Teaching through English Medium of Instruction (EMI) is a theory-based pedagogy that has been adopted in many European and Asian countries as a strategic initiative in educational internationalization. To date, there has been little research into EMI in-class teaching and learning. In effect, lived experiences in EMI in-class practice have been largely ignored. To address this gap, we reported on a case study that explored the linguistic and pedagogical characteristics of EMI lecturers’ teaching in a university in southern China. Twenty academic staff in the university’s EMI programs were recruited. Their in-class EMI teaching processes were observed and audio-recorded. The data was analyzed by drawing upon multilingualism and instructional design theories. This research found that Chinese EMI lecturers’ bilingual repertoire led to their English instruction featuring Chinese language influences, from pronunciation to syntax and that translanguaging strategies were purposively employed to achieve their goals including students’ cognitive understanding, affiliative bonds and the lecturers’ own survival for teaching. Further, that and the instruction applied in the EMI classes were more topic-centered than problem-centered, focusing on activating new learning and knowledge presentation through demonstration.

Artistic research output struggles for recognition as ‘legitimate’ research within the highly-competitive and often traditional university sector. Often recognition requires the underpinning processes and thinking to be documented in a traditional written format. This article discusses the views of eight arts practitioners working in academia by asking whether or not they view their arts practice as research and, if they do, how it is so. The findings illuminate ways in which artistic practice is understood as research and reveal how the process of analytical and reflective writing impacts artist academics, their artistic and academic identities and their environment. The findings suggest a frame within which to advocate the equivalence of artistic research with traditional scholarly research. They also suggest a rationale for arguing against this, focusing instead (or perhaps as well) on a wider understanding of what constitutes knowledge. This has implications for academics, for students and for universities in recognizing the research inherent within arts practice itself, and in recognizing the value of practice-led writing in understanding and communicating new knowledge, new methods, and new definitions of research.

Translanguaging theory and practices have enabled multilingual spaces where students’ full linguistic repertoires are valued, explored, and utilized by educators as resources across educational settings. However, research reporting supervision pedagogies incorporating international doctoral students’ multilingualism as intellectual resources in doctoral research education in Australia remains scant. This paper reports a case study that explored a PhD program at an education faculty in an Australian university. The data, participant observation, and semi‐structured interviews were collected from seven multilingual doctoral students, and nine supervisors. These data were analyzed within the framework of post‐structuralist translanguaging and translanguaging pedagogy. This research found supervisors demonstrated a consistent translanguaging stance and valued their students’ multilingual resources for knowledge production. Through spontaneous and planned translanguaging pedagogical practices, they endeavored to enhance students’ deployment of their multilingual capability for knowledge production.

This paper challenges the assumption that learning is a process of conscious mastery. In its place if offers the notion that learning is something we live within. Implicit in this are questions about how learning happens and how experience is conceived as learning. Accordingly, the paper will offer a series of provocations to ‘find the learning in the experience’. In doing so it will test the senses alongside the intellect and the resonance of the experience alongside its cultural definition. To facilitate this, the paper will reflect upon the ‘body in learning’ and the means whereby this is received and expressed. Central to the discussion will be the stimulus contained in emotional experience. Here, reflection upon the ‘ecology’ of embodied experience will be addressed. Influences upon this work range far and wide. They include Augusto Boal, Humberto Maturana, Constantin Stanislavski, Aaron Williamson and others. Because it is configured in terms of learning rather than healing, the orientation of the paper is towards a working understanding rather than resolution.

Teaching through English Medium Instruction (EMI) has been a strategic move in some European and Asian countries as part of their educational internationalisation. A large number of studies on EMI teaching have appeared in the last decade. The majority of these report on issues and concerns at macro-level including: the lack of structured policy guidance, EMI lecturers and students’ low level of English proficiency, and a shortfall of research informed training programs for EMI lecturers. Up to date, there is little research into EMI in-class teaching and learning. Lived experience in EMI in-class practice has been largely ignored. To fill this gap, this research explored a group of academics’ in-class EMI practice in a Chinese university. Their teaching process through EMI was observed and recorded, with data analysed through a multiple theoretical lens. Data reveal that EMI teaching is a complicated issue and can be neither standardised nor prescribed. It needs to be addressed as a pedagogy responding to and influenced by local context, driven by language, culture and education systems. This research is expected to provide insight for the development of localised institutional guidelines for EMI teaching and lecturers’ professional development in EMI teaching.

Whilst an academic working in the arts may have been appointed as a consequence of artistic accomplishment and a capacity to teach, the research that underpins such work is an intrinsic part of its production and also needs to be recognised. In Australia, the ability of the artist‐academic to translate research into a form that is respected and rewarded is an issue of contention. This paper gathers responses to this issue. Perceptions of and attitudes to creative work as research are canvassed alongside life decisions arising from those perceptions and attitudes. This research occurs in the context of a new Australian framework for the evaluation of research. This framework offers some recognition of the research that supports creative practice. Thus, the long‐standing experience of compromise reported by the Australian artist‐academics interviewed for this study are discussed alongside new policies that seek to construct methodologies for its amelioration.