Literatura científica selecionada sobre o tema "Performing arts, Sydney NSW"

Urban planning policies in New South Wales (NSW), Australia are continuously being reformed, in order to make them more economic development friendly. These reforms are concerned with making development approvals easier and faster. The implementation of these reforms and their outcomes in Greater Sydney, NSW, vary according to the local socio-economic conditions. The affluent communities in Greater Sydney are very concerned about these reforms and actively resist their application in their areas. They are successful in avoiding the application of reformed urban planning policies. However, the lower socio-economic parts of Greater Sydney in the outer areas are not able to engage with these urban policy issues. The reformed urban policies are fully applied in the poorer areas, often resulting in excessive and poor-quality urban development. Past research on urban planning policy development, application and outcomes in Sydney has not investigated selective planning policy application and its differential outcomes. This paper analyses the selective application of some recent urban planning policy reforms as they relate to socio-economic division in Greater Sydney. The research argues that the selective application of urban planning policy in Greater Sydney is reinforcing socio-economic division there.

Hotel Pro Forma is a Copenhagen-based international laboratory for performing arts – a small production company with substantial influence on the performing arts in Scandinavia and Europe. Since 1985 Hotel Pro Forma has staged more than 50 productions shown in more than 30 countries around the world from New York, Sydney to Taipei. Productions are developed through an intensive period of research, and different themes are taken from a wide-ranging field of interest. This special English issue presents selected Hotel Pro Forma productions. Most readers will probably not have seen the performances, which is why we have been at pains to describe the different productions. We have selected those we consider to have influenced the performing arts the most by expanding the medium of the performing arts. Further we wanted to include a number of photos for the reader to get a more precise impression of Hotel Pro Forma’s pioneering works. Some of the articles have previously been published in Danish in: Skønhedens Hotel, Hotel Pro Forma, Et laboratorium for scenekunst, Aarhus University Press, 2015.

Heritage visualizations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove circa 1800, which foregrounds the interpretive nature of heritage visualization. It is a reimagining in VR of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualization. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels about the nature and role of heritage.

Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criticism, Performance, and Reading’. Here – grounding their work in industry ‘readings’ via production study and interviews – they focus on production and performance of The Cherry Orchard, contrasting the Richard Eyre/Trevor Griffiths production of 1977 (reproduced in 1981 for BBC TV) with Adrian Noble's production at the Swan Theatre, Stratford, in 1995. In particular, they discuss the writing, directing, acting, and staging of Chekhov's ‘modernity’ in these productions, suggesting that whereas Noble referenced and yet simultaneously occluded class in his rehearsal style and staging, Griffiths and Eyre worked for a production which not only embodied the intra-class mobility of the Thatcher era in 1981, but also the ‘then’ of Chekhov's own particular engagement with modernity and environment. John Tulloch, Professor of Cultural Studies at Charles Sturt University, New South Wales, is author of Chekhov: a Structuralist Study. Tom Burvill is Associate Professor of Drama and Cultural Studies at Macquarie University, Sydney, where Andrew Hood is a PhD student working on reception cultures.

The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.

Review of: Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)London, New York, Oxford, New Delhi and Sydney: Methuen Drama and Bloomsbury, 320 pp.,ISBN 978-1-47250-841-6, h/bk, $63.00ISBN 978-1-40818-589-6, p/bk, $20.96ISBN 978-1-40818-591-9, e/bk, $18.86

In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.

In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
Doctor of Philosophy (PhD)

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material

This thesis examines the theatricality which accompanied the establishment, development and deployment of the colonial army in New South Wales during the last two decades of the nineteenth century. It investigates the transfer to the colony of the military ethos of the Imperial power, and explores the ways in which performances of military spectacle, in both theatrical and paratheatrical contexts, were interpreted by the colonists. The primary sources for the research are the Sydney press and the Mitchell `Australiana' collection of the State Library of New South Wales. The framework of the argument is presented in five chapters. The first, Displaying, investigates the relationship between civilians and the military forces at training camps, and then the performances of sham fights. The second, Committing, explores the attitudes of civilians and soldiers at the departures of New South Wales troops to the Soudan and Boer Wars. Informing, thirdly, investigates how the Imperial military ideology was conveyed through performance, and how this information was interpreted in the colony. Accommodating analyses songs and theatre performances which first reflected colonial anticipations at the commitment to conflict and then attempted to accommodate the actuality of the experience. Lastly, Desiring, explores the colonists' endeavours to invent traditions which satisfied the discrepancy between their hopes and their experiences of Imperial war. This thesis asserts that the colonial reinterpretation of military ideology was influenced by concepts both of service to the Imperial power and of national identity. The interplay between these influences led to the colonists' idealising the Imperial association. This ideal was not demonstrated in the practice of association. The result of this experience was a defining of the differences between colonial and Imperial perceptions, rather than a reinforcement of their similarities. Much of the exploration of thesis also prepares the ground for a fuller cultural understanding of the issues at play in the final emergence of the Anzac tradition at the engagement of colonial soldiers against Turkish troops at Gallipoli in April, 1915.

Thesis (Ed.D.) -- University of Western Sydney, 2002.
"A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education from University of Western Sydney, Nepean" Bibliography : leaves xii-xv.

Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.
A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.

The proposition that this thesis investigates is that the Northern Rivers region of NSW, the area from Grafton to Tweed Heads, is growing as a lifestyle and learning region with the potential for audiovisual industry activity to develop as a series of networked industry clusters. The cluster model is explored as an alternative approach to industry development that offers new opportunities for enterprise building and new options for government intervention in the cultural industries in the region. The concept of creative industries is also applied to scope new collaboration and economic development options for the cultural industries, creative arts, media and communications sectors and a new agenda for collective action amongst industry players in the region. The thesis confirms that audiovisual and creative industries' activity in the Northern Rivers region has reached a significant level in terms of representation in the workforce and economic and social benefit to the region. The research identified a total of 1,621 people involved in audiovisual industries in the region, representing a growth of 214% since 1996. The total number of people involved in creative industries in the region in 2000 was conservatively estimated to be 3,500, which is 4.1 % of the local work force, a significant figure for a non-metropolitan region. The thesis questioned the usefulness of Australian Bureau of Statistics (ABS) data in providing an accurate picture of creative industries, and the research may be considered a pioneering work in its method of collecting data on creative industry cluster developments in Australia. The thesis concludes that the Northern Rivers region has an active, significant and growing audiovisual industry within the creative milieu of a lively and growing creative industries' sector, and has the potential to develop as a series of networked creative industries' clusters. However, considerable barriers and difficulties exist at both the local and national levels for these industries, and specific measures need to be taken urgently to support this developing sector and to provide the infrastructure and mechanisms needed to ensure that the current growth is sustainable.

This research investigates the agency of artistic directors of subsidised major Australian theatre organisations in the post Major Performing Arts Inquiry (1999) sector. The research was conducted in response to a new generation of artistic directors commencing leadership of the major theatre companies from 2008. This new era of leadership was expected to revitalise the sector, however it remained in a perceived state of artistic and financial crisis. This thesis considers the role of the artistic director as an artistic leader of the field, and examines how the agency of this position came to be shaped by arts policy, economic and artistic forces. I argue that historical arts policies and the recommendations of MPAI altered the structures of the sector. Furthermore, while the changes these policies introduced reorganised the structure of the sector and administration of the companies, they also restricted the transformative agency of its artistic leaders to advance the artistic and economic performance of their organisations. This research uses a qualitative case study methodology. The data was collected through interviews with artistic and administrative leaders in the field, document and archival analysis and observation. The data is analysed within a theoretical framework inspired by French sociologist Pierre Bourdieu’s space of possibles, a conceptual device put forward in “The field of cultural production” (1983, p.313). Three chapters present the research. The first, a case study, examines episodes of artistic leadership at Sydney Theatre Company (STC) between 1980 and 2014. The second chapter also presents a case study that examines the career path of Aubrey Mellor and his leadership as the final artistic director of Playbox Theatre Company (Melbourne) between 1993 and 2004. The third chapter discusses the length of artistic director’s tenure as a significant constraint in the sector, with the time spent in the position revealing the effects of several artistic, economic and personal forces. The findings of the research indicate that the agency of an artistic director is predetermined through the organisation’s position in the field, established through the agendas of arts policy. Additionally, the agency of an artistic director is also profoundly influenced by the dynamic of the transition between generations of artistic leaders and the career trajectory of the individual artistic leader. These conclusions suggest the agency of artistic directors at major theatre companies is shaped through sector-wide and personal forces. Their capacity for transformative agency is limited.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text

While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.

Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

Overview Skin cancer prevention is a component of the new Cancer Plan 2022–27, which guides the work of the Cancer Institute NSW. To lessen the impact of skin cancer on the community, the Cancer Institute NSW works closely with the NSW Skin Cancer Prevention Advisory Committee, comprising governmental and non-governmental organisation representatives, to develop and implement the NSW Skin Cancer Prevention Strategy. Primary Health Networks and primary care providers are seen as important stakeholders in this work. To guide improvements in skin cancer prevention and inform the development of the next NSW Skin Cancer Prevention Strategy, an up-to-date review of the evidence on the effectiveness and feasibility of skin cancer prevention activities in primary care is required. A research team led by the Daffodil Centre, a joint venture between the University of Sydney and Cancer Council NSW, was contracted to undertake an Evidence Check review to address the questions below. Evidence Check questions This Evidence Check aimed to address the following questions: Question 1: What skin cancer primary prevention activities can be effectively administered in primary care settings? As part of this, identify the key components of such messages, strategies, programs or initiatives that have been effectively implemented and their feasibility in the NSW/Australian context. Question 2: What are the main barriers and enablers for primary care providers in delivering skin cancer primary prevention activities within their setting? Summary of methods The research team conducted a detailed analysis of the published and grey literature, based on a comprehensive search. We developed the search strategy in consultation with a medical librarian at the University of Sydney and the Cancer Institute NSW team, and implemented it across the databases Embase, MEDLINE, PsycInfo, Scopus, Cochrane Central and CINAHL. Results were exported and uploaded to Covidence for screening and further selection. The search strategy was designed according to the SPIDER tool for Qualitative and Mixed-Methods Evidence Synthesis, which is a systematic strategy for searching qualitative and mixed-methods research studies. The SPIDER tool facilitates rigour in research by defining key elements of non-quantitative research questions. We included peer-reviewed and grey literature that included skin cancer primary prevention strategies/ interventions/ techniques/ programs within primary care settings, e.g. involving general practitioners and primary care nurses. The literature was limited to publications since 2014, and for studies or programs conducted in Australia, the UK, New Zealand, Canada, Ireland, Western Europe and Scandinavia. We also included relevant systematic reviews and evidence syntheses based on a range of international evidence where also relevant to the Australian context. To address Question 1, about the effectiveness of skin cancer prevention activities in primary care settings, we summarised findings from the Evidence Check according to different skin cancer prevention activities. To address Question 2, about the barriers and enablers of skin cancer prevention activities in primary care settings, we summarised findings according to the Consolidated Framework for Implementation Research (CFIR). The CFIR is a framework for identifying important implementation considerations for novel interventions in healthcare settings and provides a practical guide for systematically assessing potential barriers and facilitators in preparation for implementing a new activity or program. We assessed study quality using the National Health and Medical Research Council (NHMRC) levels of evidence. Key findings We identified 25 peer-reviewed journal articles that met the eligibility criteria and we included these in the Evidence Check. Eight of the studies were conducted in Australia, six in the UK, and the others elsewhere (mainly other European countries). In addition, the grey literature search identified four relevant guidelines, 12 education/training resources, two Cancer Care pathways, two position statements, three reports and five other resources that we included in the Evidence Check. Question 1 (related to effectiveness) We categorised the studies into different types of skin cancer prevention activities: behavioural counselling (n=3); risk assessment and delivering risk-tailored information (n=10); new technologies for early detection and accompanying prevention advice (n=4); and education and training programs for general practitioners (GPs) and primary care nurses regarding skin cancer prevention (n=3). There was good evidence that behavioural counselling interventions can result in a small improvement in sun protection behaviours among adults with fair skin types (defined as ivory or pale skin, light hair and eye colour, freckles, or those who sunburn easily), which would include the majority of Australians. It was found that clinicians play an important role in counselling patients about sun-protective behaviours, and recommended tailoring messages to the age and demographics of target groups (e.g. high-risk groups) to have maximal influence on behaviours. Several web-based melanoma risk prediction tools are now available in Australia, mainly designed for health professionals to identify patients’ risk of a new or subsequent primary melanoma and guide discussions with patients about primary prevention and early detection. Intervention studies have demonstrated that use of these melanoma risk prediction tools is feasible and acceptable to participants in primary care settings, and there is some evidence, including from Australian studies, that using these risk prediction tools to tailor primary prevention and early detection messages can improve sun-related behaviours. Some studies examined novel technologies, such as apps, to support early detection through skin examinations, including a very limited focus on the provision of preventive advice. These novel technologies are still largely in the research domain rather than recommended for routine use but provide a potential future opportunity to incorporate more primary prevention tailored advice. There are a number of online short courses available for primary healthcare professionals specifically focusing on skin cancer prevention. Most education and training programs for GPs and primary care nurses in the field of skin cancer focus on treatment and early detection, though some programs have specifically incorporated primary prevention education and training. A notable example is the Dermoscopy for Victorian General Practice Program, in which 93% of participating GPs reported that they had increased preventive information provided to high-risk patients and during skin examinations. Question 2 (related to barriers and enablers) Key enablers of performing skin cancer prevention activities in primary care settings included: • Easy access and availability of guidelines and point-of-care tools and resources • A fit with existing workflows and systems, so there is minimal disruption to flow of care • Easy-to-understand patient information • Using the waiting room for collection of risk assessment information on an electronic device such as an iPad/tablet where possible • Pairing with early detection activities • Sharing of successful programs across jurisdictions. Key barriers to performing skin cancer prevention activities in primary care settings included: • Unclear requirements and lack of confidence (self-efficacy) about prevention counselling • Limited availability of GP services especially in regional and remote areas • Competing demands, low priority, lack of time • Lack of incentives.