustrated each of the five domains of the model.

The paper builds on existing endeavour to evaluate the impact of PPI in research, demonstrating that it is possible to model, conceptually, the processes whereby PPI in research might impact on practice and service delivery. By illustrating those processes through the exemplar case the authors also demonstrate the potential for the model to be “operationalised”, allowing the impacts, on practice, of PPI in research to be systematically and directly evidenced.