Objective: Since 2012, all community care recipients in New Zealand have undergone a standardised needs assessment using the Home Care International Residential Assessment Instrument (interRAI‐HC). This study describes the national interRAI‐HC population, assesses its data quality and evaluates its ability to be matched. Methods: The interRAI‐HC instrument elicits information on 236 questions over 20 domains; conducted by 1,800+ trained health professionals. Assessments between 1 July 2012 and 30 June 2014 are reported here. Stratified by age, demographic characteristics were compared to 2013 Census estimates and selected health profiles described. Deterministic matching to the Ministry of Health's mortality database was undertaken. Results: Overall, 51,232 interRAI‐HC assessments were conducted, with 47,714 (93.1%) research consent from 47,236 unique individuals; including 2,675 Māori and 1,609 Pacific people. Apart from height and weight, data validity and reliability were high. A 99.8% match to mortality data was achieved. Conclusions: The interRAI‐HC research database is large and ethnically diverse, with high consent rates. Its generally good psychometric properties and ability to be matched enhances its research utility. Implications: This national database provides a remarkable opportunity for researchers to better understand older persons’ health and health care, so as to better sustain older people in their own homes.

Objectives: The objectives of this qualitative study were to examine local perspectives on the causes of crime and recidivism in two remote Indigenous communities, and provide a series of recommendations regarding more effective responses that could be implemented by way of justice reinvestment. Method: This study was coordinated by a multi-disciplinary research team that actively engaged the community in every stage of the research process, through a culturally and ecologically informed participatory action research design. Data was gathered through semi-structured individual and focus group interviews with three cohorts: (a) offenders who had been incarcerated on at least one occasion (n = 20); (b) offenders' families (n = 20); and, (c) service providers working with offenders (n = 20). Data was also gathered through over 40 informal conversations. Data collection occurred over a period of 18 months, with participants recruited by Indigenous researchers and community members. Data Analysis: Interviews were transcribed and analysed by NVivo qualitative data processing software in the first instance. The core research team and community members reviewed this analysis in order to collectively identify major themes and patterns in the perspectives of participants. Conclusion: People in remote Indigenous communities are aware of the complex issues associated with crime in their community and have clear ideas regarding what can be done. We argue that in order to understand and address Indigenous crime and over-representation in the criminal justice system, the perspective of Indigenous people must be elevated and communities empowered to identify and implement ecologically and culturally informed solutions that will work for them.

Abstract

Examining the ontology and place of digital dance within the spectrum of contemporary choreographic expression, this article proposes to consider the interweaving of interoceptive (somatic) and exteroceptive (technological) agency in a third wave of digital interfaces for dance. It argues that an ontology of digital dance might be summarily qualified as an active sensory-perceptual mode of experiencing, capable of revealing new dimensions of aesthetic reception, modes of performativity and expressions of corporeal presence in dance that emerge with/through the mediated body. It views technology not as a foreign, autonomous agency, system or simple tool, but rather as a means of stimulating heightened sensory awareness and forging relations with the individual’s somatic (inner) bodily experience. while referencing a range of recent works that establish the conditions for such experiences, it further proposes to consider how digital works develop and underscore perspective as a dramaturgical strategy and aesthetic, and as a consequence, how new media interfaces for dance can be considered ‘new viewing-sensing devices’.

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