Artistic Research: Defining the Field

Butt, Danny

doi:10.26530/oapen_631389

Cited by 10 publications

(4 citation statements)

References 11 publications

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“…While various contexts saw PaR frameworks develop differently, they often involved some kind of reorientation of the relationship between arts conservatoires and research universities – frequently a variation of integration or absorption (Nelson 2013, 11–19; Borgdorff 2012, 31–72; Butt 2017, 47–92) 3 . The UK is one of the most prolific PaR sites in theatre and performance and it was where Whalley and Miller carried out their dissertation.…”

Section: Backgrounds: Setting the Stage For Thinking Againmentioning

confidence: 99%

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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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Section: Backgrounds: Setting the Stage For Thinking Againmentioning

confidence: 99%

“…3As Nelson (2013, 6–12), Borgdorff (2012, 62–66), and Butt (2017, 32) note – music has been an exception to this.…”

mentioning

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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“…Haseman, Bolt and Arlander all come from the field of artistic research, which had struggled to find what research on artistic terms could indicate when art schools turned into universities, a shift starting in the 1980s–1990s (Academy of Finland, 2009; Østern, 2017; Smith and Dean, 2009). Universities should be research-based and conduct research, but what then does it mean to do artistic research (ADiE Artistic Doctorates in Europe, 2017; Butt, 2017)? Much friction was created when artistic ways of working clashed with established qualitative methods, often with a positivist leftover.…”

Section: Backtracking a Performative Paradigmmentioning

confidence: 99%

A performative paradigm for post-qualitative inquiry

Østern

Jusslin

Knudsen

et al. 2021

Qualitative Research

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In this article, the authors explore and contribute to producing a performative research paradigm where post-qualitative as well as artistic research might dwell and breathe. Entering a thread of discussion that started with Haseman’s A manifesto for performative research in 2006, and building on their own friction-led research processes at the edges of qualitative research, the authors plug in with performativity, non-representational theories and methodologies, post-qualitative inquiry and post approaches. A performative paradigm for post-qualitative inquiry is proposed, where knowledge is viewed as knowledge-in-becoming as the constant creation of difference through researcher entanglement with the research phenomenon and wider world. A performative paradigm produces a space for movement, (artistic) freedom, (post-qualitative) experimentation and inclusion. A performative research paradigm also offers provocations that shake long-established notions about what research is and should be. Within a performative research paradigm, learning/be(com)ing/knowing is always in-becoming – as is the performative paradigm itself.

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“…An example of a structurally oriented approach is how the school system is problematised as poorly adjusted to disabled pupils and how educational inequality requires efforts to come to terms with parental poverty (Nagyné Árgány, 2015;Rajnai, 2012). Action or practice-based methods are standard in our material (e.g., da Silva, 2017;Hiltunen, 2017;Sarantou, Akimenko, & Escudeiro, 2018;Mason & Buschkuehle, 2013;Sprünker, 2008;Butt 2017;Irwin et al, 2006).…”

Section: Social Exclusion Positioned As a Structural Problemmentioning

confidence: 99%

Artistic Means of Social Change: Arts-Based Interventions for Addressing Marginalisation in a European Context

Gustrén,

Sol,

Johannisson

et al. 2021

Invisibilidades #15

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In this article, we present the analysis of a state-of-the-art review made as part of the Horizon 2020 EU-funded project AMASS (Acting on the Margins: Arts as Social Sculpture), which aims to address challenges of marginalisation in Europe through arts-based interventions. This study analyses researched-based materials on the social impact of the arts, theoretically underpinned by an understanding of the role of the arts in conjunction with the problematisation of social marginalisation. We found three ways to understand the social impact of the arts in the material; as a participatory means to agency and empowerment, identity and expression, and learning and development. These categories are related to analytically derived positions of marginalisation as predominantly structural-or more individual-based. Art is conceived of as a way to bridge these positions through an understanding of its educational qualities. These categories offer a fruitful but also potentially limited role of the arts in society. keywords: literature review, grey literature, socially engaged arts, cultural policy RESUMO Neste artigo, apresentamos a análise de uma revisão do estado da arte feita como parte do projeto AMASS do Horizonte 2020 financiado pela UE (Agindo nas Margens: Artes como Escultura Social), que visa enfrentar os desafios da marginalização na Europa através de intervenções baseadas nas artes. Este estudo analisa materiais de pesquisa sobre o impacto social das artes, teoricamente sustentados por uma compreensão do papel das artes em conjugação com a problematização da marginalização social. Encontramos três maneiras de compreender o impacto social das artes no material; como um meio participativo de agência e empoderamento, identidade e expressão, e aprendizagem e desenvolvimento. Essas categorias estão relacionadas a posições analiticamente derivadas de marginalização como predominantemente estruturais ou mais baseadas no indivíduo. A arte é concebida como uma forma de transpor essas

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Artistic Research: Defining the Field

Cited by 10 publications

References 11 publications

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

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

A performative paradigm for post-qualitative inquiry

Artistic Means of Social Change: Arts-Based Interventions for Addressing Marginalisation in a European Context

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