Hem / Att delta i NSU / Förslag till nya studiekretsar / 2006 / D. Practice-Based Research in the Performing Arts
Practice-Based Research in the Performing Arts
Practice-Based Research (PBR) is an academic discipline that is fairly new in a Nordic context. Of the Scandinavian countries Finland is clearly ahead, as PBR was established there in the 80s and 90s. Sweden is currently most active in implementing PBR within its institutions of higher education. Norway and Denmark, where PBR was introduced in 2000 and 2002, are following hesitantly.
The discipline is characterized by a continuous search for a current and convincing definition and investigation into feasible working methodologies. PBR is alternately also called Practise as Research, Practise-Led Research, Artistic Research or Art-Based Research. One interpretation of these terms is that artistic practice, as it is traditionally understood, is a legitimate form of research. Another idea is that that the artist produces an artwork and researches the creative process, thus adding to the accumulation of knowledge. This activity denotes a broadening of working practices for the artist, where the creative process can be implemented within an academic framework thus adding further elements and layers of production of knowledge.
We advocate that PBR can be understood as a thoroughly integrated approach and set of strategies. This implies a constant, mutual, and reciprocal influence between the artistic practise and the research activities involved. It requires a different point of departure in terms of attitude and motivation for all involved-whether primarily as artists, researchers or as reflective-practitioners. In this context, both artistic practice and research are re-imagined-from the outset-within a collaboratively determined set of objectives and processes. This inevitably alters our often binary understanding of artistic practice and research, the constituent components of PBR. Just as neither is restricted to a single methodology, we believe we need not impose such limitations upon PBR. Rather, the field can be defined by the specifically integrated, collaborative, and reciprocally influential relationship between artistic practice and research. This to us represents the soundest starting point from which PBR can proceed.
After a Nordic conference this year, we found that the need and interest to develop an interdisciplinary discourse on Practice as Research in the Performing Arts was overwhelming. The conference attracted performing artists, researchers and reflective-practitioners across disciplines, from all Nordic countries, Canada and the USA. In addition the establishing of a Nordic discussion was found to be essential so that there can be a development and growth in the field of PBR as well.
Practice-Based Research in the Performing Arts - study circle schedule:
The schedule will evolve along with our progress, interests, and availability to participate:
Winther 2007
Why Practice-Based Research in the Performing Arts? What do we want to achieve? How well does this type of research connect to other knowledge productions? Who gains from it? What areas of development in the Performing Arts and Academia can Practice-Based Research in the Performing Arts contribute to in a meaningful way?
Summer 2007
Methodologies; Do methods have to be solved for each PBR project? Is there a common ground in Practice-Based Research in the Performing Arts? Can we live with pluralism as an epistemological starting point or does this undermine this field of research and knowledge production? What are the most collaborative and reciprocally influential relationships between artistic practice and research?
Winther 2008
Beyond oppositions; How can Practice-Based Research in the Performing Arts influence the artistic process and product and vice versa? How can this type of research inform more established academic methods? Are we advocating an integration of PBR methodologies into Academia and hence have them recognised as valid research methods within that?
Summer 2008
Education in the performing arts; With the Bologna agreement, art schools will probably accept PBR and Academia might follow. How can Practice-Based Research in the Performing Arts aid in the furthering of the profile and appreciation of the performing artist, and how can the situation in the performing arts education in Scandinavia be influenced through this?
Winther 2009
Documentation; How can Practice-Based Research in the Performing Arts best be made accountable and accessible in terms of documentation? (How) Can different types of documentation "translate" Practice-Based Research in the Performing Arts or (why) is it more relevant to understand documentation as a (another artistic) comment?
Summer 2009
Documentation of study circle; How can we best capture the process of the study circle? Can the methodologies in Practice-Based Research in the Performing Arts be useful? (How) Can we develop a common documentation that can contain plural viewpoints?
Mailing list:
At this point there are 30 people on our mailing list from different academic and artistic fields, who might be able to accumulate another 30. We are also discussing collaborative possibilities with British academics, Dr Carol Brown and Dr Anna Pakes, who are actively involved in Practise-based Research, and have shown an interested in supporting and working with us, enabling an exchange of views and ideas. Furthermore due to the fact that Finland has developed the discipline of Practice-based Research over some time, there are several Finnish artists/academics interested in joining our study circle. The above explains our choice of common language as English.
Coordinators:
1. Annika M. Sillander, F (UK), dancer and choreographer, Ma-student in Dance Anthropology at Roehampton University in London England
2. Sidsel Pape, N, dramaturg, performance artist, Ma-student at No-Ma-ds, Nordic Master in dance science
Possible coordinators:
3. Dr. Bruce Barton, CA, dramaturg and playmaker, Graduate Centre for Study of Drama / University of Toronto
4. Dr. Kai Lehikoinen, F, Head of Performing Arts, IADE - Institute for Arts Development and Education, Helsinki
5. Henrik Vestergaard Pedersen, DK, Cand. Mag. leader of the company Zarathustras Onkel
6. Per Zetterfalk, S, Phd-student Dramatic Institute, Stockholm
7. Vera Maeder, DK, School for New Dance Development, Amsterdam, Theatre Academy, Berlin
Possible participants:
8. Harriet Abrahamsson, DK (F), professional actor, playwrite, director
9. Moa Hanssen, S, B.A. from Salzburg Experimental Academy of Dance
10. Christine Fentz, DK, director and dramaturg
11. Mikko Kanninen, F
12. Ulf Wahlström, S, circus artist, genderstudies, Stockholm University
13. Barbara Simonsen, DK
14. Johanna Hammarberg, F
15. Pil Hanssen, DK, dramaturg, Phd-student, University of Copenhagen
16. Iben Philipsen, DK, actor
17. Wenche Medbøe, N, actor
18. Trine Thorbjørnsen, N, performance artist, Ma-student in Philosophy, University of Oslo
19. Kent Sjöström, S, Phd-student at Teaterhögskolan in Malmö
20. Cecilia Lagerström, S, Researcher, College of performing arts and music, Gothenburg
21. Fia Adler Sandblad, S, Ma in playwrite at the University of Gothenburg
22. Paola Didong, S, scholar, theatre director, set designer
23. Åsa Unander Scharin, S, Choreoographer, Dancer and PhD-student
24. Barbro Smeds, S, playwrite, director, researcher, Dramatic Institute, Stockholm
25. Yaëll Fayler, S, Dr of Philosophy, Student Counssellor, Stockholm University
26. Dr. Ylva Gislén, S project manager Nordic Resort, Nordic Centre for the Performing Arts
27. Lis Engel, DK, University of Copenhagen
28. Eirin Marie Pedersen, N (S), Phd, artist
29. Bodil Persson, S, cultural journalist, teacher and dramaturg, Dramatic Institute, Stockholm
30. Sunniva Huglen, N (S), dancer
Bibliography:
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Auslander, Philip (1999) Liveness: Performance in a Mediatised Culture. London, Routledge
Balkema, Annette & Slager, Henrik (eds.) 2004. Artistic research. Lier en Boog, Amsterdam.
Biggs, Michael (2003) The Rôle of 'the Work' in Research, accessible via: http://www.bris.ac.uk/parip/biggs.htm
Blau, Herbert (1992) To All Appearances: Ideology and Performance, London: Routledge
Carr, David (1987) Thought and Action in the Art of Dance, British Journal of Aesthetics, 7:4, 345-357
Carr, David (1999) Further Reflections on Practical Knowledge and Dance a Decade On, in Graham McFee ed. Dance, Education and Philosophy, Oxford: Meyer & Meyer Sport
Crohn Schmitt, Natalie (1990) Theorizing about performance: Why now?, New Theatre Quarterly, 6 (August)
Dixon, Steve (1999) Digits, Discourse and Documentation: Performance Research and Hypermedia, The Drama Review, 43: 1, 152-175.
Mitoma, Judy ed. (2002) Envisioning Dance on Film and Video [book with accompanying DVD], London: Routledge.
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Freeman, John (2003) Tracing the Footprints: Documenting the Process of Performance, Maryland: University Press of America.
Freeman, J. (2002) Writing the Self: the Heuristic Documentation of Performance, Studies in Theatre and Performance, 22:2, 95-106
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Karlsson, Henrik. (2002). Konstnärlig forskarutbildning i Norden. Working paper 2002:19. Stockholm, SISTER.
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Melrose, Susan (2002) Entertaining Other Options: Restaging 'theory' in the age of practice as research, accessible via http://www.sfmelrose.u-net.com/inaugural/
Nelson, Robin & Stuart Andrews (2003) Regulations and protocols governing 'Practice as Research' (PaR) in the performing arts in the UK leading to the award of PhD, accessible via http://www.bris.ac.uk/parip/artexts.htm
Pakes, Anna (2004) Art as Action or Art as Object? The Embodiment of Knowledge in Practice as Research, Working Papers in Art and Design, 3, http://www.herts.ac.uk/artdes1/research/papers/wpades/vol3/apabs.html
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Relevant Organisations & Websites
PARIP (Practice as Research in Performance)
www.bristol.ac.uk/parip
Based at University of Bristol, this research project's aim is to investigate the issues raised by practice as research in the performing arts. The PARIP database and e-mail network involves a large number of practitioner-researchers across disciplines and is a useful source of information and forum for debate. The website now also has a page which lists complete Practice-as-Research PhD projects.
SCODHE (Standing Conference on Dance in Higher Education)
www.scodhe.pwp.blueyonder.co.uk
The representative body for university dance departments and other dance higher education providers, SCODHE disseminates information (via e-mail list), promotes good education practice and fosters debate about issues such as dance research.
PALATINE (Performing Arts Learning and Teaching Innovation Network)
www.lancs.ac.uk/palatine
Subject centre for the performing arts based at Lancaster University, Palatine exists to provide information and promote good practice in dance, drama and music education
AHRC (Arts and Humanities Research Council)
www.ahrc.ac.uk
The main research funding body in England for the Arts and Humanities. Sponsors AHRC Fellowships in the Creative and Performing Arts and gives grants for research projects.
ARTS COUNCIL ENGLAND
www.artscouncil.org
The national development agency for the arts in England, distributing public money from Government and the National Lottery.
LIVE ART MAGAZINE
www.liveartmagazine.com
Includes listings and reviews of live and performance art events, plus links to related networks and resources
RESCEN (Centre for Research into Creation in the Performing Arts)
www.mdx.ac.uk/rescen
a multi-disciplinary, artist-driven research centre. It is designed to be a bridge between academia and the practices of professional performing artists. Established in 1999, its base is at Middlesex University in North London.
ADSA (Australasian Association for Theatre, Drama and Performance Studies)
http://www.adsa.edu.au
Includes a discussion paper by Alison Richards, Deakin University, PERFORMANCE AS RESEARCH/ RESEARCH BY MEANS OF PERFORMANCE