3. Practice as Research: Transdisciplinary Innovation in Action

Kershaw, Baz; Miller, Lee E.; Whalley, Joanne; Lee, Rosemary; Pollard, Niki

doi:10.1515/9780748646081-006

Cited by 25 publications

(4 citation statements)

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“…Practice-as-Research is another, older and more established approach (Rust et al 2007 ;Nelson 2013 ;Spatz 2015). This 'practice turn' emerged in the 1960s and favours activity and process over (fixed) structure, process and action over representation, collectiveness over individualism, and underlined reflexivity rather than self-consciousness (Kershaw, 2011: 63-4 in Naccarato, 2018. Although advocated as interdisciplinary, its focus seems to be limited to artistic practice (choreography, theatre), while ignoring other types of practice.…”

Section: Methodological Reflections: An Opening Of Possibilitiesmentioning

confidence: 99%

Dancing with the spirits, Act 1: ‘Being grounded and being able to fly are not mutually exclusive’1

Kieft

2020

Dance, Movement &Amp; Spiritualities

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This article is the first of a diptych, to discuss a particular approach to dancing with the spirit world, from a contemporary shamanic perspective as taught by the Scandinavian Center for Shamanic Studies. It emerges from my participation in the Spirit Dance Workshop from 24 to 29 June 2012 in Sweden with Jonathan Horwitz and Zara Waldebäck, which in turn led to interviewing them over Skype on 9 August 2016. After methodological reflections on source justification, personal immersion and embodied enquiry, this article introduces the concept of spirits in (this) shamanic context and discusses the possibility and etiquette of relating with other-than-human-beings through dance. It contemplates the notion of power and empowerment, drawing from three concrete examples of dancing with the spirit of a tree, the spirit of the night and the spirit of a power animal. Instead of a conclusion, I offer an entr’acte as an in-between, linking this first Act/Article/Acticle of the diptych with the second to come, which will focus on community, ceremony and performance.

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Section: Methodological Reflections: An Opening Of Possibilitiesmentioning

confidence: 99%

Dancing with the spirits, Act 1: ‘Being grounded and being able to fly are not mutually exclusive’1

Kieft

2020

Dance, Movement &Amp; Spiritualities

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“…My experience of watching the documentary footage and reading the complementary writing and subsequent articles about the project made me feel like I was not only witnessing a particularly muscular project, but also taking a masterclass on PaR. The specific reasons I chose the Whalley-Miller PhD project are: (1) it was one of the first successful PaR PhD projects and was therefore in a position to set precedent, 15 (2) since it occurred while PaR itself was taking shape in the UK, it was obligated to engage with founding PaR issues, (3) it has become known beyond its own institution and disciplinary circles through important publications about PaR (Whalley and Miller 2005; Kershaw 2009; Miller and Whalley 2010; Kershaw et al 2011; Nelson 2013, 73–77), (4) it realized both infiltrative and transformative PaR impulses, and (5) it was documented and disseminated in such a way that I have access to many of its evidential components almost twenty years later 16 . By taking an enactive perspective on this project I am not proposing to rewrite it, or that it should have been done differently.…”

Section: Enacting Partly Cloudy Chance Of Rainmentioning

confidence: 99%

Thinking again: enaction as a resource for ‘practice as research’ in theatre and performance

Murphy

2023

Interdisciplinary Science Reviews

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In the context of global research culture, practitioner-researchers in theatre and performance have consistently struggled to best account for the embodied and emergent qualities of their subjects. As methodologies for 'practice as research' (PaR) in theatre and performance have developed since the 1990s, artistic researchers have often continued to define themselves against scientific conceptions of thinking, knowledge, and research to highlight the specific efficacies of artistic practice. I argue that this strategy genuinely hinders researchers, and that interdisciplinary approaches that move across the sciences, humanities, and arts are the key to robust accounts of theatre and performance. By revisiting a seminal PaR performance project, Joanne 'Bob' Whalley and Lee Miller's Partly Cloudy, Chance of Rain (2002), I suggest how interdisciplinary approaches such as enaction from the cognitive sciences should be integrated into PaR methodologies to better address the complexity and richness of embodiment and emergence in theatre and performance.

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“…The terms for how artistic practice is used in research inquiries are numerous and their definitions shift with usage. The effort to define and distinguish these terms, as well as their regional and practical differences, is present throughout the literature on methodologies related to artistic practice, research-creation, or practice as research (Biggs and Karlsson 2011;Nelson 2013;Kershaw 2011;Smith and Dean 2009;Riley and Hunter 2016). I choose to frame my methodology as artistic research while acknowledging that it runs parallel to (or is perhaps synonymous with) these other terms.…”

Section: Weaving: Artistic Researchmentioning

confidence: 99%

Weaving an Artistic Research Methodology

Dunlop

2023

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Weaving occurs as a central theme in my work, as aesthetic motif as well as conceptual frame. In this article, I discuss the “weaving” that forms my approach to artistic research. As artistic research methodology, weaving enacts the generative and relation qualities of feminist epistemologies, through which I locate my own practice, both topically, as a study of emotion and technology, as well as methodologically and politically as invested in feminist approaches to cultural objects and to the knowledge processes that render them meaningful. Through a discussion of my own artistic practice, I demonstrate how weaving operates as an artistic research process that captures the intertwining of academic and creative practice. I argue that it is through the twinned strength and friction of weaving that artistic research creates epistemological possibilities. Weaving is a concept that holds the possibility of multiple threads and thus implies the strength and frictions of things—different contexts, people or concepts—brought together. Weaving is a generative process, a process that creates new totalities through relation while maintaining the discrete identities of the same threads that bind it together.

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3. Practice as Research: Transdisciplinary Innovation in Action

Cited by 25 publications

References 0 publications

Dancing with the spirits, Act 1: ‘Being grounded and being able to fly are not mutually exclusive’1

Dancing with the spirits, Act 1: ‘Being grounded and being able to fly are not mutually exclusive’1

Thinking again: enaction as a resource for ‘practice as research’ in theatre and performance

Weaving an Artistic Research Methodology

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