Practice Based Research Literature Review June 2014

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Practice-Based Research Literature Review

Prepared by Leila Qashu, Memorial University, for IICSI, 2014

ICASP sites:
http://www.mun.ca/music/research/iicsi.php
http://www.improvcommunity.ca
http://www.criticalimprov.com/public/csi/index.html

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ICASP Website

http://www.improvcommunity.ca
Improvisation, Community, and Social Practice. Improvisation, communaut, et
pratiques sociales. University of Guelph, n.d. Web. 5 March 2014.

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Booth, Sally, Tegan Ceschi-Smith, Doug Friesen, Ajay Heble, Eric Lewis, Kevin O'Neil,
Gillian Siddall, Charles Smith, Julie Smith, Jesse Stewart, Kim Thorne, Lise
Vaugeois, and Ellen Waterman. Improvisation and Pedagogy Policy Paper
Workshop. 16-17 Dec. 2009. University of Guelph. Web. Video and Text.

Bunnett, Jane and Ajay Heble. Interview. Improvisation, Community and Social
Practice (ICASP), 30 Nov. 2011. Web.

Caines, Rebecca. Resonant Sound Art Pedagogies: Improvising Towards Community-
Based Social Justice. Presentation at the Guelph Jazz Festival Colloquium. ICASP,
Sept. 2012. Web.

Caines, Rebecca. Community Sound [e] Scapes: A Keyword Essay. Improvisation,
Community and Social Practice (ICASP), Research Collection, Sept. 2010. Web.

Caines, Rebecca. Community Sound[e] Scapes: A Practice-as-Research Project into
Building Site/Space/Place through Improvised Music and Sound. Postdoctoral Research
project summary. ICASP, 2010. Web.

Heble, Ajay. Class Action, Human Rights, Critical Activism, and Community-Engaged
Learning. Talk as part of the McMaster Seminar on Higher Education: Practice,
Policy and Public Life with responses from Dr. Amber Dean and Dr. Walt Peace.
ICASP and McMaster, 24 Jan. 2013 Web. Video and Print.
<http://highered.mcmaster.ca>.

Heble, Ajay. Improvisation As a Model For Social Change. Ted talk (Tedx). Guelph
University, 24 Nov. 2012.

Heble, Ajay, Rob Jackson, Melissa Walker, Ellen Waterman, and Ashlee Cunsolo
Wilcox. "Say who you are, play who you are: Improvisation, pedagogy, and youth
on the margins." Action, Criticism, and Theory for Music Education. Special
Issue: Music Education in Urban Contexts. 10.1 (2011): 11431. Web.
<http://act.maydaygroup.org/articles/Willox-Heble10_1.pdf>

Heble, Ajay. Destinations Out: Towards a Jazz-Inflected Model for Community-Based
Learning. Keynote talk for Key Changes: Transitions in Our Students, Our
Classrooms, Ourselves, Association of Atlantic Universities Teaching Showcase
Conference, University of Prince Edward Island, September 24-25, 2010. Web video
and print.

Heble, Ajay, Rob Jackson, Melissa Walker, Ellen Waterman, and Ashlee Cunsolo
Wilcox. Improvisation as Pedagogy for Youth on the Margins. Improvisation,
Community, and Social Practice (ICASP), Web. 24 Aug. 2010. Web.

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<http://www.improvcommunity.ca/research/improvisation-pedagogy-youth-
margins>

Heble, Ajay and Winfried Siemerling. .Voicing the Unforseeable: Improvisation, Social
Practice, Collaborative Research. ICASP University of Guelph, 25 May 2010. Web.

Heble, Ajay and Ellen Waterman. The Improvisation Community and Social Practice
Research Project: Some Thoughts on Outreach, Partnership, and Policy. ICASP.
University of Guelph, 7-9 Jan. 2010. Talk for Canadian New Music Network Forum
Halifax. Web.

Improvisation, Community and Social Practice (ICASP) and Musagetes. Things that you
hope a human being will be. 2011 Improviser-in-residence Jane Bunnett with videos
by Dawn Matheson. ICASP, 2011. Print and Web with DVD and downloadable
video.

McGill Social Policy Workshop. 18 - 19 June 2009. Improvisation, Community and
Social Practice (ICASP). University of Guelph, n.d. Web. 5 March 2014.

Ttreault, Yvan. Getting the Music off the Page: Practice-based Research and the
Construction of the Practitioner-Theorist. Paper presented at Witty Music? Guelph
Jazz Festival Colloquium. Diaspora, Dispersal, Improvisation, and Imagination. 3-5
Sept., 2008. University of Guelph. ICASP. Web.

Waterman, Ellen and Robert Jackson. Improvisation Tool Kit. 2010. ICASP. Web.

http://www.criticalimprov.com/public/csi/index.html

Basu, Nayanee. "Improvising Freedom in Prison." Critical Studies in Improvisation /
tudes critiques en improvisation [Online], 8.2 (2012): n. pag. Web. 5 April 2014.

Caines, Rebecca. Giving Back Time: Improvisation in Australian Community-Based
Hip Hop, Critical Studies in Improvisation, 5:3 (2011). Web. 5 April 2014.

Giacomelli, Megan. "Theorising Improvisation as a form of Critical Pedagogy in Ontario
Public School Music Curricula." Critical Studies in Improvisation / tudes critiques
en improvisation [Online], 8.1 (2012): n. pag. Web. 2 April 2014.

Midgelow, Vida. "Nomadism and Ethics in/as Improvised Movement Practices." Critical
Studies in Improvisation / tudes critiques en improvisation [Online], 8.1 (2012): n.
pag. Web. 5 April 2014.

Pierrepont, Alexandre, Pierre Carsalade, and Romain Tesler. "Itutu ("On how to
appropriately present oneself to others"): Extra-musical pedagogical values of creative

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music." Critical Studies in Improvisation / tudes critiques en improvisation [Online],
4.1 (2008): n. pag. Web. 5 April. 2014

Prouty, Kenneth. "The Finite Art of Improvisation: Pedagogy and Power in Jazz
Education." Critical Studies in Improvisation / tudes critiques en improvisation
[Online], 4.1 (2008): n. pag. Web. 5 April 2014.

Rowan, Dean. "Modes and Manifestations of Improvisation in Urban Planning, Design,
and Theory." Critical Studies in Improvisation / tudes critiques en improvisation
[Online], 1.1 (2004): n. pag. Web. 2 April 2014.

Thomson, Scott. "The Pedagogical Imperative of Musical Improvisation." Critical

Sansom, Matthew. Improvisation and Identity: A Qualitative Study.Critical Studies in
Improvisation / tudes critiques en improvisation 3.1 (2007). Web. 5 April 2014.

Sneddon, Andrew. "The Act of Improvisation within the work of Tacita Dean." Critical
pag. Web. 5 April. 2014.

Thomson, Scott. "The Pedagogical Imperative of Musical Improvisation." Critical

Wong, Deborah. "Asian/American Improvisation in Chicago: Tatsu Aoki and the New
Japanese American Taiko." Critical Studies in Improvisation / tudes critiques en
improvisation [Online], 1.3 (2006): n. pag. Web. 2 April 2014.
Definitions and Methodology

This specific term seems to have a lot of use in the British, then Australian academic
contexts, beginning in the early 2000s.

Allegue, Ludivine and Costin Miereanu. Practice-as-Research in France 2008. In
Practice-as-Research in performance and screen, eds. Ludivine Allegue, Simon
Jones, Baz Kershaw, and Angela Piccini, 132-147. London: Palgrave Macmillan,
2009. Print.

This chapter explores practice-as-research in terms of practice and theory. This begins
with a description of how research, and specifically arts research in France is organized
in the institutions and, subsequently, how the newly emerging field of practice-as-
research is evaluated. For them, aesthetics are an interface to this semiotics and
artistically- built and inspired research. Within this framework, theory and practice are
both key parts of the research. They give examples to explain how practice-as-research is
transversal and trans-disciplinary, as opposed to multi-disciplinary, which does not infer

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a horizontal link and rather each discipline remains individual). This trans-disciplinarity
is expressed in methodology and action. Miereanu offers a theoretical discussion of the
scientific potential of art practices in the research, through a discussion of the
development of art research practices and poly-art in France. Allegue discusses the
history and analytical framework for her post-doctoral project, which was a trans-
disciplinary film.

Allegue, Ludivine, Simon Jones, Baz Kershaw and Angela Piccini, eds. Practice-as-
Research in Performance and Screen. Hampshire: Palgrave, 2009. Print and
DVD.

This book and DVD combination is an indispensible resource on Practice as Research.
The book includes chapters from sixteen researchers/practitioners offering diverse
historical, methodological, theoretical and practical perspectives on and examples of
practice as research in the UK, Australia, Canada and France. The topics include theories
on practice as new or different type of knowledge production, archives and
documentation as they relate to PaR; ethics in PaR; peer-review and criteria with PaR;
types of PaR and how that relates to the academy; contemporary PaR in France through
two specific examples; PaR in Canada through the lens of a transdisciplinary project; and
the history of the success of PaR in Australia. With the DVD, over fifty practitioner-
researchers have contributed to this volume. Overall, the many contributions in the
volume demonstrate the different ways creative practices constitute research;
methodology and ways to theorize PaR; and the historic and contemporary struggles for
the recognition of PaR in academic institutions and at national governmental levels.

Barrett, E., and B. Bolt. Practice as Research: context, method and knowledge.
London: IBTauris, 2010. Print.

This is the paperback version of the 2007 book below. See description below.

Barrett, Estelle, and Barbara Bolt. Practice as Research. Approaches to Creative Arts
Enquiry, London: I.B. Tauris, 2007. Print.

This book is composed of chapters written by artists and other researchers conducting
studio-based research. It offers critical reflection and observations on practice-based and
practice-led research. Contributors have focused largely on the processes rather than the
products of enquiry. They have also emphasized the dialogic relationship between the
exegesis or research paper and studio practice in their respective arts disciplines design,
creative writing, dance, film and painting demonstrating that practice as research not
only produces knowledge that may be applied in multiple contexts, but also has the
capacity to promote a more profound understanding of how knowledge is revealed,
acquired and expressed (Barrett, foreword). The appendix, Developing and Writing
Creative Arts Practice as Research: A Guide is of particular interest to those developing
and writing practice as research, as it provides a detailed description of the different steps
of the research drafting process, including questions, definitions and schemas of the
research steps.

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Andrews, Stuart, and Robin Nelson. 2003. Regulations and protocols
governingPractice as Research (PaR) in the performing arts in the UK leading
to the award of PhD. Paper read at PARIP 2003, at Bristol, UK. Web.
<<http://www.bris.ac.uk/parip/>>

This gives guidelines for students, academic advisors and examiners.

Biggs, I. Art as Research: Creative Practice and Academic Authority. Saarbrucken:
VDM Verlag. 2009.

Biggs, Michael A. The role of the work in research. Paper read at PARIP 2003, in
Bristol, UK. Web. <http://www.bris.ac.uk/parip/biggs.htm>.

In this paper, Biggs argues that in practice based research, in order to accurately represent
a Work, the product needs to be contextualized.
Brabazon, Tara, and Zeynep Dagli. "Putting the Doctorate into Practice, and the
Practice into Doctorates: Creating a New Space for Quality Scholarship
through Creativity." Nebula 7.1-2 (2010): 23-43. Web.
Caines, Rebecca and Ajay Heble, eds. (forthcoming). Spontaneous Acts: The
Improvisation Studies Reader. London and NY: Routledge, 2014.

This reader, drawing from various arts disciplines, focuses on improvisation studies as
pedagogical tools. The book includes case studies, exercises, graphic scores and poems
in order to produce a teaching and research resource that identifies central themes in
improvisation studies. []Each section of the Reader is introduced by a newly
commissioned think piece by a key figure in the field, which opens up research questions
reflecting on the keyword in question (abstract).

Candy, Lindy. Practice Based Research: A Guide. CCS Report V1.0. Creativity
and Cognition Studios. Sydney: University of Technology, Nov. 2006. Web.
<http://www.creativityandcognition.com/research/practice-based-research/>

This is an excellent introduction to what the author calls practice-related research:
practice-based and practice-led research. It provides clear definitions, historical
background, and a very pedagogical approach to structuring a practice-based PhD. Under
each of these categories, Candy includes a detailed bibliography, and at the end of the
essay there is an appendix with definitions and terms. Although it approaches practice-
based research in respect to PhD theses, because of the overall contextualization of PBR,
it can serve as a guide for both general readers and students. The author defines practice-
based research as an original investigation undertaken in order to gain new knowledge
partly by means of practice and the outcomes of that practice as opposed to practice-led
research which is concerned with the nature of practice and leads to new knowledge that

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has operational significance for that practice. And to separate practice-based from
practice-led, the author specifies: if a creative artefact is the basis of the contribution to
knowledge, the research is practice based but if the research leads primarily to new
understandings about practice, it is practice-led.

Daniel, Henry. Transnet: A Canadian-Based Case Study on Practice-as-Research,
or Rethinking Dance in a Knowledge-Based Society. In Practice-as-Research in
performance and screen, eds. Ludivine Allegue, Simon Jones, Baz Kershaw, and
Angela Piccini, 148-162. London: Palgrave Macmillan, 2009. Print.

This chapter discusses practice-as-research in Canada, in terms of practice, theory and
policy. In order to frame this policy discussion, Daniel introduces Transnet
(Transdisciplinary Network for Performance and Technology), the research network he
led, and which has national and international affiliations. It is based in the School for
Contemporary Arts at Simon Fraser University and received SSHRC funding from 2003-
2005. Its stated aim is to explore creative and innovative ways of investigating issues
surrounding the production, structuring, mobilization, and integration of cultural
knowledge within society through dance and other performance activities (149). Daniel
offers a discussion of cultural sustainability and transdisciplinarity, to define the two
concepts and explain how they work methodologically and in relation to practice-as-
research. Unfortunately, as Daniel demonstrates, for government agencies, the
importance of cultural industries have been omitted or sidelined, instead focusing on
other cultures of science and technology. Through the discussions of his involvement in
Transnet and his role as a SSHRC grantee, Daniel explains how he had to negotiate the
complex connections between scholarly work, artistic practices, the academic institutions,
national granting agencies, and national policies on the arts. Furthermore, a discussion of
the creative multicultural performance project, Skin, allows the author to demonstrate
complexities of local and national definitions of cultural vitality and the need for local
and national communities and associations, academics, granting agencies and
government to be interconnected in order to understand each other and work together.

Drummond, John. The Creative Artist as Researcher Practitioner. In Dunedin
Soundings. Place and Performance, eds. Dan Bendrups and Graeme Downes, 29-
40. Dunedin, New Zealand: Otago University Press, 2011. Print.

In this chapter, Drummond provides many examples, from both music and science
history, to explain why it is important to focus on the creative process when considering
practice or performance as research. He begins with a couple anecdotes, including how a
scientific colleague had trouble evaluating a music colleagues CD of her compositions as
research. He uses musical examples to explain how new knowledge creation in the
creative arts is a result of intellect, which then may produce something aesthetically
pleasing. The creation of new knowledge in creative arts practice is a matter of beauty
and brains. The work of art, the artistic experience, doesnt happen accidentally. It may
have aesthetic value, but that is the result of the exercise of intellect (36). Finally
Drummond takes this analysis to science to demonstrate how scientists and creative

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artists follow similar intellectual processes, but how they have different outputs and the
need for different types of evaluation of these outputs.

Freeman, John. Blood, Sweat and Theory. London: Libri Publishing, 2010.

Freeman offers a critical, theoretical and practical approach to practice-based research in
this book. He alternates his observations, reflections, theories, opinions and methodology
on many topics related to practice-based research, with other authors detailed, written
descriptions of their creative projects. Interestingly, so as to not be influenced by these
case-studies and vice versa, Freeman and the case study contributors did not each others
contributions until the book had gone to press. As a result, the juxtaposition of the
different texts offer an fascinating dialogue between broader theory/reflections and
specific reflections on case studies, that fits well with the practice-based theme of the
book. At the end of the book, the author includes a list of methodologically oriented
questions and considerations to include when proposing a practice-based research PhD.
This list could also be applied to any practice-based research project. He also strongly
argues and urges for PhDs that include a substantial written thesis element, just as the
case-studies demonstrated, since it is difficult to understand and explain the objectives of
a creative project without the explanation.

Gosselin, Pierre, and ric Le Couguiec, eds. La Recherche Cration. Pour une
comprehension de la recherche en pratique artistique. Qubec: Presses de
lUniversit du Qubec, 2006. ebrary. Web. 11 March 2014.

The authors in this edited book examine what they call research creation, or sometimes
translated as research-based creation from the perspectives of the following different
disciplines: design, architecture, dance, music, visual arts, and the arts, broadly speaking.
The book is divided into four parts: the first looks at ontology, discussing definitions of
research creation; the second explores epistemologies, from relations to research
creation; the third section offers some methodologies for research as artistic practice; and
the fourth explores methodologies of conception and creation. The research creation is
defined here, in many chapters, from an arts practitioner perspective, such as an artistic
creation that is practiced in conjunction with research. In the second chapter, Gosselin
proposes two methodological parameters for research in artistic practice: paying close
attention to the construction of the work (Gosselin, ch. 2 (p. 28)); and exposing the
relationship between the artistic nature and its practice by constantly moving back and
forth between experiential and conceptual areas (Ibid. 29). For the latter, he further
explains that the methodological steps are heuristic by nature, vacillating the researcher
between experiential subjectivity (exploration) and conceptual objectivity
(comprehension) in order to make progress in the desired data collection and synthesis
(Ibid, and P.E. Craig 1978). The Heart of the Teacher. A Heuristic Study of the Inner
World of Teaching, thse indite prsente la Boston University Graduate School of
Education.). In chapter 8, Sylvie Fortin explains how a mixture of methodologies can be
used for research creation, with particular emphasis on ethnographic field research
techniques such as participatory observation, data collection, interviews, experiential

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work, autoethnography, and a combination of these and any others that are adapted to suit
the research creation.

Gosselin, P. et D. Laurier. Des repres pour la recherche en pratique artistique.
In Tactiques Insolites:vers une mthodologie de recherche en pratique artistique,
eds. D. Laurier et P. Gosselin, 165-183. Montral: Gurin Universitaire, 2004.

Gray, Carole. Carol Gray. Website. Accessed 30 Mar. 2014.
<http://carolegray.net/index.htmlh>>. Research papers and bibliography located at:
http://carolegray.net/researchpapers.html

This website is an invaluable resource for those researching or working in PBR. Gray has
published seminal works in the area, providing definitions and methodologies based on
practical and academic research experiences. Her site includes her biography, personal
practices and research. In the research section it is possible to download many of the
papers she has authored or co-authored.

Gray, Carole. Inquiry through Practice: Developing Approriate Research
Strategies. Web. 30 Mar. 2014.
<<http://carolegray.net/Papers%20PDFs/ngnm.pdf>>

This paper, which has been cited by many practice-led researchers and practitioners,
provides a thorough discussion of the term (PLR) and practical methodology that can be
applied to doctoral and other academic projects.

Gray, C, and J. Malins. Visualizing research: A guide to the research process in art
and design. Burlington, VT: Ashgate, 2004.

Harrison, Anthony Kwame. "'We're Talking About Practice(-Based Research)':
Serious Play And Serious Performance In The Practice Of Popular Music
Ethnography." Journal Of Popular Music Studies 23.2 (2011): 221-228. RILM
Abstracts of Music Literature. Web. 27 Mar. 2014.

In this article, the author aims to put forth practice (very broadly speaking) as a main
research focus in popular music studies. He uses a post-modern ethnographic approach,
with an inductive methodology: Participation both in music cultures and in ethnography
demands a degree of flexibility, an ability to go with the flow, and varying levels of
improvisation. Rather than proposing a set of guidelines and/or frameworks through
which to incorporate more practice-based research (PBR) methods into popular music
scholarship, my interest is in advocating for greater attention to practice-based
consciousness and philosophy within popular music's ethnographic habitus. [] With
reference to other scholarly writings, he also provides a detailed definition for practice-
based research as the following: an approach to qualitative inquiry within the arts that
seeks to uncover new knowledge through practice and its outcomes (Candy 2006). The
creative activities surrounding the generation of an artifact are typically at the core of its
analysis. PBR has strong overlaps with other performative research approaches, most

10
notably practice-led research (Smith and Dean) and arts-based research practice (Leavy).
I will not elaborate on these distinctions here except to say that, for my purposes, PBR is
an umbrella term encompassing a clustering of participatory, experiential, and
phenomenological methodologies surrounding the fields of arts and media research.
Practice-based insights provide new epistemological possibilities for unlocking the
hidden power of aesthetics. It occupies a space between traditional participant (artist) and
observer (consumer of art) perspectives. It is by nature ethnographic (HTML article).

Haseman, Brad. Rupture and Recognition: Identifying The Performative Research
Paradigm, In Practice as Research. Approaches to Creative Arts Enquiry, eds.
Estelle Barrett and Barbara Bolt, 147-158. London: I.B. Tauris, 2010 [2007].
Print.

Jackson, Shannon. When is Art Research? In Mapping Landscapes for
Performance as Research: Scholarly Acts and Creative Cartographies, eds.
Shannon Rose Riley and Lynette Hunter, 157-163. Hampshire: Palgrave, 2009.
Print.

Jackson explores this question, When is Art Research? from institutional and
interdisciplinary perspectives. She provides insightful analysis from her experience in a
project that involved a working group and lecture series involving faculty from different
arts disciplines. And she was able to further explore the question when she had to chair
university committees, including one that evaluated tenure for arts research. She explains
the problems and paradoxes of having to create parameters to justify and define arts
research that did not conform into the traditional academic publication-based framework.

Kershaw, Baz, and Helen Nicholson, eds. Research Methods in Theatre and
Performance. Edinburg: Ednburgh University Press, 2011. ebrary. Web. 10
March 2014.

This volume consists of contributions from authors in theatre and performance studies,
most of whom are members of the Theatre and Performance Research Association
(TaPRA). In the introduction, the editors frame the fluid nature of the research
methodologies presented in the book: We contend, then, that research methods in
theatre/performance studies per se, at least as represented here, at best are not concerned
with legitimating the cultural authority of the researcher or the research. Rather, they are
about the engaged social- environmental production of systems and the cultural
production of flexible research ecologies wherein tacit understandings, inferred practices
and theoretical assumptions can be made explicit and can, in turn, be queried and
contested. (Kershaw and Nicholson, 2). Although all the chapters discuss methodology,
Chapter 3, Practice as Research. Transdisciplinary Innovation in Action, provides
several case studies to demonstrate how Practice as Research (PaR) can have as many
diverse methodologies as the disciplines and projects in which it is situated. Before
presenting the case studies, through which the reader can understand the methodological
processes of the research, the authors provide a definition and introduction of Practice as
Research.

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Kershaw, Baz, Lee Miller/Joanne Bob Whalley, and Rosemary Lee/Niki Pollard.
Practice as Research: Transdisciplinary Innovation in Action 63. Research
Methods in Theatre and Performance. Eds. Baz Kershaw and Helen Nicholson.
Edinburg: Ednburgh University Press, 2011. 63-85. ebrary. Web. 10 March
2014.

This article provides several case studies to demonstrate how Practice as Research (PaR)
can have as many diverse methodologies as the disciplines and projects in which it is
situated. Before presenting the case studies, through which the reader can understand the
methodological processes of the research, the authors provide a definition and
introduction of Practice as Research.

Kerhsaw, Baz. Practice-As-Research: An Introduction. In Practice-as-Research in
performance and screen, eds. Ludivine Allegue, Simon Jones, Baz Kershaw, and
Angela Piccini, 1-16. London: Palgrave Macmillan, 2009. Print.

Intertwining performances from each decade, beginning with the 1960s, with reflective
texts and introductions to the chapters in the volume, this text is a fine example of
research based on practices. This introduction to the edited volume gives some history of
the development of practice-as-research in the performing and media arts, which is now
generally understood as the use of creative processes as research methods in Australia,
Canada, Scandanvia, South Africa, the UK (2) and many other parts of the world. The
author bases the history mainly on his experiences in the UK academic context and with
UK research funding. Kershaw also introduces the concept of the Book-DVD, with the
DVD that accompanies, interacts and stands alone in respect to the collected volume.
Throughout the introduction, he discusses the research in the chapters of the book, and
how they interact, contradict or stand apart from other chapters and the DVD. The
multifaceted nature of practice-as-research is made apparent throughout the chapter, but
in particular in the last section, where Kershaw discusses the importance of diversities in
practice-as-research. While he brings up similarities to performance studies with practice-
as research as a potential subset of that domain, he also acknowledges the neo-imperialist
critiques that performance studies faced and explains how practice-as research does not
fall in the same critique: [I]n bringing this introduction to a close I will suggest that the
foundational principles of practice-as-research work to a democratically deconstructive
and decentring agenda. Hence at its best it thrives on a proliferation of types of creative
and investigative difference that always-already will tend to resist incorporation into
meta-schemes or systems of knowledge, especially those that aim to become hegemonic.
In this, practice-as-research shares in global traditions of innovative and radical arts
practices that have customarily questioned the cultural social and political status quo. So,
in fact, its chief institutional dynamic has been to bring into universities in many
countries a fundamental practical-creative challenge to the dominance of social and
physical sciences as the chief sources of knowledge for human wellbeing (15).

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Kerhsaw, Baz. Practice as Research through Performance. In Practice-led
Research, Research-led Practice in the Creative Arts, eds. Hazel Smith and Roger
T. Dean, 10425. Edinburgh: Edinburgh University Press, 2009. Print.

This chapter, which is both historical and methodological, aims to reflect on creative
performance practice as a research methodology. It begins with an example of practice-
as-research: a performance gesture that instantly challenged other forms of knowledge.
As the author explains through the example, [o]nce live performance is introduced
directly into the equations of knowing, conventional views of how knowledge is best
produced, accumulated, stored and transmitted may be called deeply into question. This
is because the most crucial effect of performance practice as research is to dis-locate
knowledge [] (105). In the third section, entitled Starting Points, the author provides
historical background to the practice as research approach, locating it as a movement that
developed in less than two decades into a well-established approach in the late 2000s
in North America, Australia, Scandinavia and other countries and in research in all arts
domains (Ibid). However, within the academy, and particularly in relation to PhD awards,
practice-as-research was challenged by definition and fundamentally. Using his own
extended experience (International Federation of Theatre Research Performance as
Research working group member; Past director of the Practice as Research in
Performance project in the UK) and his paradoxology of performance (Kerhaw
2007:101) as foundation, through case studies the author offers a methodological
understanding of performance as practice-as-research. The first case study he discusses is
Slightly Cloudy, Chance of Rain, the first ever jointly written thesis by Lee Miller and
Joanne Whalley, which was based on a public performance of ten wedding couples
reiterating their wedding vows at a public highway-side caf. From this example, the
author traces the history of how practice-based doctoral proposals and research funding
have been framed since the early 1990s in the UK. A discussion of starting points is
required in proposals, and although the terminology has changed over the years from
research imperatives to questions and questions to problems, these terms have
been contested by researchers because these types of queries can lead to predicable
answers and the entire process then contradicts the openness and excess that the
creativity of performance practice at its best can produce (112). The fourth section,
Aesthetics, discusses the conundrums related to aesthetics in Being in Between, a
durational performance at Bristol Zoo (2005) which involved performers offering playful
disruption; and performing dances by the four primate enclosures, in conjunction with the
primate movements. In this section, the author points out the complexities and paradoxes
involved with video documenting in practice-as-research. The fifth section,
Documentation, examines the paradoxology of a live performance presented as a DVD
event.

Kershaw, Baz. "Performance as research: live events and documents." In The
Cambridge Companion to Performance Studies, ed. Tracy Davis, 23-45.
Cambridge: Cambridge University Press, 2008. Web. 04 April 2014.

13

Landry, Pierre-Luc. Internet, tudes suprieures et recherche-cration : le cas de
la revue numrique Le Crachoir de Flaubert. Qubec franais 168, hiver
(2013): 28-29. Web. rudit.

This review discusses an online journal called Le Crachoir de Flaubert, the first journal
dedicated to the topic of recherche-cration. The journal is based out of Laval University
in Quebec, an institution which has several programmes in which creation in the arts is
possible. The reviewer mentions two other publications on this topic: 1. La Cration en
Milieu Universitaire (ed. Pierre Hamelin, 1991; CERAF), which is a collection of
conference papers by professors/artists of the University of Quebec and Laval networks;
2. La Cration Artistique lUniversit (ditions Nota Bene), also a publication of
conference papers. He also mentions that in 2010 a conference was organized on the
same theme: Crer luniversit : pourquoi ? comment ? Enjeux et devenirs de la
recherche-cration lUniversit Laval.

Leavy, Patricia. Methods Meet Art: Arts-Based Research Practice. New York:
Guilford, 2009. Print.

In this introduction to arts-based research (ABR), Leavy, a Professor of sociology,
discusses six genres: narrative inquiry, poetry, music, performance, dance/movement, and
visual art. She follows each genre discussion with a research article by a recognized ABR
practitioner on that genre. She also has an introductory chapter called Social Research
and the Creative Arts, and a final chapter entitled Bridging the Art-Science Divide.
Introductory and pedagogical in nature, each of Leavys chapters finishes with a checklist
of considerations for using the particular genre in research, discussion questions and
activities, and suggested readings, websites and journals. Basic methodology and
questions for methodology and project planning are present throughout the book.
Although ABR research often looks at how to incorporate art in research or how to base
research on arts methodologies, it does have practiced-based methodological components
that Leavy mentions briefly at different moments in the book.

Little, Suzanne. Practice and Performance as Research in the Arts. In Dunedin
Soundings. Place and Performance, eds. Dan Bendrups and Graeme Downes, 19-
28. Dunedin, New Zealand: Otago University Press, 2011. Print.

Littles chapter is an excellent introduction to practice and performance as research,
which also falls under many other terms. In the chapter, she describes and analyzes the
different forms of practice and performance as research, the history and drive for its
development, and the type of knowledge that it defends. In the section detailing the
different types of terms and definitions, she gives the reader a thesaurus of terms for this
type of research, explaining that some can overlap and some are interchangeable. Little
creates a conversation between researchers theories on practice and performance as
research to ask whether this domain should be considered a third research paradigm, in
addition to quantitative and qualitative research. Although the UK has made incredible
advances in officially recognizing practice and performance as research (through the

14
Research Assessment Exercise (RAE) officially recognizing practical work as a
publication form in 1996 and through the five-year Practice as Research in Performance
(PARIP), which was funded by the UK Arts and Humanities Research Board and ended
officially in 2005 but left a large legacy of online documentation), as Little comments,
many researcher/practitioners continue to debate the role of art in research and the
necessity for written documents as a supplement/accompaniment to the practice (25).
Little then exposes some of the scholarly debates by researcher/practitioners concerning
the evaluation of practice and performance as research.

Nelson, Robin. Practice as Research in the Arts. Principles, protocols, pedagogies,
resistances. New York: Palgrave Macmillan, 2013. ebrary. Web. 15 March 2014.

The book, which emphasizes the performing arts, to complement the numerous
publications in the visual arts, is divided into two parts: the first consists of five chapters
written by Robin Nelson explaining definitions, a how-to methodology, pedagogy, as
well as a discussion on institutional constraints; the second has regional perspectives on
PaR. Nelson provides institutional and pedagogical discussions on PaR, and her
definition discussions and the other authors regional perspectives provide concrete
examples of how PaR projects are lived as research experiences and how they are
accomplished administratively in different parts of the world. This book is based on
Nelsons experience with PaR in relation to PhD students and their doctoral theses.
Through this lens she provides insight into the methodologies behind PaR that is relevant
and useful for many other models of practice-based research. Her discussion of this
methodology in chapter 2, From Practitioner to Practitioner-Researcher is of particular
interest to those creating a methodology or setting up a project. The third chapter, which
discusses conceptual frameworks, and the fifth chapter, which offers a successful project
example, complement the information on definitions and methodology in the first two
chapters. Terminology and definitions are presented and defined by Nelson in Chapter 1,
but they are also discussed at length by Julie Robson in her chapter on artists in the
Australian academic context (Chapter 7, 129-141, with particular reference to p. 130-
132).

Nelson, Robin. Modes of Practice-as-Research Knowledge and their Place in the
Academy. In Practice-as-Research in performance and screen, eds. Ludivine
Allegue, Simon Jones, Baz Kershaw, and Angela Piccini, 112-130. London:
Palgrave Macmillan, 2009. Print.

In this chapter, Nelson provides strong theoretical and practical arguments for how
diverse creative processes of all arts can constitute research. Supporting her arguments
with past and more recent philosophical statements, Nelson argues that creative
practitioners need to be understood within the academy as new knowledge makers
(124). As she explains through these examples and arguments, although some practice-
as-research may fit into a more traditional, rational-scientific paradigm, practice-as-
research projects would appear to fit much more readily into the knowledge how to do
things than the factual knowledge-producing category (117). She describes different
ways phenomenological or embodied practices can be performed and/or taught,

15
producing and disseminating knowledge that can be evaluated like any other scientific or
scholarly production. As with other academic areas, the author argues for the value of
peer-review processes. These creative endeavors can be knowledge producers in their
own right during the performance or as recorded on media, without having to followed up
with a written document or supplemental analysis. The author explains the relation to the
academy and the peer-review process in the following: An arts practice or artwork may
stand alone as evidence of a research outcome. A musical composition, a choreography, a
theatre piece, an installation or exhibition, a film or other media artifact, a performance in
any field, many self-evidently illustrate a development of what has gone before in ways
which offer substantial new insights in the subject domain as adjudged by those in a
position to make such judgements, namely peer reviewers. Because art is inherently
reflective and reflexive, practice-as-research activity may be identical with art activity in
key and necessary aspects. But, more typically perhaps, practice-as-research is marked as
distinct from art per se by differences of degree rather than kind in such matters as
intention and context. The reflective and reflexive intent of practice-as-research is
directed within and at the academy rather than within and at the art world itself, even
though the boundary between the two domains may be increasingly blurred (125). At the
end of her article, she reemphasizes the idea that practical knowledge is knowledge that
had dominance historically, before the rise of empirical scientific knowledge. In order for
it to regain the recognition it deserves, creative arts research, practice-based research, or
practice-as-research must be considered as valid research on its own ground. Indeed, it
is time to speak less of practice-as research and to speak instead of arts research: a
significant methodology of which just happens to be based in practices (130).

Nielsen, Lara D. The Oral History Project: Practice-Based Research in Theatre
and Performance. In Mapping Landscapes for Performance as Research:
Scholarly Acts and Creative Cartographies, eds. Shannon Rose Riley and Lynette
Hunter, 164-170. Hampshire: Palgrave, 2009. Print.

In this contribution, Nielsen discusses how practice-based research (PbR) is employed as
a methodology to conduct oral history research in conjunction with theatre studies. She
employs PbR as synonymous for field work, and a means for the researcher to express
intersubjectivity and narratives. PbR is also directly linked to community-based theatre
research. At the end of her essay, Nielsen urges institutions to better recognize practice-
based research and performance as research initiatives, to lessen divisions between
different departments and different types of faculty members (i.e., performance and
written research), and to look to oral history practices in practice-based research as a
potential for collaboration across these potential divisions.

OBrien, R. What is Action Research? In: An Overview of the Methodological
Approach of Action Research. Toronto: Faculty of Information Studies,
University of Toronto, 1998. Web.
<http://www.web.net/robrien/papers/arfinal.html>

16
O'Grady, Alice. "Interrupting Flow: Researching Play, Performance And
Immersion In Festival Scenes." Dancecult: Journal Of Electronic Dance Music
Culture 5.1 (2013): 18-38. RILM Abstracts of Music Literature. Web. 27 Mar. 2014.

The author looks at the complexities conducting research associated with play in the
Electronic Dance Music Culture (EDMC) scene. She uses practice-based methodologies
from performance studies in order to analyze and critique the experience and provides a
thorough and up to date literature review of PBR and performance studies.

Parker, A. and E. K. Sedgwick, eds. Performativity and Performance. London and
New York: Routledge. 1995. MUN libe

Phelan, P. Unmarked: The Politics of Performance. London and New York:
Routledge. 1993. Ebook

Pinnegar, Stefinee E., and Mary Lynn Hamilton. Self-Study of Practice as a Genre of
Qualitative Research. Theory, methodology, and practice. Dordrecht, London:
Springer, 2009. ebrary. Web. 20 March 2014.

This book is an in-depth discussion and analysis of self-study and S-STEP (Self-Study of
Teacher Education Practice). The authors define self-study much like reflexive
ethnography or auto-ethnography. They explain how they place the relationship to the
self as a central part of the research process: As researchers write biography, collect
narrative, study history, employ an action research cycle, or even investigate economic
issues, the questions raised and the interpretations proposed emerge from within the
researchers head as do understandings of the data, the literature, and the document
sources. In other words, in the social sciences we study ourselves in relationship to others
and we seek to gain understanding in order to move ideas forward in specific settings like
classrooms or more general settings like education. Researchers engaged in self-study
methodology do not reject other research paradigms, strategies, or methods. Rather we
use those methods rigorously taking into account the researchers position as both the
researcher and researched and as having a central role in the practice being studied
(preface (v)).This book is focused on methodologies in relation to teacher education, but
could be used in any other social sciences or humanities field. Although self-study as a
methodology is different than practice-based research methodologies, looking at oneself
as both a researcher and the researched could be relevant in relation to practice-based
research, especially if the practitioner is also the researcher. A section of the book, which
is dedicated to comparisons between self-study and other qualitative methodologies,
offers insight into the different types of methodologies. Additionally, there is a section of
the book that focuses on arts-based methodologies. The book provides a very general
overview of many topics related to self-study, but some of the examples and definitions
can be useful for other practice-based research projects, particularly in reference to
teaching.

17
Piccini, A. and B. Kershaw. Practice as research in performance: from
epistemology to evaluation. Journal of Media Practice 4.2 (2003): 11323.
Downloaded Ebsco. 18 April 2014.

Richards, Alison. Performance Research in Australia 1988-2007. In Practice-as-
Research in performance and screen, eds. Ludivine Allegue, Simon Jones, Baz
Kershaw, and Angela Piccini, 164-178. London: Palgrave Macmillan, 2009.
Print.

This article presents a very detailed account of the struggle to develop and firmly
establish performance practice and practice-based research in Australia from 1988 to the
present day, where it now holds its own legitimate place in the academy and the
professional world. In her description of the struggle to establish practice-as-research in
higher education, Richards breaks it down into five time-demarcated phases that are each
marked by their challenges and advances within the multi-level layers of academic and
government administrations. Though the challenges were difficult, the Australian model
demonstrates success in establishing practice-as-research in the academy and in the
professional world, followed by subsequent success of creative projects and employment
retention in this area. This serves as an excellent model for other countries and places
struggling to establish practice-as-research as a legitimate field, method and manner of
conceiving knowledge and research.

Riley, Shannon Rose and Lynette Hunter, eds. Mapping Landscapes for Performance
as Research: Scholarly Acts and Creative Cartographies. Hampshire: Palgrave,
2009.

This book is a central contribution to the growing field of Performance as Research in the
United States. Over thirty contributors to this edited volume map out a landscape,
always partial, of PAR [performance as research] in the United States in a way that both
acknowledges the legacies and influences of PaR [practice as research] elsewhere and
pays attention to the particular influences of the way that performance studies has
developed in the United States (xv). The goal is to delineate PAR in the United States
more clearly while contributing to the discussions related to PaR and PARIP (Practice as
Research in Performance) in other parts of the world (Ibid). The editors argue for the
recognition for knowledge produced in creative activities: While performance practice
have always contributed to knowledge, the idea that performance can be more than
creative production, that it can constitute intellectual inquiry and contribute new
understanding and insight is a concept that challenges many institutional structures and
calls into question what gets valued as knowledge. Perhaps the most singular contribution
of the developing areas of practice as research (PaR) and performance as research (PAR)
is the claim that creative production can constitute intellectual inquiry (Ibid). To this
effect, the book combines contributions from practitioner/researchers from around the
world and from a wide array of arts disciplines. The book is divided into three sections: 1.
The chapters in the first section provide various perspectives on Practice as Research and
Performance as Research in different geographical, disciplinary and institutional
contexts. 2. The middle section provides cartographies, or short essays that define key

18
terms in relation to PAR and offer perspectives. 3. In the third section, Performance as
Research in the United States is explored through case studies in research and teaching in
disciplines including music, theatre, visual arts, performance art, new media, and
technology.

Schatzki, T. K., K. K. Cetina and E. von Savigny, eds. The Practice Turn in
Contemporary Theory. London and New York: Routledge. Ebrary. 2001.

Schippers, H. The Marriage of Art and Academia: Challenges and Opportunities
for Music Research in Practice-based Environments. Dutch Journal of Music
Theory 12 (2007): 3440.

Smith, Hazel and Roger, T. Dean, eds. Practice-led Research, Research-led Practice
in the Creative Arts. Edinburgh: Edinburgh University Press, 2009.

Sullivan, Graeme. Art Practice as Research. Inquiry in Visual Arts. Los Angeles: Sage
Publications, 2010. Print.

---. Research Acts in Art Practice. Studies in Art Education. 48.1 (2006): 19-35.

---. Art practice as research: Inquiry in the visual Arts. Thousand Oaks, CA: Sage,
2005. Print.

---. Studio art as research practice. In Handbook of Research and Policy in Art
Education, eds. E. Eisner and M. Day, 795-814. Mahwah, NJ: Lawrence
Erlbaum, 2004.

Studies in Art Education downloaded issues

Journal of Research Practice. Open Access Journal. Online (2005 - )
http://jrp.icaap.org/index.php/jrp

Le Crachoir de Flaubert
http://www.lecrachoirdeflaubert.ulaval.ca

This is an online journal that is dedicated to the topic of creation and, specifically,
creation in the university setting (recherche creation). According to the editors, this topic
is still not well defined and this is the first journal that is dedicated to the topic. Although
they invite submissions of all types of texts, with or without audio and visual supports,
and from all arts disciplines, the texts that are currently on the site are creative
contributions, such as reflections, theater excerpts, and more.

19

Academic contexts

Blom, Diana, Dawn Bennett and David Wright. How artists working in academia
view artistic practice as research: Implications for tertiary music education.
International Journal of Music Education. 29.4 (2011): 359-373. Web.

In this article, the authors discuss their interviews with eight art practitioners of different
medias (music, theatre, dance, ceramics) working in Australian academic institutions.
They reveal the results to the following three research questions: 1. Do artists in
academia view their arts practice as research/a site of knowledge? 2. If they do view
their arts practice as research, how is it so? 3. What is the impact of thinking
analytically and reflectively about ones arts practice? (360). The authors of the study
found that: 1. all the participants considered their arts to be a site of knowledge, but all of
them did not see the outcomes as being research; 2. different arts practices have different
time dimensions, which effects whether the art is research or knowledge; 3. the
participants spoke of the physical aspects of their arts; and 4. the arts practitioners
interests in analyzing the process depended on the public space and culture around their
art (367-368). In spite of some of the artists comments/reflections, the authors conclude
that the participants responses reflected the current literature on how their arts practice
constituted research.
Brabazon, Tara, and Zeynep Dagli. "Putting the Doctorate into Practice, and the Practice
into Doctorates: Creating a New Space for Quality Scholarship through Creativity."
Nebula 7.1-2 (2010): 23-43. Web.
Hafeli, Mary. "Forget this Article: On Scholarly Oblivion, Institutional Amnesia, and
Erasure of Research History." Studies in Art Education 50.4 (2009): 369-81.
ProQuest Social Sciences Premium Collection. Web.
Hockey, John. "United Kingdom Art and Design Practice-Based PhDs: Evidence from
Students and their Supervisors." Studies in Art Education 48.2 (2007): 155-71.
Stolp, Mareli. "Practice-Based Research In Music: International Perspectives,
South African Challenges." SAMUS: South African Music Studies 32. (2012):
77-90. RILM Abstracts of Music Literature. Web. 27 Mar. 2014.

This article looks at the applications of practice-based research to doctoral programmes in
music, particularly in the South African context. PBR is used and institutionalized in
other disciplines but not for music. This article explores the discourses around PBR,
including epistemologies and methodologies.

20
Paltridge, Brian, et al. "Doctoral Writing in the Visual and Performing Arts: Issues
and Debates." International Journal of Art & Design Education 30.2 (2011): 242-
55. Web.

Arts
Angelides, Panayiotis, and Antonia Michaelidou. "Collaborative Artmaking for Reducing
Marginalization." Studies in Art Education 51.1 (2009): 36-49. ProQuest Social
Sciences Premium Collection. Web.
Bannerman, C. "Reflections on Practice as Research: The University, the Artist, the
Research Endeavour." Digital Creativity 15.2 (2003): 65-70. Web.
Bresler, Liora. "Toward Connectedness: Aesthetically Based Research." Studies in Art
Education 48.1 (2006): 52-69. ProQuest Social Sciences Premium Collection. Web.
Brewer, Thomas M., and Ronald N. MacGregor. "Introduction and Commentary: Two
Sides of an Orange: The Conduct of Research." Studies in Art Education 39.3 (1998):
270. ProQuest Social Sciences Premium Collection. Web.
Briggs, Judith, and Kimberly McHenry. "Community Arts and Teacher Candidates: A
Study in Civic Engagement." Studies in Art Education 54.4 (2013): 364-75.
Chalmers, Graeme. "Editorial: Seven Readers." Studies in Art Education 40.3 (1999):
195. ProQuest Social Sciences Premium Collection. Web.
Congdon, Kristin G. "Folkvine.Org: Arts-Based Research on the Web." Studies in Art
Erler, Carolyn. "Exploring Festival Performance as a State of Encounter." Arts and
Humanities in Higher Education 12.2-3 (2013): 268-83. Web.
---. "Targeting "Plan Colombia": A Critical Analysis of Ideological and Political Visual
Narratives by the Beehive Collective and the Drug Enforcement Administration
Museum." Studies in Art Education 50.1 (2008): 83-97. ProQuest Social Sciences
Premium Collection. Web.
Garoian, Charles. "Art Practice as Research: Inquiry in the Visual Arts." Studies in Art
Gosselin, P. La Pratique des Arts et ses Effets sur le Dveloppement de la Pense,
LApport de la Culture lducation. Actes du Colloque Recherche: Culture et
Communications, ACFAS 2000, 75-83. Montral: ditions Nouvelles, 2001.

21
Hutzel, Karen. "Reconstructing a Community, Reclaiming a Playground: A Participatory
Action Research Study." Studies in Art Education 48.3 (2007): 299-315. ProQuest
Social Sciences Premium Collection. Web.
Irwin, Rita L., et al. "The Rhizomatic Relations of A/r/tography." Studies in Art
Irwin, Rita L. "Becoming A/r/tography." Studies in Art Education 54.3 (2013): 198-215.
Staikidis, Kryssi. "Personal and Cultural Narrative as Inspiration: A Painting and
Pedagogical Collaboration with Mayan Artists." Studies in Art Education 47.2
(2006): 118-38. ProQuest Social Sciences Premium Collection. Web.
White, John Howell. "Performing Pedagogy: Toward an Art of Politics." Studies in Art

Arts Education
Campbell, Laurel H. "Spiritual Reflective Practice in Preservice Art Education." Studies
in Art Education 47.1 (2005): 51-69. ProQuest Social Sciences Premium Collection.
Web.
Castro, Juan Carlos. "Learning and Teaching Art: Through Social Media." Studies in Art
Desai, Dipti. "The Ethnographic Move in Contemporary Art: What does it Mean for Art
Education?" Studies in Art Education 43.4 (2002): 307-23. ProQuest Social Sciences
Emme, Michael J. "Visuality in Teaching and Research: Activist Art Education." Studies
in Art Education 43.1 (2001): 57-74. ProQuest Social Sciences Premium Collection.
Web.
Erickson, Mary. "Building Bridges, Experiential Art Understanding: A Work of Art as a
Means of Understanding and Constructing Self." Studies in Art Education 40.4
(1999): 381. ProQuest Social Sciences Premium Collection. Web.
---. "Teaching for Transfer through Integrated Online and Traditional Art Instruction."
Studies in Art Education 46.2 (2005): 170-85. ProQuest Social Sciences Premium
Collection. Web.

22
Gates, Leslie. "Professional Development: Through Collaborative Inquiry for an Art
Education Archipelago." Studies in Art Education 52.1 (2010): 6-17. ProQuest
Gosselin, P., G. Potvin, J.-M. Gingras et S. Murphy. Une reprsentation de la
dynamique de cration pour le renouvellement des pratiques en ducation artistique,
Revue des Sciences de lEducation 24.3 (1998): 647-666. Web.
Heise, Donalyn, and Laurie MacGillivray. "Implementing an Art Program for Children in
a Homeless Shelter." Studies in Art Education 52.4 (2011): 323-36. ProQuest Social
Jagodzinski, Jan. "Beyond Aesthetics: Returning Force and Truth to Art and its
Education." Studies in Art Education 50.4 (2009): 338-51. ProQuest Social Sciences
La Porte, Angela M. "Crossroads: The Challenge of Lifelong Learning." Studies in Art
Lawton, Pamela Harris, and Angela M. La Porte. "Beyond Traditional Art Education:
Transformative Lifelong Learning in Community-Based Settings with Older
Adults." Studies in Art Education 54.4 (2013): 310-20. ProQuest Social Sciences
Levy, Leanne, and Sandra Weber. "Teenmom.Ca: A Community Arts-Based New Media
Empowerment Project for Teenage Mothers." Studies in Art Education 52.4 (2011):
292-309. ProQuest Social Sciences Premium Collection. Web.
Lin, Ching-Chiu, and Bertram C. Bruce. "Engaging Youth in Underserved Communities
through Digital-Mediated Arts Learning Experiences for Community Inquiry."
Collection. Web.
Marche, Theresa. "Narratives of 1970s Disciplinary Reform: Competition Or
Collaboration?" Studies in Art Education 44.4 (2003): 371. ProQuest Social Sciences
Mullen, Carol A. "Reaching Inside Out: Arts-Based Educational Programming for
Incarcerated Women." Studies in Art Education 40.2 (1999): 143. ProQuest Social
Parsons, Michael. "Editorial: The Continuing Vitality of Art Education." Studies in Art
Education 41.2 (2000): 99. ProQuest Social Sciences Premium Collection. Web.

23
Pennisi, Alice C. "Negotiating to Engagement: Creating an Art Curriculum with Eighth-
Graders." Studies in Art Education 54.2 (2013): 127-40. ProQuest Social Sciences
Richardson, Jack. "Interventionist Art Education: Contingent Communities, Social
Dialogue, and Public Collaboration." Studies in Art Education 52.1 (2010): 18-33.
Rolling, James Haywood. "A Paradigm Analysis of Arts-Based Research and
Implications for Education." Studies in Art Education 51.2 (2010): 102-14. ProQuest
Sanders, James H.,III, and Christine Ballengee-Morris. "Troubling the IRB: Institutional
Review Boards' Impact on Art Educators Conducting Social Science Research
Involving Human Subjects." Studies in Art Education 49.4 (2008): 311-27. ProQuest
Shin, Ryan. "Social Justice and Informal Learning: Breaking the Social Comfort Zone
and Facilitating Positive Ethnic Interaction." Studies in Art Education 53.1 (2011):
71-87. ProQuest Social Sciences Premium Collection. Web.
Stout, Candace Jesse. "Editor's Preface." Studies in Art Education 48.1 (2006): 3.
---. "With all due Respect: A Second Look at Action Research." Studies in Art Education
47.3 (2006): 195-7. ProQuest Social Sciences Premium Collection. Web.
Sullivan, Graeme. "Editorial: The Curiosity of Unchained Memories." Studies in Art
Education 44.2 (2003): 99. ProQuest Social Sciences Premium Collection. Web.
---. "Research Acts in Art Practice." Studies in Art Education 48.1 (2006): 19-35.
Swann, Annette C. "Children, Objects, and Relations: Constructivist Foundations in the
Reggio Emilia Approach." Studies in Art Education 50.1 (2008): 36-50. ProQuest
Sweeny, Robert W. "Complex Digital Visual Systems." Studies in Art Education 54.3
Zimmerman, Enid. "My Research Life through Studies in Art Education: A Body of
Work." Studies in Art Education 47.1 (2005): 70-82. ProQuest Social Sciences

24
Arts-Based Research
Adams, Jeff, Matt Cochrane, and Linda Dunne. "Art Practice as Education Research."
Chichester, UK: John Wiley & Sons, Ltd203-217. Web.
Barone, Tom. "Arts-Based Educational Research then, Now, and Later." Studies in Art
Bickel, Barbara. "A/r/tography: Rendering Self through Arts-Based Living Inquiry."
Collection. Web.
Bresler, Laura. 2005. What Musicianship Can Teach Educational Research. Music
Education Research 7.2 (2005): 169-183. ProQuest. 16 March 2014.

Breser, L., and R.E. Stake. Qualitative Research Methodology in Music Education.
Handbook of Music Teaching and Learning. Ed. R. Colwell. 1992. New York:
Schirmer Books. 75-90. Print.

Cahnmann-Taylor, Melisa and Richard Siegesmund, eds. Arts-based Research in
Education: Foundations for Practice. New York: Routledge, 2008. Print.

This text introduces readers to definitions and examples of arts-based educational
research, presents tensions and questions in the filed, and provides exercises for
practice. It waves together critical essays about arts-based research in the literary,
visual, and performing arts with examples of artistic products of arts-based research
(arts for scholarships sake) that illuminate by example. Each artistic example is
accompanied by a scholARTists statement that includes reflection on how the work
of art relates to the scholars research interests and practices (book abstract).

Cole, Ardra, Lorri Neilsen, J. Gary Knowles, and Teresa (Tracy) C. Luciani, eds.
Provoked by Art: Theorizing Arts-informed Research. Halifax, Canada:
Backalong Books, 2004.

This edited book consists of a collection of writings by artist-researchers. These writings
stand alone as creative works, or they reflect on specific pieces of arts research or
projects from varied disciplines.
Eisner, Elliot. "Does Arts-Based Research have a Future?" Studies in Art Education 48.1
Leavy, Patricia. Method Meets Art: Arts-Based Research Practice, 2009.
Wilson, Jenny. "Creative Arts Research: A Long Path to Acceptance." Australian
Universities' Review, The 53.2 (2011): 68-76. Web.

25

Conferences and conference publications

Myatt, Tony, Oliver Larkin, and Dave Malham. "Studio Report: Music Research
Centre, Department Of Music, University Of York." (2010): RILM Abstracts of
Music Literature. Web. 27 Mar. 2014.

Describes a selection of recent activities at the Music Research Centre, University of
York, England. It presents details of current research projects, postgraduate courses and
international collaborations. It is one of the premier facilities for practice-based research,
technical research and postgraduate study in computer music and sound art. The center
specializes in research and development related to new aesthetics in computer music that
have emerged since the mid 1990s, and works extensively with independent professional
composers and sound artists operating outside institutional economics and contexts
(Abstract).

Thomas, Maureen, ed. Practice-based research. Digital Creativity, 15.1 (2004).
Web. 26 March 2014.

This is a special volume, based on a spring 2003 University of Cambridge Department of
Architecture one-day seminar, Research/Practice/Practice/Research. It was organised by
CUMIS (Cambridge University Moving Image Studio) and ResCen (Middlesex
University) in association with CRASSH (Centre for Research in the Arts, Social
Sciences & Humanities, University of Cambridge) and Future Physical/RESPOND.
Topics addressed ranged from spatiality, digitality, art and design to media, culture and
performance. The articles in this issue of Digital Creativity grew out of the papers and
work presented at the symposium (1).

Peer-reviewed papers from the Research into Practice conference 2000
https://www.herts.ac.uk/research/ssahri/research-areas/art-design/research-into-practice-
group/production/working-papers-in-art-and-design-journal/volume-1-research-into-
practice-2000

Dance
Allegranti, Beatrice. Embodied Performances: Sexuality, Gender, Bodies. New York:
Palgrave Macmillan, 2011. Web.
Ben Spatz. "Practice as Research: Foundations for a Community of Knowledge." Dance
Research Journal 43.1 (2011): 48-57. Web.
Cunnington, Maree Helen. "Inside the Power Station : Allegory and the Dance of
Represented Ideas." Queensland University of Technology, Web.

26
Hay, Marie. "Assessment And Feedback: Aligning Dance Practice With Pedagogic
Research." (2009). RILM Abstracts of Music Literature. Web. 27 Mar. 2014.
Henriques, Julian. "Hearing Things and Dancing Numbers: Embodying Transformation,
Topology at Tate Modern." Theory, Culture & Society 29.4-5 (2012): 334-42. Web.
Randall, Tresa M., (Ed.). Global Perspectives On Dance Pedagogy: Research And
Practice. Birmingham: Congress on Research in Dance, 2009. RILM Abstracts of
Music Literature. Web. 27 Mar. 2014.
Reports on three years of research conducted through the Centre for Excellence in
Performance Arts at De Montfort University. The intention of the article is to align the
assessment of dance practice with pedagogic concerns. The development of an innovative
approach to assessment and feedback is discussed with respect of the nature of dance
practice, constructive alignment, and validity and reliability. While this research derives
from practice-based research, it is also informed by published material on pedagogy and
hermeneutics (abstract).
Reynolds, Dee, and Matthew Reason. Kinesthetic Empathy in Creative and Cultural
Practices. Bristol, UK: Intellect, 2012. Web.
Springgay, Stephanie. "Thinking through Bodies: Bodied Encounters and the Process of
Meaning Making in an E-Mail Generated Art Project." Studies in Art Education 47.1
Thomas, H. The Body, Dance and Cultural Theory. New York: Palgrave Macmillan,
2003.

Design

Biggs, Michael A. and Daniela Bchler. Rigor and Practice-based Research. Design
Issues 23.3 (Summer 2007): 62-69. Web. Jstor. 28 March 2014.

Yee, Joyce S. "Methodological Innovation in Practice-Based Design Doctorates."
Journal of Research Practice 6.2 (2010): 23. ProQuest. Web. 28 Mar. 2014.

This article presents a selective review of recent design PhDs that identify and analyse
the methodological innovation that is occurring in the field, in order to inform future
provision of research training. Six recently completed design PhDs are used to highlight
possible philosophical and practical models that can be adopted by future PhD students in
design. Four characteristics were found in design PhD methodology: innovations in the
format and structure of the thesis, a pick-and-mix approach to research design, situating
practice in the inquiry, and the validation of visual analysis. The article concludes by
offering suggestions on how research training can be improved. By being aware of recent
methodological innovations in the field, design educators will be better informed when

27
developing resources for future design doctoral candidates and assisting supervision
teams in developing a more informed and flexible approach to practice-based research.
(Contains 8 figures and 2 tables.)

Film

Banks, Marcus, and Howard Morphy, eds. Rethinking Visual Anthropology.
New Haven: Yale University Press, 1997. Print.

This looks at different forms of media, as an alternative for text in ethnographic work.

Huvenne, Martine. "Towards a Radically Different Understanding of Experience:
Looking for an Heautonomous Auditory Field in Film." The Soundtrack 3.2 (2010):
139-49. ProQuest. Web. 28 Mar. 2014.

What can be the status of sound in film? Is sound always dependent on image in film?
Or is it possible to give sound a more autonomous status? If yes, what are the
consequences for the workflow? In the 1980s and early 1990s two opposing propositions
about the relation of the audible and the visible in film were presented. For Michel Chion
the auditory field is completely a function of what appears on screen and for Gilles
Deleuze the externality of the visual image as uniquely framed has been replaced by the
interstice between two framings, the visual and the sound. Introducing the auditory field
as multi-layered, dynamic, experienced and embodied, the author proposes a
phenomenological approach of the audio-visual that moves towards a different
understanding of the filmic experience, which has its roots in a phenomenology of
auditory experience. In the practice-based research project, "Surrounded," the author
explored together with sound designer and sound mixer Griet Van Reeth, how the
creative process of film-making can start from the auditory field, including inner sound
and a heautonomy of the auditory field [PUBLICATION ABSTRACT].
McLaughlin, Cahal. Recording Memories from Political Violence : A Film-Maker's
Journey. Bristol: Intellect, 2010. Web.
---. Recording Memories from Political Violence : A Film-Maker's Journey. Bristol:
Intellect, 2010. Web.
Medical fields

There are many publications in this area. These are only a few to begin:

Practice-Based Research Networks. US Department of Health and Human Services.
Web. 8 March 2014. <http://pbrn.ahrq.gov>.

PBRNs are groups of primary care clinicians and practices working together to answer
community-based health care questions and translate research findings into practice.

28
PBRNs engage clinicians in quality improvement activities and an evidence-based culture
in primary care practice to improve the health of all Americans.
http://www.ahrq.gov/research/findings/factsheets/primary/pbrn/index.html

Allegranti, Beatrice. "The Politics Of Becoming Bodies: Sex, Gender And
Intersubjectivity In Motion (English)." The Arts In Psychotherapy 40.4 (0001): 394-
403. FRANCIS. Web. 27 Mar. 2014.
Flores, Kevin, and Gwendolyn Combs. "Minority Representation in Healthcare:
Increasing the Number of Professionals through Focused Recruitment." Hospital
topics 91.2 (2013): 25. Web.
Jones, Therese. "Apoptosis is My Favorite Word by Gretchen Case: A Commentary and
Response." Literature and Medicine 28.2 (2009): 273-7. Web.
Zarin, D. A. et al. "Practice-Based Research In Psychiatry (English)." The American
Journal Of Psychiatry 154.9: 1199-1208. FRANCIS. Web. 27 Mar. 2014.

Potter, Margaret A. and Beth E. Quill. Demonstrating Excellence in Practice-Based
Research for Public Health. Public Health Reports 121.1 (Jan. - Feb. 2006): 1-
16. Web. Jstor. 28 March 2014.

Music

Bailes, Freya and Roger T. Dean. Cognitive Processes in Musical Improvisation:
Some Prospects and Implications. austraLYSIS, and MARCS Auditory
Laboratories, 2010. University of Western Sydney, Australia. Web. 28 March
2014.

Bendrups, Dan. Dunedin Sounds. In Dunedin Soundings. Place and Performance,
eds. Dan Bendrups and Graeme Downes, 9-16. Dunedin, New Zealand: Otago
University Press, 2011. Print.

This introduction to the edited volume begins with a brief history of Dunedin Sound, a
media creation sustained in the global popular imagery that describes a particular music
which is so unique to a place that it warrants geographical definition (10). As he goes on
to explain, it is historically situated between 1979 and 1989 in New Zealand popular
music history and it still remains in popular music discourses. Bendrups explains that
many contemporary performers and composers, such as those in this volume, may not
identify with this historical period, which is why they would speak to other types of
Dunedin Sounds. Bendrups follows with an introduction to the three sections of the book:
1. an introduction and theoretical reflections on performance as research; 2.
musician/researcher examples and discussions of music, communication and
community; and 3. music, history and local identity, chapters that are all intrinsically

29
linked to aspects of local identity, history and involvement in the New Zealand music
industry (15).

Bendrups, Dan and Graeme Downes, eds. Dunedin Soundings. Place and
Performance. Dunedin, New Zealand: Otago University Press, 2011. Print.

This edited volume provides theoretical grounding for performance and composition
practices as research, through research and practitioner arguments and examples. It
contains contributions from researchers, composers, and musicians on diverse types of
music making, music reception and music communities and the relationships of all of
these within the New Zealand context.

Draper, Paul. "Toward a Musical Monograph: Working with Fragments from
within the Improvisation-Composition Nexus." Journal on the Art of Record
Production.6 (2012): np. ProQuest. Web.

The author discusses his sabbatical project, which involved expanding on previous
practice-based research. He offers a theoretical framework for practice-based research, or
what he also calls action research. For the project, he explains how he draws on: action
research (plan, act, review, re-act); refection-in /on-action (music-making, recordings,
notes, databases), and [] the processing of the music itself using [Dave] Collins list
as an indicative structural framework (Draper, online). He then applies these practice-
based research techniques to his musical recordings and to the subsequent album creation
work on his digital audio workshop (DAW). The author offers a reflexive and theoretical
discussion of the work.

Graham, Sandra Jean. Performance as Research (PAR) in North American
Ethnomusicology. In Mapping Landscapes for Performance as Research:
Scholarly Acts and Creative Cartographies, eds. Shannon Rose Riley and Lynette
Hunter, 99-106. Hampshire: Palgrave, 2009. Print.

This article offers a short historical perspective of performance as research in
ethnomusicology. As the author explains, although performing music should not
necessarily be the only research methodology, it can be a way to begin ethnographic
research or to complement other methodologies. Furthermore, practicing and
participating in the music and ritual events can provide illumination into the culture that
would otherwise go undetected.

Holland, Simon, Katie Wilkie, Paul Mulholland, and Allan Seago. Music and
Human-Computer Interaction. Springer Series on Cultural Computing. London:
Springer-Verlag, 2013. Print.

This book, based on work at an international workshop, explores Music Interaction in
relation to Music and Human-Computer Interaction (HCI): Music Interaction
encompasses the design, refinement, evaluation, analysis and use of interactive systems
that involve computer technology for any kind of musical activity, and in particular,

30
scientific research on any aspect of this topic. Music Interaction typically involves
collaboration between researchers, interaction designers and musicians, with individuals
often able to play more than one of these roles (5).
Lucia, Christine. "Mapping the Field: A Preliminary Survey of South African
Composition and Performance as Research." South African music studies :
SAMUS. 25 (2005): 79. Periodicals Index Online. Web.
Rovan, Joseph Butch. Living on the Edge: Alternate Controllers and the Obstinate
Interface. In Mapping Landscapes for Performance as Research: Scholarly Acts
and Creative Cartographies, eds. Shannon Rose Riley and Lynette Hunter, 252-
259. Hampshire: Palgrave, 2009. Print.

The author of this chapter gives a short but detailed description of the technical aspects of
electronic music research through his own practice in electronic music. By way of
conclusion, he asks for practitioners/researchers to create their own history of electronic
instruments through more creations of demos and publications of their technical accounts.

Spiller, Henry. University Gamelan Ensembles as Research. In Mapping
Landscapes for Performance as Research: Scholarly Acts and Creative
Cartographies, eds. Shannon Rose Riley and Lynette Hunter, 171-178.
Hampshire: Palgrave, 2009. Print.

This article begins with an important warning against music as a universal language. As
Spiller explains, meaning in music varies greatly from community to community, and
because of its false sense of familiarity, music is more likely to be misunderstood than a
foreign language, which will immediately sound like gibberish to a non-speaker. From
this introduction, Spiller takes the reader further than original intent of Mantle Hoods
bimusicality, which had the goal of performing outsiders music as a research
methodology. Spiller briefly discusses the history of the institutionalization of Gamelan
ensembles in higher education and how they can constitute research. They train
researchers, but for Spiller, they are also an ethnography in and of themselves (177).
As he explains, If the goal of my ethnomusicological work is a translation of the
meanings of gamelan music that are not immediately apparent to my fellow Westerners,
what better way to do it than to actually empower them to make music to learn to
produce and consume those meanings for and by themselves? What better way to drive
home the variability of human behaviors and engender a healthy skepticism of their own
complacent reactions than to allow them to experience the results of a different system of
behavior? (Ibid). He then goes on to say that due to a limited audience of scholarly
publications, people have probably understood his research more from his ensemble
teaching than his writings.

31
Music Therapy

Barry, Philippa. "Music Therapists' Practice-Based Research in Cancer and
Palliative Care: Creative Methods and Situated Findings." Voices: a World
Forum for Music Therapy 9.3 (2009): NP. ProQuest. Web. 28 Mar. 2014.

Although randomized controlled trials are described as the gold standard in health care
research, their superiority is being questioned in palliative care which is focused on
addressing individualized needs to maximize life quality. We use creative practice-based
research to examine the usefulness of our music therapy work amongst people with life
threatening conditions. Examined voices include "collective" (patients, visitors, staff, and
music therapist), "their" (patients or caregivers), "our" (a group of music therapists), and
"my voice" (one music therapist). Data sources have included clinical journals, semi-
structured questionnaires, interview responses, a focus group, reflexive groupwork
supervision transcripts, and patients' song lyrics. Findings, situated within varied
theoretic lenses, substantiate music therapy's role in oncology and palliative care settings.
Readers are invited to devise creative ways to voice their clients', bystanders', and own
wisdom about music therapy to meaningfully extend the knowledge base (Abstract).

Epstein, I. Clinical data-mining. Integrating practice and research. Oxford: Oxford
University Press, 2010. Print.

Kern, Petra, (Ed.), et al. Proceedings of the 13th World Congress Of Music Therapy.
2011. RILM Abstracts of Music Literature. Web. 27 Mar. 2014.

O'Callaghan, Clare. "Practice-Based Research In Oncology And Palliative Care."
Music Therapy Today 9.1 (2011): 38-39. RILM Abstracts of Music Literature.
Web. 27 Mar. 2014.

This article discusses retrospective and prospective practice-based research as used in
palliative and oncological care. The main concepts presented here are that: 1. PBR can
consist of natural and reflexive inquiries coming out of ones work and research (the
author cites the example of lyric analysis of songs that parents hospitalized with cancer
created for their children; and 2. PBR can be prospective, looking at, for example, the
effect of music therapy practice on other staff in the hospital.

---. Objectivist and constructivist music therapy research in oncology and palliative care:
An overview and reflection. Music and Medicine 1.1 (2009): 41-60.

OCallaghan, C., and Magill, L. Effect of music therapy on oncologic staff bystanders:
A substantive grounded theory. Palliative Support Care 7 (2009): 219-228.

O'Callaghan, C., OBrien, E., Magill, L., and Ballinger, B. Resounding attachment:
Cancer inpatients song lyrics for their children in music therapy. Support Care
Cancer 17 (2009): 1149-57.

32
OCallaghan, C., and McDermott, F. Music therapys relevance in a cancer hospital
researched through a constructivist lens. The Journal of Music Therapy 41.2
(2004): 151-185.

Ridder, Hanne Mette Ochsner. "Effects Of Music Therapy In Dementia: Turning
Practice-Based Research Into An RCT." Music Therapy Today 9.1 (2011): 36-
37. RILM Abstracts of Music Literature. Web. 27 Mar. 2014.

This is a short report on the music therapy research pilot project The Effect of Music
Therapy on Quality of Life, Agitation and Medication for People with Dementia (Ridder
& Stige, Aalborg Universitet, 2011) and on the relationship between practice-based
research and randomized clinical trials (abstract). Of particular interest here are the
references to the practice-based research.

Robson, C. Real world research. A Resource for social scientists and practitioner-
researchers (2
nd
ed.). Oxford: Blackwell, 2002. Print.

Smeijsters, Henk et al. "Arts Therapies For Young Offenders In Secure Care: A
Practice-Based Research." The Arts In Psychotherapy 38.1 (0001): 41-51.
FRANCIS. Web. 27 Mar. 2014.

Performance Studies
Davis, Tracy C. The Cambridge Companion to Performance Studies. New York:
Cambridge University Press, 2008. Print.
This book gives an overview to performance studies, as a discipline, from a broad range
of researcher practitioner perspectives.
Grant, Stuart, Matthew Lockitt, and Abigail Kate Egan. "The Uncertain Musical: An
Experiment in Performance as Research as Pedagogy." Australasian Drama Studies
57.57 (2010): 82-98. Web.
Gray, Ross E. "Performing on and Off the Stage: The Place(s) of Performance in Arts-
Based Approaches to Qualitative Inquiry." Qualitative Inquiry 9.2 (2003): 254-67.
Web.
Hamera, Judith. Opening Acts: Performance in/as Communication and Cultural Studies.
Thousand Oaks: Sage Publications, 2006. Web.
Hauptfleisch, Temple.. "From Trance Dance to Par: Theatre and Performance Studies in
South Africa." Themes in Theatre.6 (2011): 171. Web.
---. "Tipping Points in the History of Academic Theatre and Performance Studies in
South Africa." Theatre Research International 35.3 (2010): 275-87. Web.

33
Hicks, Jonathan, et al. "Considering Calamity: Methods for Performance Research.; the
Cambridge Companion to Performance Studies." Cambridge Opera Journal 21.1
(2009): 89. Web.
Whybrow, Nicolas. "Situation Venice: Towards a Performative 'Ex-Planation' of a City."
Research in Drama Education 16.2 (2011): 279-98. Web.

Practice-Led Research
Marley, Ian R. "Investigating the Appropriateness of the Theory of Organisational
Knowledge Creation as a Management Model for Practice-Led Research." Literator
33.1 (2012): 1. Web.
Qualitative Research Methodology

Creswell, John. Qualitative Inquiry and Research Design: Choosing Among Five
Approaches. Beverly Hills: Sage Publications, 1999 (2012 3
rd
ed).

Denzin, N. and Y. Lincoln, ed. The SAGE Handbook of Qualitative Research. Beverly
Hills: Sage Publications, 1999 (2011 4
th
ed).

Patton, M. Qualitative Research and Evaluation Methods. Beverly Hills: Sage, 2002.

Richardson, L. New writing practices in qualitative research Social Sciences Journal
17.1 (2000): 5-19.

Schn, D.A. The Reflective Practitioner: How Professionals Think in Action. New York:
Basic Books, 1983.

Tracy, Sarah J. Qualitative Research Methods. Collecting evidence, crafting analysis,
communicating impact. Chichester, UK: Wiley-Blackwell, 2013. ebrary. 21
March 2014.

This is a how-to guide for qualitative research. It is accessible to undergraduates but also
to graduates and advanced researchers. The author does not compare different qualitative
methodologies, but instead demonstrates how to do different parts of the research project,
including interviews, focus groups, data interpretation and analysis, and representation.
And very accessible and pragmatic in style, it is a pedagogical tool for teachers, complete
with teaching tools such as exercises, worksheets, lesson plans and more.

34
Religious practice research
David Rhoads. "Biblical Performance Criticism: Performance as Research." Oral
Tradition 25.1 (2010)Web.
Marranci, Gabriele, ed. Studying Islam in Practice. Abingdon, Onox: Routledge, 2014.
Print.
Social Work

Harold, R. D. et al. "Life Stories: A Practice-Based Research Technique (English)."
Journal Of Sociology And Social Welfare 22.2: 23-43. FRANCIS. Web. 27 Mar.
2014.

Petrucci, Carrie J. and Kathleen M. QUINLAN. "Bridging The Research-Practice
Gap: Concept Mapping As A Mixed-Methods Strategy In Practice-Based
Research And Evaluation (English)." Journal Of Social Service Research 34.2:
25-42. FRANCIS. Web. 27 Mar. 2014.

Dodd, Sarah Jane and Irwin Epstein. Practice-based research in Social Work: A
guide for reluctant researchers. New York: Routledge, 2012.

This how-to textbook provides definitions and research designs of practice-based
research (PBR) in the context of social work. There are many practice examples and
it is a good tool for students, as well as practitioners.

Uggerhj, Lars. What is Practice Research in Social Work - Definitions, Barriers
and Possibilities. Social Work and Society International Online Journal 9. 1
(2011). Web. 16 March 2014.

Baker, Felicity. Voicework in Music Therapy. Research and Practice, 2011.
Sociology

FOX, Nick J. "Practice-Based Evidence: Towards Collaborative And Transgressive
Research (English)." Sociology 37.1 (2003): 81-102. FRANCIS. Web. 27 Mar.
2014.

Studies of the application of research in policy and service delivery suggest that the
translation of research findings into practice is not straightforward. Practitioners are
criticized for failing to base actions on research evidence, while academic research is
sometimes condemned as 'irrelevant' to practice. This paper argues that this conflict
derives in part from an academic model of research constructed in opposition to practice.
Reflections on scientific logocentrism (claims to possess unmediated knowledge of
reality) and 'transgressive' action research provide a critique of traditional research and
suggest an alternative, practice-based research model. Three propostions for generating

35
'practice-based evidence' are identified. Firstly, the pursuit of knowledge should be
acknowledged as a local and contingent process. Secondly research activity should be
constitutive of difference, questioning the legitimation and repression of particular
aspects of the world. Finally, theory-building should be seen as an adjunct to practical
activity. Together, these positions dissolve the researcher/researched and
research/practice oppositions in traditional research and supply an ethically and
politically engaged research. Practice-based research is explored in terms of four
moments in the research process (Abstract).
Theater
Arlander, A. "Finding Your Way through the Woods - Experiences of Artistic Research."
Nordic Theatre Studies 20 (2008): 29-. Web.
Aston, E. "Editorial: Critical Turning Points." Theatre Research International 37.1
(2012): 1-4. Web.
Betteridge, Thomas, and Greg Walker. "Performance as Research: Staging John
Heywood's Play of the Weather at Hampton Court Palace." Medieval English
Theatre 27 (2005): 86-104. Web.
Carlson, Marvin. "Inheriting the Wind: A Personal View of the Current Crisis in Theatre
Higher Education in New York." Theatre Survey 52.1 (2011): 117-23. Web.
Dominic Symonds. ""Powerful Spirit": Notes on some Practice as Research." Themes in
Theatre.7 (2013): 209. Web.
Fleishman, Mark. "The Difference of Performance as Research." Theatre Research
International 37.1 (2012): 28-37. Web.
Kent, Lynne. "Breaking the Fifth Wall: Enquiry into Contemporary Shadow Theatre."
Queensland University of Technology, Web.
Kershaw, Baz. Theatre Ecology: Environments and Performance Events. Cambridge:
Cambridge University Press. Print. 2007.
Mazer, Sharon. "Performance: Ethnographer/Tourist/Cannibal." Australasian Drama
Studies (2011): 104. Web.
Smith, Phil. "Mythogeography Works: Performing Multiplicity on Queen Street."
Research in Drama Education 16.2 (2011): 265-78. Web.
Starcevich, Lara Elizabeth. "Women Stand-Up Comics, Performance Communities, and
Social Change." ProQuest, UMI Dissertations Publishing, 2001. Web.

36
Symonds, Dominic. ""Powerful Spirit": Notes on some Practice as Research." Themes in
Theatre (2013): 209. Web.
Tyszka, Juliusz. "Theatre and Memory in Utrecht." New Theatre Quarterly 28.2 (2012):
200. Web.
Wilkins, Caroline. "A Theatre Of Energies." Studies In Musical Theatre 6.1 (2012):
59-72. RILM Abstracts of Music Literature. Web. 27 Mar. 2014.

In this article, the author explains how she applies Jean-Paul Lyotards theory on drama
and vocal music as a theatre of energy to her own practice in sound theatre. The article
explores electronic sound theatre, zaum poetry and sound theatre in relation to her own
reflexive and auto-ethnographic experience with practice as research.

Visual Arts

Benjoe, David, Rebecca Caines and John Campbell. The Future Tree. Regina Folk
Festival 2012. Commissioned by Common Weal Community Arts.

A participatory art installation investigating community responses to the future and to
technology.

Caines, Rebecca and John Campbell. Poetic Displacements. MacKenzie Art Gallery
as part of The Synthetic Age Exhibition (Jan-Apr 2013).

A new media art installation investigating virtual and phenomenological understandings
of site.

Caines, Rebecca, John Campbell, Nicholas Loess and Bree Hadley. Virtual Memory
Boxes. Utrecht, the Netherlands (June 2011); Guelph, Ontario (April 2011).

An interdisciplinary installation and new media project exploring collaborative archiving.

Caines, Rebecca and John Campbell. Community Sound [e]Scapes: An international
audio art project working with community groups in Canada, Northern Ireland and
Australia. New media, installation, workshops, performance works and sound art
components, plus development of new audio mixing software (2009-2011).
http://soundescapes.improvcommunity.ca.

Marshall, Julia. Image as Insight: Visual Images in Practice-Based Research.
Studies in Art Education 49.1 (Fall 2007): 23-41.

37
Performances (Live and DVD)

Lee, R. The Suchness of Heni and Eddie: An Interactive Document and Investigative
Research Resource [DVD], PARIP/University of Bristol/ ResCen. 2007.

Programmes/courses

Beer, Ruth. Social Sciences and Humanities Research Council of Canada (SSHRC) Grant
for research and creation projects including most recently for Trading Routes:
Grease Trails, Oil Futures (2013-2017). Her recent artwork of geologically-inspired
forms and exploration of expressive materials and processes addresses social history,
geo/marine conditions and environmental sustainability.

Hannay, Lynne M. "Action Research: A Natural for the Curriculum Process."
Peabody Journal of Education 64.3 (1987): 24-43. ProQuest. Web. 28 Mar. 2014.

This article looks at several practice-based research projects that were focused on
curriculum implementation and on curriculum decision-making. The author
demonstrates inherent tensions in action research.

Practice Based Research in the Arts. Stanford Online Course. Stanford University.
Oct. 9 Dec. 11, 2013. Web. 8 March 2014. <https://novoed.com/pbr>.

This is an online course designed to facilitate and advance the work of students pursuing
arts practice within an academic framework, using the online space to make this work
accessible to peers (Helen Paris, online video description highlight,
https://novoed.com/pbr/highlight). The students receive feedback; have conversations
around their works; develop portfolios online around their works and the works of their
peers; and create critical and creative exchange. For the co-teacher Leslie Hill, she is
excited to have a secure platform for our works. As she explains, they make their work
overt by having conversations, refering to published works and developing a network
through the course (Leslie Hill).

Practice-based Research. Emily Carr University of Art and Design.
<https://www.ecuad.ca/research/practicebasedresearch>.

How they define practice-based research at their institution: Much of the research at
Emily Carr that is not associated with one of the applied research centres, can be
described as Practice-based research. This form of research integrates the professional
practice of an artist or designer with specific research questions, methods and
outcomes. The research can be about art, for example examining the work of a particular
artist or group in a new context. It might be research for art in the form of an
exploration of new technologies like 3D printing that can be used by artists. Finally, it
might be research as art where the outcome of the work is not a published paper but an

38
installation, performance, or work of art which communicates the outcome of the
research to the viewer. There are links to faculty and graduate practice-based research
on their site.

Research Projects

Sound Artists

Viv Corringham
http://vivcorringham.org/recent_work

Music-based Methodology

Shadow-Walks: Doing an interview walking through an area with someone, while they
are describing it. By doing this, the interview is much more candid. People say things
they wouldnt necessarily say in face to face.
(Viv Corringham - http://vivcorringham.org/shadow-walks)

Soundwalks
(Andra McCartney - http://soundwalkinginteractions.wordpress.com/about/)
Soundwalking is a creative and research practice that involves listening and sometimes
recording while moving through a place at a walking pace (McCartney 2013).

2014 (Forthcoming). McCartney, Andra. Soundwalking: creating moving environmental
sound narratives. In The Oxford Handbook of Mobile Music Studies, Volume 2, edited
by Sumanth Gopinath and Jason Stanyek.
Draft version: http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-
creating-moving-environmental-sound-narratives/

McCartney, Andra. Soundwalking Interactions. Drafts of Upcoming Publications.
Accessed 3 March 2014.
Draft version: http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-
creating-moving-environmental-sound-narratives/

Practice as Research in Performance

Practice as Research in Performance. 20002006. PARIP. University of Bristol. Web.
Accessed 15 April 2014. <http://www.bris.ac.uk/parip/>

This was a five-year project directed by Prof. Baz Kershaw in the Department of Drama
at the University of Bristol.PARIP's objectives were to investigate creative-academic
issues raised by practice as research, where performance is defined, in keeping with
AHRB and RAE documentation, as performance media: theatre, dance, film, video and
television. As a result of PARIP's investigations and in collaboration with colleagues,
educational institutions and professional bodies throughout the UK and Europe PARIP
aimed to develop national frameworks for the encouragement of the highest standards in

39
representing practical-creative research within academic contexts. This is the context as
stated on their site, though it should be read historically since the project is no longer
active: The pursuit of practice as research / practice-based research (PAR / PBR) has
become increasingly important during the past ten years to the research cultures of the
performing arts (drama, theatre, dance, music) and related disciplines involving
performance media (film, video, television, radio) as the contribution of the arts and
cultural industries to national health and prosperity has climbed up the political agenda. A
growing number of performing arts / media departments in higher education are now
offering higher degrees which place practice at the heart of their research programmes.
This represents a major theoretical and methodological shift in the performance
disciplines traditional approaches to the study of these arts are complemented and
extended by research pursued through the practice of them.

Practice-led Research
(However, this term is criticized because practice-led may bear a residual sense that
knowledge follows after, is secondary to, the practice (Nelson 2013, 10))

Haseman, Brad. A Manifesto for Performative Research, Media International
Australia Incorporating Culture and Policy. Quarterly Journal of Media
Research and Resources 118 (2006): 98106.

practice- led research describes what practitioner- researchers do, captures the
nuances and subtleties of their research processes and accurately reflects the process to
research funding bodies. Above all it asserts the primacy of practice and insists that
because creative practice is both on- going and persistent; practitioner- researchers do
not merely think their way through or out of a problem, but rather they practice to a
resolution. (cited in Nelson 2013, 10).

Gray, Carole. 1996. Inquiry Through Practice: Developing Appropriate Research
Strategies; http://carolegray.net/Papers%20PDFs/ngnm.pdf.
Described as seminal by Nelson (2013). Practice-led Research developed as term in
Australia to indicate something similar to Practice as Research (Nelson 2013)
http://www.sharenetwork.eu/artistic-research-overview/bibliography

Websites for Research Initiatives/Projects

Caines, Rebecca, John Campbell, Nicholas Loess, Rosa Loess, and Michael
Waterman. Community Sound [e]Scapes-Northern Ontario. 2011 2013. Web.
<http:///www.media.knet.ca/cse.>

Audio and video art project investigating sound and place, working with First Nations
communities in Northern Ontario. Funded by the Canada Council for the Arts through the
Artists and Community Collaboration Program (ACCP) in Media Arts. Partnering with
Keewaytinook-Okimakanak (K-Net Services) in Northern Ontario, and Ed Video, ICASP
and The Don Snowden Program in Guelph (2011-2013).

40
OSullivan, Sandy. The Real Gunya. Dr. Sandy OSullivan, as part of an Australian
Learning and Teaching Council Teaching Fellowship carried out between 2008-
10. 2011. Web. 5 March 2014.
<http://www.indigenousresearchers.org/NMR_IR/Real_Gunya.html>.

She is the first Aboriginal ALTCT fellow and this is for an Indigenous research project In
this project, she is looking at alternative dissemination (i.e. new medias) for indigenous
research students and career researchers. As she explains, she is interested in the ways
that we might use new media and digital forms to create research outcomes that are both
rigorous, culturally appropriate and meaningful for our cultural communities and our
communities of practice (7, The Real Gunya: the process and the team, 2011,
http://www.indigenousresearchers.org/NMR_IR/Real_Gunya_files/Gunya_AboutProcess
_ALTC_IRDS.pdf).
Her website for the project has a shed space with new media resources, including:
examples of practice-based and practice-led research with annotations; references in
practice-based and practice-led research; and 4 other links to pages: blogging,
photography, auto-recording and videography in indigenous research contexts.
This website has an entire page devoted to references on practice-based and practice-led
research, with a pdf version attached:
http://www.indigenousresearchers.org/NMR_IR/References_PBR_PBL.html).
OSullivan introduces these sources with the following: While most of these references
focus on art and media as spaces of dissemination in research and research training, it is
important to note that many of the strategies, methodologies and processes can be
adopted and adapted from the creative arts and reconfigured into the broader humanities
and other discipline areas.

There is also a lengthy annotated research bibliography on examples of practice-based
and practice-led research, with a pdf version attached:
http://www.indigenousresearchers.org/NMR_IR/Examples.html

Writing
Harper, Graeme. New Ideas in the Writing Arts. Newcastle upon Tyne, UK: Cambridge
Scholars Publishing, 2013. Web.
Leavy, Patricia. Fiction as Research Practice. Short Stories. Novellas, and Novels, 2013.

41
Dissertations using practice-based approaches
!"#$ &'()

Beattie, Ronn. A Passage in Women's Sculpture: Diversity, hapticity and domesticity
in one contemporary lineage of women's sculpture. Diss. Open University, United
Kingdom. UMI Dissertations Publishing, 2001. ProQuest.

This practice based research project is sited within my experience of my own sculpture
making. From this experiential basis I have observed the practices of other women
sculptors, selecting, for closer, critical examination, those whose working methods
privilege a specifically haptic process, diversity of materials and evidence of a domestic
source. Through these criteria a 'lineage' of teacher/makers within women's contemporary
sculpture has been traced, offering one particular passage in women's recent sculpture. In
this lineage the textual content within the work presents a strong vein of women's
domestic experience. []This sculpture project and the dissertation together form a
single body of work. The written words have been rendered as more nearly equivalent to
the flowing, hapticly created language of sculpture process by their formation as a
'bialogue', consisting of a main academic text and a margin of a more flowing, open
ended, spoken dialogue form (Authors Abstract).

Beccue-Barnes, Wendy. "War Brides: A Practice-Based Examination of Translating
Women's Voices into Textile Art." Thesis. Kansas State University. UMI
Dissertations Publishing, 2012. ProQuest.

The aim of the current study was to discover the voice of the military wife, examine it
through a feminist lens, and then translate those voices into artwork that represented the
collective, lived experience of the women interviewed. Three methodologies were
utilized to analyze and translate the voices of military wives into textile art. These three
methodologies: practice-based research, phenomenology, and feminist inquiry provided a
suitable structure for shaping the study to fulfill the project aim. Interviews conducted
with 22 military wives revealed two overarching themes: militarization and marriage; as
well as multiple subthemes. Three subthemes were recognized as being the most
prominent: relationships, separation, and collective experience. These themes were used
as the inspiration for the creation and installation of three textile art pieces (Authors
abstract).

Benaud, A. B. A. "The Network as a Performance Space: Strategies and
Applications." Diss. Queen's University Belfast (United Kingdom), 2009.
ProQuest. Web. 26 Mar. 2014.

This dissertation is the result of four years of practice-based research I have conducted
in the field of network music performance. This document is based on a series of
networked events and research initiatives that have taken place all around the world, in
which I was either involved as a technologist, performer, sound engineer, composer,
collaborator or in a combination of the above. Most of the practice-based work was

42
documented either through conference proceedings, software prototypes or audiovisual
supports. Therefore, this dissertation is a collage of all this work in one central amalgam.
With this research, combined with a historical perspective of the practice, I hope to
contribute to the development of network music performance by outlining cutting edge
developments in the field such as cueing multiple performers over large distances and
using the combination of the network acoustics with the physical acoustics of
interconnected spaces (Abstract).

Benjumea, Gustavo Cerquera. Amazonian Visions: Animating Ghosts. Thesis.
Ontario College of Art & Design (Canada), 2013. ProQuest. Web. 24 Mar. 2014.

Amazonian Visions is a practice-based research project that finds associations between
the concepts of expanded cinema and animation, and the myriad worlds of the
Amazonian psychedelic brew, ayahuasca (Authors abstract).

Berg Powers, Cara Lisa. "Listening to Speak: Examining the Impact of Youth-Led
Participatory Action Research using Video Documentary." Diss. Fielding
Graduate University, 2012. ProQuest. Web. 26 Mar. 2014.

Youth researchers at the Worcester Youth Center investigated the lack of youth jobs in
the city of Worcester, Massachusetts, using short documentary as a data collection and
presentation tool. The purpose of the study was to examine the impact of this video
research project on the youth participants' self-confidence, leadership skills, community
engagement, and commitment to education. Using focus groups, surveys, interviews, and
observation, the outcomes of the study show great promise for using video research as a
means to positively impact urban working-class youth (Abstract).

Breton Roy, ve. (2007). De la science comme mtaphore : regard sur le glissement
de sens et sur la rptition dans l'objet du livre. Mmoire de matrise, Universit
du Qubec Chicoutimi.

Cette recherche-cration porte la fois sur la rptition comme mthode artistique
permettant d'amener un glissement de sens; sur la science comme possible mtaphore
artistique et sur le livre comme objet transmetteur. Le point de dpart de cette recherche
concerne une insatisfaction profonde face au concept de dfinition. C'est l'absence dans la
dfinition du sujet sensible, du sujet en rapport avec son environnement qui a motiv
l'envie de le rintgrer, de lui redonner le pouvoir de dfinir, sa manire. Six
installations livresques, prsentes la galerie Espace Virtuel, sont le rsultat de ces
diverses exprimentations et explorations. Elles sont issues la fois du champ de la
science et du sensible cherchant amener une rflexion philosophique.
Le contenu de ce mmoire synthtise les diverses exprimentations ralises travers ce
projet de recherche et est divis en trois chapitres. Le premier chapitre de cet essai se
consacre introduire au lecteur la forme livresque en regard des diffrentes qualits
formelles de son objet. Il y est galement question du malaise qui m'occupe face au
concept de dfinition et du glissement de sens comme possible stratgie de dplacement
vers le sensible. Le second chapitre, quant lui, aborde la notion de rptition comme

43
mthodologie de travail. Y sont exposs le processus de rptition mcanique et de
rptition inter-champs ainsi que la relation interne les unissant. Dans le troisime et
dernier chapitre, il est question de la mthode scientifique et de son influence sur le
concept final d'exposition. Sont galement analyses les diffrentes oeuvres prsentes
dans cette dernire partie et la manire dont l'approche scientifique me permet d'effectuer
un renvoi entre les diffrents champs de la connaissance.
Je propose ainsi une recherche-cration qui tente d'inclure le sensible la dfinition de
concepts en passant par la rptition mcanique et inter-champs, cette dernire permettant
de glisser d'un champ de la connaissance l'autre (Authors abstract).

Brown, B. "Designing in Dark Times: Modern Thought and the Nature of Design
Knowledge." Diss. University of Dundee (United Kingdom), 2006. ProQuest.
Web. 26 Mar. 2014.

This thesis takes as its starting point the demand for a deep approach to ecological
design and challenges the shallowness of the existing response. It is proposed that the
current moves toward ecological design do not resolve the underlying problem and that
the real disorder is actually obscured by these attempts. The thesis proposes that in many
of the responses to the ecological challenge there is a false evasion of the most vital
issues. The work in this thesis is occupied to a great extent with trying to explore why
this is so. The problem that this thesis attempts to explore is itself not discrete and as such
is overlooked. The use of narrative is developed then as a method to discern and conceive
the problem itself. Through this approach, discrepancies between design principles and
design practice emerge. Naturally, the relationship between theory and practice becomes
a central issue, but this thesis avoids the familiar and established dialectic on this issue,
epitomized in Practice-Based research discourse. Instead the notion of incongruence
between espoused-theory and theories-in-use is employed to conceive the problem. The
thesis calls for a reinterpretation of the moral task. Thinking about ultimate problems is
an act of the total personality. Attending to the crisis that faces us, we need to design with
our whole being. Using ontological narrative, the thesis attempts to re-conceive the moral
challenge as something that, rather than divest design of its inherent nature, actually
ensures the fulfilment of design agency according to the nature of design thought; as
something which ensures the integrity of the discipline (which is essentially what practice
based research aims at) (Authors abstract).

Castelyn, S. "South African Dance Theatre: The Body as a Site of Struggle." PhD
Diss. University of London, Queen Mary College (United Kingdom), 2009.

Using a series of case studies of recent critical South African dance theatre works and of
my own practice-based research, this thesis examines South African dance theatre with a
primary focus on the body, in order to facilitate an understanding of the bodys
political and social meanings post-Apartheid. Emerging as a response to both the
shortage of research into South African dance theatre and my personal involvement in
this dance form, the thesis asks how South African dance theatre choreographs the body

44
as a site of struggle; how this physical action might have political repercussions; and to
what effect (Authors abstract).

Chavez, Brittany Danielle. Remembering latina maternal migration to the silicon
valley: Performance and poetics. M.A. Thesis. San Jose State University.
ProQuest Dissertations and Theses. Online

This thesis project uses an experimental and bi-methodological approach of "critical oral
history performance" and "performance as research" in order to produce and analyze the
oral histories of two Latina women who migrated via Mxico during pregnancy as
"undocumented" subjects. These women (called comadres ) now reside in the Silicon
Valley. One of the oral histories was with a Guatemalan woman who migrated in 2005
during her third month of pregnancy, and the other was with a Mexican woman who
migrated in 1999 during her fifth month. The stories, collected in January and February
of 2011, constitute the primary source materials that this project explores with the critical
lenses of gender theory, performance theory, Chicana feminism, and queer theory. This
project also includes a "performance as research" component, Embodied Borderlands .
Here, the primary sources were used to develop a mixed media performance installation
that used elements of sound, video, and movement--all based on the oral histories and
produced in some dialogue with the comadres . The performances took place in April
2011, and they, too, are sites of critical inquiry and an attempt to further the analysis of
the primary sources through a range of embodied strategies. One comadre attended and
provided useful feedback. This thesis also analyzes the "performance as research"
component of this work. Above all, this project is rooted in a social justice imperative
and asks what we have to learn from the Latina maternal voice and imaginary (Authors
abstract).

Couture, Emilie. Exploration crative et sensible du voyage intrieur travers la
rencontre de l'altrit. Mmoire. Universit du Qubec Montral, Canada.
Matrise en communication. 2012. Erudit.

Par l'exploration de l'exprience sensible du voyageur dans l'altrit, l'intention premire
de ce mmoire de recherche cration est de dfinir le concept d'tat de prsence, un
moment de bien-tre et de plein contact avec le monde, et de montrer comment ce rapport
sensible l'Autre transforme le voyageur et permet l'volution de son identit et son
accomplissement. Le voyage est donc au cur de cette recherche et est envisag en tant
que rupture vis--vis des schmes de pense habituels et en tant qu'ouverture sensible au
monde. Pour celui qui s'engage sur ce chemin, impossible de revenir indemne. La
rencontre avec l'Autre transforme le voyageur. C'est travers un voyage ralis aux fins
de cette recherche et travers un processus de cration auquel il est directement reli que
ces grands thmes seront explors. En effet, nous verrons travers la trajectoire du
voyageur communique dans l'uvre que l'exprience du voyage montre que l'individu
qui s'engage sur un chemin menant vers l'extrieur, en tant rceptif au dialogue que la
rencontre de l'altrit implique invitablement, en revient altr, diffrent, voire
transform. Nous en arriverons comprendre que la qualit de son exprience se dissocie
du changement opr en lui. Elle est plutt relie sa capacit d'investir le moment de sa

45
prsence et renoncer son lieu de dpart. Et c'est cet tat sensible, en rupture avec le
lieu de dpart menant un changement de phase important et provoquant un tat de bien-
tre et d'accomplissement, que nous nommons tat de prsence. Avant d'en arriver ce
constat, l'uvre sera prsente dans ses aspects formels et mthodologiques. De plus, la
trajectoire emprunte par l'auteure de cette recherche cration sera expose et nous
verrons comment ce trajet aura men la cration d'une uvre qualifie de bote
nomade , constitue des images et des textes recueillis au cours du voyage. Seront
dvoiles aussi les impressions suscites par l'uvre auprs de diffrents groupes tmoins
ainsi que les mthodes utilises afin de recueillir ces donnes. En somme, c'est travers
l'ensemble d'un parcours singulier et travers l'exprience d'un mode d'tre sensible dans
le monde que nous tenterons humblement d'explorer le visage indicible de la presence
(Authors abstract).

Chrtien, Virginie. (2007). Exploration des concepts de mobilit et de disponibilit
en cration : parcours d'une dmarche hybride selon des approches et des mises
en espace contextualises. Mmoire de matrise, Universit du Qubec
Chicoutimi.

C'est dans l'esprit d'un parcours qu'est construit l'essai qui vient et qu'est apprhende la
recherche actuelle. Ce parcours est celui d'une dmarche et d'une exploration dont le
trajet n'est pas connu. Un parcours qui se prte aux hasards des rencontres, des
croisements, des drives et de ce qui surgit du contexte de cette recherche-cration.
Ma dmarche actuelle en art runit principalement la sculpture, l'installation et ce que je
nomme approche relationnelle , La notion de disponibilit est ce qui tmoigne le
mieux du caractre hybride de mon travail de cration. Le texte suivant tentera d'en faire
ressortir l'importance travers la prsentation d'une gense de mon travail artistique,
d'une problmatique de recherche thorique et pratique poursuivie au cours de deux
annes d'tudes et de l'volution d'un travail de cration dans le contexte d'une exposition
la galerie du centre d'artistes Langage Plus. Bien que le projet final de rsidence et
d'exposition De l'entranement l'effet agisse titre de rfrence en terme de production,
cette recherche est davantage axe sur l'apport mthodologique et potique de ce projet
de cration : c'est--dire sur l'volution processuelle et contextuelle de la recherche-
cration. L'essentiel de l'criture de ce mmoire a t rdig dans cet esprit, chemin
faisant.
Ainsi nous verrons, travers une criture qui suit l'volution de ma recherche et qui
voque ma faon de travailler, comment le contexte et ce qu'il reprsente comme cadre a
rvl et continu de rvler un univers de spcificits qui influence la production. C'est
travers le thme de la mobilit, d'artefacts et d'images qui en sont l'incarnation, qu'est
exprime une duplicit entre mobilit et statisme, drive et fixit dont est
fondamentalement porteuse cette recherche. Nous verrons en effet comment les concepts
de drives et de locations ont marqu la priode qui correspond la fin de mon parcours
de recherche.
De l'entranement l'effet, exposition dont l'essentiel du contenu a t ralis in situ sur
une priode quinze jours, regroupe des objets ready-made, des dessins grand format, des
textes potiques, des formes peintes et des tableaux lumineux. C'est par leur disposition
dans l'espace de la galerie que ces lments acquirent leur statut d'oeuvre; un statut bien

46
phmre. L'hybridit de ma pratique se manifeste ici travers des systmes de
reprsentations trs varis; installatif, sculptural, graphique, thtral, musal ou relevant
mme de l'art populaire. Stationnarit et fixit sont devenues en quelque sorte les siges
d'observation de mon questionnement sur la mobilit.
Je propose l'volution d'un parcours d'exploration du contexte de la recherche-cration
sur le thme de la mobilit par une dmarche hybride. Un parcours qui privilgie la
notion de disponibilit l'intrieur d'approches, de crations et de mises en espace
contextualises (Abstract).

Cunnington, Maree Helen. (2004) Inside The Power Station : Allegory And The
Dance Of Represented Ideas. PhD by Creative Works. Queensland University of
Technology. 2004. Web.

This performance-as-research project incorporated a five-month residency inside a
working power station, Swanbank, Ipswich, a provider of electricity to Australia's eastern
states via the national grid. The concept 'power station' is compelling because it involves
the transformation of material form (coal) to immaterial phenomena (electricity), a
process analogous to making electronically-mediated art. Three linked interdisciplinary
works were created out of the artist's immersion on site: Swanshift, a music-video eulogy
to the closure of the station's oldest coal-fired facility, Swanbank 'A'; The Industrial
Theatre, a photographic series featuring Swanbank workers; and unstatic, a live, video-
mediated performance.
As an enquiry into meaning within contemporary art practice, this research project used
allegory as its symbolic mode of thought and formation. Through allegory, the Swanbank
site was explored metaphorically to reveal a fictional, parallel world beyond the literal
surface of danger, authority and rigour. In this space of excess, unreality and overflowing
boundaries, meaning is multiple and celebrated. Hand-in-hand with an exploration of
allegory, this exegesis also presents an insight into methodologies for industrial, site-
specific, interdisciplinary practice, and arts-industry collaboration (Abstract).

de Castro, Pedro Bonatto. Portraits of Science A journey re-imagining heroes in
the history of science. Thesis. Ontario College of Art & Design, Canada. UMI
Dissertations Publishing, 2012. ProQuest.

In an effort to blend science with other forms of visual expression, I explore how the
aesthetics of highly stylized and fetishized imagery as presented in the fashion industry
and commercial photography can provide a reflection on practices of science
popularization where science becomes a commodity product and the figure of the
scientist becomes a spectacle (Authors abstract).

Dulic, Aleksandra. "Fields of Interaction: From Shadow Play Theatre to Media
Performance." Diss. Simon Fraser University (Canada), 2006. ProQuest. Web.
26 Mar. 2014.

This thesis examines the emerging contemporary practice of computational media
performance and its genealogy through intersections across shadow play, cinema and

47
computational media. One of the ways in which media performance can be
contextualized is by looking at contemporary performance forms that emerge from
different traditions and cultures. Computational media performance invites us to look at
shadow play and reinterpret it, with performative action and locality of place and
community in mind. This research connects interactive media art with Balinese
community-based performance practices. This research connects interactive media art
with Balinese community-based performance practices. The interactive media art, in this
study, is examined with a particular focus on issues that arise from using computational
technologies in the context of performance. []The composition and presentation of
electronic media, using capabilities offered by computation, extend cinema with its
ability to braid encoded process with various media, narrative elements and participants'
interaction in the real time of the performance. The "interaction" of performers, partakers
and the elements of the work form situated media performance as inspired by the study of
Balinese shadow play. The concept of braided processes, drawn from Balinese shadow
play, is further investigated through a series of artistic studies and productions that
employ improvisation and real-time animation of media driven by the interaction among
performers, participants and materials of the work.

Groebner, Sandy. The Intimacy of Presence. Thesis. Ontario College of Art &
Design, Canada. UMI Dissertations Publishing, 2011. ProQuest.

As a researcher, I developed a qualitative field study and embedded myself as a
participant with eighteen volunteers in order to obtain first-hand experience and to try
and locate for myself in a very visceral way, what constitutes the communicative event
between individuals. Combining and comparing my own experience with responses from
the participant group, I was able to formulate significant conclusions regarding embodied
cognition and use these in the production of a body of work. These, together with my
practice-based research and history as a figurative artist, have resulted in an
interdisciplinary final body of artwork, titled The Intimacy of Presence (Authors
abstract).

Haley, D. H. "Steps to an Art of Ecology: An Emergent Practice." Diss. Manchester
Metropolitan University (United Kingdom), 2009. ProQuest. Web. 26 Mar. 2014.

The thesis examines the development or èmergence of my arts practice from 1997 to
2008 a process that set out to explore what an ecological arts practice might be and how it
may address the most pressing issues of our time global warming, climate change,
species extinction. Presenting a contextual overview from which the thesis develops, the
Literature Review briefly surveys key practitioners in the field, but focuses on the diverse
multi-disciplinary influences and sources of information that have driven the evolution of
ecological arts practice from a `whole systems perspective. A critique of Grant Kesters
`dialogical aesthetic (Kester 2004) leads to an appraisal of three UK projects by Helen
Mayer Harrison and Newton Harrison that informed and further contextualised some of
the practice presented. The metaphor of a matrix of knowledge or `complexus (Morin
2005) of woven cloth was adopted as a way to organise this discursive material and
introduce a principle of complexity. From this, six `threads of inquiry were established

48
to interweave through the thesis as the `warp; the `weft being represented by four
central chapters that organise the body of arts-led, practice-based research. The
programme of ecological arts research adopted a variety of methods as creative
interventions to engage with issues of flood remediation, species migration, freshwater
generation, sustainability and resilience to produce information and convert it to
knowledge. To transform this discursive knowledge to a state of understanding, the
notion of `convergent knowledge (Lakoff & Johson 2002) was applied as a thesis
forming method (Abstract).

Hand, Anton. "The Demo as Creative Practice." Thesis. Rensselaer Polytechnic
Institute, Ann Arbor. UMI Dissertation Publishing, 2013. ProQuest.

Within the culture of video games, the demo has many forms. From interactive
aspirational tech advertisements to boisterous technique demonstrations, the demo is
pervasive across gaming technoculture. I propose that this disparate family of media
objects, while each functioning within its own subculture or economy, and furthering its
own goals, can be viewed as a set of strategies for independent game designers engaged
in practice-based research (Authors abstract).

Hegarty, S P M. The Presence of Absence. Diss. University of Southampton,
United Kingdom. UMI Dissertations Publishing, 2002. ProQuest.

This has been a creative practice based research degree. The title of my research project
is The Presence of Absence . The research question is--how is the past made tangible in
the present and further, what is the relationship of memory to space and objects? The
research outcomes include installation; sound-works; a Research Archive, which houses
all audio-visual documentation and reference material relating to the research project; and
a performed audio-visual presentation in the form of a lecture (Authors Abstract).

Holm-Mercer, P. "Maternal Perspectives in Art: Reflected on and Performed
through Text and Art Practice." Diss. University of London, Goldsmiths'
College (United Kingdom), 2006. ProQuest. Web. 26 Mar. 2014.

This thesis explores the question of how to engage with - and articulate - maternal
perspectives in contemporary art. Through text and practice-based research, I make a case
for using a paradigm of 'embodied' interrelationality inspired by notions of mothering -
and the maternal voice - to develop a model of understanding and engagement with
works of art, which highlights their performativity, 'intelligent' materiality, and dialogical
function. The text-based research draws inspiration from the examples of art practice and
mothering (as this has been conceptualised and demonstrated in theoretical texts). In
return, the practice-based research gains confidence and legitimacy from the writing as
this presents a rationale that supports the performative potential of art practice, allowing
it to explore maternal perspectives through indirect visual and material means. The
practice-based research has resulted in the production and exhibition of a body of art
work that draws on a visual and intellectual 'landscape' shaped by a life with children.

49
Through photography, video, text, sculpture, and installation it has engaged with - and
staged - notions of play, intersubjectivity, and maternal embodiment (Authors abstract).

Horowitz, Risa Simone. "Disciplining Art Practice: Work, Hobby, and Expertise in
Practice-Based Scholarship (Blurry Canada, Potager, Scrabble(TM))." Order
No. NR90343 York University (Canada), 2012. Ann Arbor: ProQuest. Web. 26
Mar. 2014.

This dissertation uses a practice-based methodology to question the meanings and
impacts of this relatively new academic discipline, examining and contextualizing art
making and academic research as distinct fields with different values and objectives.
Employing the deconstructive play of binaries I propose the position that leisure is work
for the practicing artist. This situates my art practice as one that aggravates boundaries
between expert/amateur, work/hobby, and leisure/productivity. This maneuver of
inversion presents a way of working within, around, and against problems entailed by
introducing doctoral level programs in visual arts.
Pierre Bourdieu's concept of struggles for agency provides a framework to investigate the
fields of cultural and knowledge production. His argument that autonomy within fields
depends on the ability to refract external determinants is presented alongside persistent
modernist notions of creative autonomy despite these being subject to assimilation by
dominant capitalist forces.
Analyzing the Social Sciences and Humanities Research Council definition of
research/creation I identify how artists' autonomy is framed, and weakened by ideals of
legitimate forms of knowledge and its communication. I further identify ways that the
autonomy of independent inquiry at universities, more generally, is threatened by
pressures to instrumentalize knowledge into economic advantage. My association of the
pressure to transform art making into useful products within capitalism is the locus of my
inquiry into the disciplining of art practice within the contemporary university.
Engaging in a conversation between competing values I identify a sense of futility about
ways artists can contribute to academic knowledge. Artistic practices and works are too
easily compromised by dominant definitions of academic research. Faced with this
dilemma we confront the choice to either not participate, which raises questions about the
role of artists in universities, or else get a feel for the game, where such agency
acquisition is seen as either a mode of refraction in a bid to maintain a sense of
autonomy, or a subject-making self-disciplining practice.
This dissertation proposes that, in light of the sense of futility engendered by subject-
forming and disciplining practices of contemporary Western culture, what remains is the
imagination of a better, more egalitarian world (Abstract).

Houde Lavoie, Alice. La beaut du mal. Mmoire de matrise, Universit du Qubec
Chicoutimi. 2009. rudit.

Ma recherche-cration invite une rflexion sur le rapport esthtique/dramatique. Je
m'intresse principalement la reprsentation de mises en scne photographiques
narratives sous forme de tableaux vivants. Afin de parvenir mon objectif qui tente
d'utiliser l'attraction comme mthode d'introspection, je m'interroge sur la relation qui

50
existe entre les ralits sociales et la beaut esthtique, entre l'histoire individuelle et
collective, entre la prose et la posie.
La construction de mes images est stimule tout d'abord par des histoires relles relies
ma propre vie qui sont ensuite reproduites et rinterprtes par des mises en scne
inspires de certains tableaux, de sculptures, de posies et de photographies
contemporaines.
Ma recherche-cration tourne autour de cinq thmatiques : l'amour, la sexualit, la
toxicomanie, la prostitution ainsi que la mort. Mon questionnement est principalement
ax sur l'union du laid associ des sujets dramatiques et du beau en rapport l'harmonie
et la posie. C'est--dire que j'unifie des sujets souvent insolites ou marginaux en
contraste avec une approche visuelle se rapprochant de certains critres prcis au niveau
de l'esthtique tire de l'histoire de l'art. Je tente d'utiliser des archtypes communs, des
rcits avec lesquels la plupart d'entre nous peuvent s'identifier. Je conceptualise mes
images photographiques en passant par une stratgie visuelle attractive pour qu'ensuite le
spectateur s'attarde l'intriorit du sujet. Je cherche sensibiliser ce dernier en passant
par des sujets qui touchent l'ensemble d'une collectivit en crant des compositions
originales et vocatrices. Je considre mon travail comme un miroir tendu notre
gnration, voire comme un rpertoire r-enchant de mes expriences passes et
actuelles (Abstract).

Jones, Y. "Peeling the Body." University of Southampton (United Kingdom), 2010.
Diss. ProQuest. Web. 26 Mar. 2014.

This practice based research focuses on events of the body, using the participating-
observer-researchers experiences of medical events undertaken by her within a western
medical environment to investigate her living existence as a ùnit, an èxperiencing
corporeal body. The project addresses a sharp awareness of body experienced by the
researcher. It investigates this body in terms of the literal posthuman associated with
Moravec, alongside the theoretical posthuman associated with Hayles where the `defining
characteristics involve the construction of subjectivity. Using action research as the
methodology and video installation as practice the project considers the position of the
researcher in relationship to the medics, a situation of subject / object. With the female
participating researcher as a given it becomes relevant to reference ideas from the ideals
of feminism and to consider the question àre women human? The project produces
evidence of change in the relationship of subject / object specific to this research when
the researcher actively engages with attributes of the posthuman and it demonstrates how
an altered emerging subject resulted from this engagement. There is a movement for the
researcher from a liberal humanist subject to an emerging posthuman subject, an
empowering and emancipating change (Abstract).

Kent, Lynne. Breaking the Fifth Wall: Enquiry into Contemporary Shadow
Theatre. Masters by Research by Creative Works. Queensland University of
Technology. 2005. Online.

Practising Shadow Theatre in the West today means to subvert the predominantly
negative view of shadow in the Western psyche, to transcend the faintly racist notion of

51
shadow theatre as the quaint practice of traditional people of the East and to contend with
the dominant influences of the electronic media on this once powerful and popular art
form.
This research is through creative practice in the form of the production, Cactus. This
performance investigates the use of the screen in contemporary Shadow Theatre and the
optimisation of the live theatrical experience. The performance also seeks to integrate
mediatized and non-mediatized performance through the combination of live
performance and projected images.
My research is a social constructivist process to creative practice as research using a
pluralistic approach including elements of action research and autobiography. The
literature included for review in this study includes work by Brook, Grotowski,
Auslander, Sontag, and Schechner. The literature analysis and previous training with
Italian company, Teatro Gioco Vita, served to inform the application of my theories as
praxis.
The central question of this research project is:
How can I break the fifth wall (which is the screen) in shadow theatre performance?
Subsidiary questions are:
How can we harness the advantages of both mediatized and non-mediatized performance
to produce a contemporary shadow theatre form catering to the needs of a twenty-first
century audience?
How can I optimize the live theatrical experience?
What is contemporary Shadow Theatre? (Authors abstract).

Kim, S. "The Potential of DNA Structure to Provide a Resource for the Creation of
Art." Diss. Nottingham Trent University (United Kingdom), 2007. ProQuest.
Web. 26 Mar. 2014.

Art's search for new subjects and methods and science's need for effective
communication have led to the creation of what is known as Sci-Art. It is the central
argument of this thesis that collaboration between creative and scientific disciplines can
play a useful role in society, but that this potential is held back by misunderstanding of
the roles of art and science. The main purpose of this practice-based research project,
which is also supported by a written thesis, is to determine the relationship between
artists and scientists, focusing on the visualisation of DNA. The project will identify their
shared approaches to its representation, and will explore the history of DNA as an iconic
form. An additional purpose of this study is to analyse the importance of the role of
collaboration between scientists and artists including its application to education
(Abstract).

Kriel, C. R. "Noise, Artefact and the Uncanny in Large Scale Digital Photographic
Practice." Diss. University of the Arts London (United Kingdom), 2004.

This dissertation explores the question: why, when encountering the products of many
new technologies delivering information via a new media, do I often experience a feeling
of disquiet or estrangement? I use the example of laser-photographic printing to explore

52
the issue through a program of practice-based research. The outcome of this line of
enquiry includes an original contribution via three series of large-format digital
photographic works: Presenting "The Amazing Kriels," Home At Last and Pure
(Authors abstract).

Kuznetsova, Ekaterina G. "Embracing Change: Making Dances as a Practice of
Unlearning." Thesis. York University (Canada), 2011. ProQuest. Web. 26 Mar.
2014.

This thesis is a personal account of the dance making process based on my experience
as a Russian-born dance artist living in Toronto, Canada. Through a description and
analysis of my three new choreographic works, I demonstrate how the process of
unlearning - letting go of habitual ways of knowing - gives space to possibilities of
discovery throughout the rehearsal, production, performance, and post-performance
stages of development of a dance. Using three forms of writing - essay, journaling, and
poetry - I illustrate how the practice of listening and attending to the state of vulnerability
allowed me to navigate the chaotic nature of my process and helped bridge my practices
as an artist and scholar. In conclusion, I propose that the interpersonal nature of the
choreographic craft calls for an awareness of the learning environment that the process
inevitably generates, since a dance develops via the intimately interconnected network of
diverse participants (Abstract).

Lam, Chi Hin. "Creation of Illuminative Smart Fashion." Diss. Hong Kong
Polytechnic University. UMI Dissertations Publishing, 2012. ProQuest.

[T]his practice-based research study combined the theories of wearable technologies,
practical concept development and physical prototyping of wearable technologies in
creating high value fashion design (Authors abstract).

Lane, Stephen. The experience of New York and Beijing: Destabilizing studio art
practices, cultural sites and educational processes. Diss. Teachers College,
Columbia University, UMI Dissertations Publishing, 2010. ProQuest.

The author, who is also an artist, approached the thesis as an artist by examining studio
artwork in New York and Beijing. As the author explains in his introduction: This
dissertation project [] explores the idea of the researcher as artist and studio art practice
as a form of learning where the making of art is determined in part by how it destabilizes
accepted practices while remaining grounded in the traditions of modernity. This studio-
based research focuses on the significance of site, the context of materiality, and the
influence of studio and location on learning within artistic studio practice (1).

Legault, Benot (2010). Dveloppement d'une installation interactive et immersive
pour personnes non-voyantes et voyantes : cration d'un spectacle multi-
sensoriel en situation de noirceur Mmoire. Montral (Qubec, Canada),
Universit du Qubec Montral, Matrise en communication.

53
Sous la forme d'une installation interactive, cette recherche cration est destine faire
vivre au public en gnral l'exprience d'tre dans la peau d'une personne non-voyante.
Elle vise donc mettre en valeur l'importance de chacun des sens et faire voir comment
ceux-ci ragissent et compensent lorsqu'un sens est dficient ou tout simplement
manquant. La personne se dplace dans une pice toute noire. Elle dclenche diffrents
vnements par l'entremise de divers objets qu'elle est appele dcouvrir au fil d'un
parcours d'inspiration marine. Les personnes non-voyantes sont galement invites en
faire l'exprience (Abstract).

Lemelin, Simon-Pier. Esthtique de la chasse et de la pche : la recherche du
principe immatriel vital. Mmoire de matrise, Universit du Qubec

Issue d'abord d'un questionnement sur le sensationnalisme, la subversion et les valeurs
prises par la socit actuelle, ma recherche-cration prend un virage dcisif lorsque je
rflchis sur les origines de ceux-ci. C'est la suite de ce questionnement que je m'en
retourne vers une recherche identitaire. Je me positionne sur la relation entre les activits
de chasse et la pche et mon systme de valeurs. Une esthtique de la chasse et de la
pche, une redcouverte de mes valeurs, s'articulent alors dans une pratique
multidisciplinaire.
Dans une approche plastique et potique, ma pratique est dirige vers un aspect mythique
du rapport identit/territoire combinant puration et complexit. Un de mes intrts
majeurs concerne la filiation entre le pass et le prsent, le primitif et le contemporain.
Sous l'angle de l'inspiration ou de la convergence, les pratiques artistiques archaques et
autochtones sont en lien direct avec mes proccupations. De la plasticit vers les notions
de territoire et d'identit, je cherche lier prsent et pass dans une vision d'avenir. Ma
recherche s'articule autour des ides de relation la nature, ses forces, de relation au
territoire physique et mystique, spirituel, mais aussi dans une recherche identitaire.
L'identit du chasseur/pcheur dans son espace physique et mental, dans ses valeurs et sa
passion.
L'ensemble du travail effectu dans le cadre da la matrise se matrialise dans l'exposition
Principe Immatriel Vital (2006), dont le sens du titre est la dfinition du mot esprit. C'est
travers ce long parcours qu'est la recherche-cration que j'ai pu laborer un langage
plastique personnel li la chasse et la pche, des valeurs de respect et de partage.
Aussi, cette tape importante dans mon cheminement d'artiste et d'humain m'a ouvert de
nouvelles pistes de travail autour des thmes de l'identit personnelle et collective, de
notre relation aux origines, de notre vision de la prdation ainsi que sur la relation
l'avenir collectif (Authors abstract).

Lobel, B. "Playing the Cancer Card: Illness, Performance and Spectatorship." Diss.
University of London, Queen Mary College (United Kingdom), 2012. ProQuest.
Web. 26 Mar. 2014.

This thesis investigates the experience of spectatorship in relation to illness, an area that
has received comparatively little attention in Performance Studies. The thesis interrogates
these concerns through original interviews, archival research, close textual readings of

54
performances and performance documentation, and draws on critical frameworks,
primarily from performance, literary and cultural studies concerning spectatorship,
illness, disability, documentation and narrative. The project analyses both my
performances that exemplify being an object of spectatorship and my experiences as a
spectator to the performance of illness. Playing the Cancer Card argues that
performance, through the experiences of spectatorship that it invites, works to broker the
chasm between embodied experience of illness and discourses of that experience. In
Chapter 1, readings of work by Sontag, Spence and Baker demonstrate how individuals
may strategically reject public production of, and spectatorship to, their work. Chapter 2
analyses interviews with Baker and Marcalo, demonstrating how performance can
generate tensions between artists and advocacy groups when modes of spectatorship
regarding propriety and community politics are policed. In Chapter 3, an analysis of
cancer blogs elucidates how they may redress limitations imposed by traditional narrative
structures around illness, forging new relationships between the ill and their spectators.
Here I also consider my performances that respond to the pervasiveness of traditional
narratives. Chapter 4 examines Fun with Cancer Patients, my practice-based research
project, and argues that by addressing constructions of cancer, one may create work that
productively addresses spectators who both have and have not experienced cancer. In the
Conclusion, I evaluate two of my projects that address illness tangentially, arguing that
understanding ourselves as spectators and objects of spectatorship can expand discourses
surrounding embodied experience, especially of illness. (Abstract).

Lyons, Patricia G. Mimesis in Practice: An investigation into the employment of the
mimetic faculty in fine art practice. Diss. Open University, United Kingdom.
UMI Dissertations Publishing, 1999. ProQuest.

This is a fine art practice based research into mimesis. The outcomes of the research are
three sculptures, photo-documentation, a video and a 30,000 word thesis. The
investigation is two-fold; (i) a technical investigation into mould making in foundry
practice and (ii) a theoretical investigation into mimesis. [] The mold-making
techniques were employed in the production of the three life size figurative sculptures
presented as outcomes of the research. The techniques are transcribed in the written thesis
and are supported by photographs, drawings and a video demonstrating the direct mould
of a head (Authors abstract).

Marengo, Izabella. L'exprience du sacr pouvant tre vcue dans le cadre d'un
travail de cration et d'interprtation en danse. Mmoire. Universit du
Qubec Montral, Matrise en danse. 2007. rudit.

Le but de ce mmoire-cration est d'explorer la possibilit que certains lments et
concepts puissent susciter l'mergence d'une exprience du sacr l'intrieur d'un travail
chorgraphique. Cela amne s'interroger sur la subsistance du sacr en Occident en ce
dbut de 21 e sicle; d'autre part, il faut voir si la danse possde un potentiel pour
l'exprimentation de ce dit sacr. Dans un premier temps, cette recherche-cration
prsente les dfinitions du sacr occidental contemporain de diffrents auteurs qubcois
et europens. Ensuite, elle se penche sur diffrents types de danse se reliant une certaine

55
exprience du sacr: Bharatanatyam, danse des Derviches, danses bouddhistes tibtaines,
certains styles occidentaux. Finalement, cette recherche-cration raconte le processus de
cration et de prsentation d'une oeuvre chorgraphique en lien avec la rflexion
thorique avance. Ce mmoire-cration tente donc d'apporter des pistes de rponses aux
interrogations suivantes: le sacr existe-t-il toujours aujourd' hui? Sous quelles formes se
manifeste-t-il? Peut-il se vivre par le biais de la danse? Cette rflexion emprunte une
approche heuristique caractre ethnographique et autoethnographique : analyse et mise
en lien de diffrents auteurs, observations participantes et non participantes, processus de
cration et prsentation chorgraphique. Il sera possible ici de constater que l'exprience
du sacr aujourd'hui en Occident se manifeste de diffrentes faons, sans aucune forme
unanime et que la danse peut comporter quelques lments favorisant l'mergence d'une
exprience du sacr, sans qu'il y ait une formule unique. L'exprience du sacr dans le
mond occidental est un phnomne plutt individuel et demande, pour tre vcue, une
prsence totale de la part de la personne (Authors abstract).

Macklin, Simon. A debt to pleasure: Ecstasy + Knowledge + Performance. MA
Thesis. Queensland University of Technology. 2002. Online.

This performance-as-research project documents, both through linguistic and non-
linguistic texts, an investigation of the materiality of performative knowledges and
analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By
actively engaging in a performative translation of an historical Music Theatre work, this
research investigates how ecstatic inscription creates materiality within the performative
knowledges of Music Theatre, and aims to provide further substance to the discourse
surrounding performative knowledges and their relation to the epistemology and
methodology of performance-as-research (Authors abstract).

Martel-Coutu, Mathilde. Le blanc du corps : l'espace de la peau : point de vue
pictural et photographique. Mmoire de matrise. Universit du Qubec

L'objectif de cette recherche-cration est de crer un parallle entre certaines notions
pratiques/thoriques de mon travail artistique. Le contenu de ce mmoire est uni au projet
d'exposition qu'il accompagne, soit une exposition solo Espace Virtuel1. L'ampleur de
ce projet de recherche est de nature tout d'abord artistique, la fois potique et
mthodique, et enfin thorique. Le lecteur est invit suivre un parcours selon la
perspective heuristique, par laquelle l'orientation et l'organisation du sens sont labores
l'intrieur du processus d'criture2.
Encore une fois, les sujets traits sont rpartis entre la thorie et la pratique, parfois mme
entremls. Le projet LE BLANC DU CORPS prsente des pices en peinture et en
photographie installes de faon explorer et utiliser les limites spatiales du lieu.
Divis en trois chapitres, ce travail se penche sur l'espace qu'occupe la peau sous une
perspective la fois picturale et photographique. L'intervention, la rflexion et
l'amnagement sont les avenues respectives chacun de mes chapitres et consquemment
mes disciplines, la peinture, la photographie et la mise en espace. L'ensemble de l'?uvre
est relev par des intrts plastiques.

56
Le premier chapitre se consacre la peinture, plus particulirement aux membranes que
je cre. Celles-ci sont constitues uniquement de la couleur blanche o sont explores les
notions d'absence de rfrence qu'engendre ce pigment ainsi que le rle des imperfections
lors de mes interventions. Au sein du deuxime chapitre, je rflchis aux annexes de la
peau, leurs rles d'ornement et de protection. Cela m'amne penser la manire dont
ces extrmits prennent leur place travers les fragments photographiques. Au chapitre
trois, j'amnage la structure, je construis une collection de ces peaux peintes et
photographiques. Et en les mettant en dialogue, j'en fais l'installation.
Nous verrons alors que l'espace de la peau engendre une rflexion diffrente en peinture
et en photographie. Malgr que mon processus et mon approche face la cration soient
identiques lors de la fabrication, nous verrons qu'ils sont relatifs aux mthodes de la mise
en espace des limites de la galerie (Authors abstract).

McAvinchey, C. "Possible Fictions: The Testimony of Applied Performance with
Women in Prison in England and Brazil." Diss. University of London, Queen
Mary College (United Kingdom), 2007. ProQuest. Web. 26 Mar. 2014.

This thesis is based on a practice based research project with women in prison led by
Lois Weaver, Peggy Shaw and myself. The project, Staging Human Rights II, took place
in two prisons in England, HMP Highpoint and HMP and YOI Bullwood Hall, and two
prisons in Brazil, Presdio Nelson Hungria and Penetenciaria Talavera Bruce. The
research was conducted between September 2001 and June 2003. The project was part of
a larger umbrella programme, Staging Human Rights, which sought to find ways, through
performance methodologies, in which the language of human rights could incorporate the
everyday lives and experiences of people within the criminal justice system. Within this
context, Weaver and Shaw called upon non-cognitive, postmodern performance strategies
through which the women in prison witnessed their own lives through the testimony of
performance. Theoretical considerations of witness and testimony frame the thesis,
situating performance as an act of witness, and positioning testimony as an urgent and
critical epistemological act in the field of Applied Performance. My research was guided
by two questions: what can be known of the possibilities of performance by working with
women in prison? What can be known of the context of women's prisons through
performance? (Authors abstract).

McGuinness, S. E. "Grupo Lokito: A Practice-Based Investigation into
Contemporary Links between Congolese and Cuban Popular Music."
University of London, School of Oriental and African Studies (United
Kingdom). 2011. Ann Arbor: ProQuest. Web. 21 Apr. 2014.

There is a longstanding historical and cultural relationship between Congo and Cuba via
the slave trade and the `return of Cuban music to Africa, a relationship that has
apparently been very scantily documented. It is acknowledged that Congolese roots are
present in Cuban music but there is little musical analysis of the actual elements
concerned. This thesis addresses this imbalance. Using a performance-as-research
methodology, it charts the formation and experience of the fusion band Grupo
Lokito. Through bringing Congolese and Latin musicians together in a performance

57
situation, I explore the ways in which musicians from the two traditions recognise and
assimilate each others groove. This dissertation investigates whether the historic
connections enable contemporary musicians from both worlds to recognise similarities in
each others music. Also included is a historical overview of the Congolese arrival in
Cuba, how Congolese musical practices were preserved and assimilated into Cuban
music as well as an overview of the evolution of twentieth-century Congolese music.
Existing research has focused on issues such as the return of Cuban music to Congo
(Topp Fargion 2004), the emergence of rumba Lingala in the 1950s and 1960s (Kazdi
1970; Stewart 2000), and the subsequent development, in the 1970s and 1980s, of
Congolese music away from the Cuban influence (Stewart 2000; Ewens 1994). However,
this thesis argues that, rather than diverging from the 1970s onwards as is frequently
thought, Congolese and Cuban music retain commonalities that can be recognised by
musicians immersed in the two styles. An analysis of the musical structure and
instrumentation of well-known Cuban and Congolese songs is included (Abstract).

Meadows, D. C. "The Free Photographic Omnibus 1973-2004: Practice-Based
Research Offered for a Staff PhD by Publication." Diss. The University of
Wales College of Cardiff, United Kingdom, 2005. ProQuest. Web. 26 Mar. 2014.

The Free Photographic Omnibus 1973-2004 is an adventure in photo-documentary
practice. It is a creative work done in two stages. Stage one: the journey began with a
series of portrait photographs I made on the streets of England in 1973-74 from my
travelling photography studio in a converted double-decker bus. In 1995 I began a search
for some of those who had posed for my camera all those years ago by asking editors of
local newspapers to help me find them. When found I then photographed those people
again and interviewed them. I wanted to know three things: i. What kind of relationship
those photographed had enjoyed with their picture down the years. ii. What could be
learned from presenting a pairing of these photographs then and now for exhibition and
publication; iii. What this exercise would contribute to my own continuing documentary
practice. What I learned did indeed give me new direction. Stage two: I gave up doing
media to people and instead devised a way of empowering people to use new digital
production tools to create their own broadcast media on the kitchen table using family
photographs and personal histories. In collaboration with BBC Cymru Wales I took a
Californian model of Digital Storytelling and developed it as a scrapbook television form.
Since April 2001, I have led to the delivery of a series of monthly Capture Wales
workshops all across the region. The BBC has used the project to connect itself more
closely with communities it represents, to provide training for members of its audience in
the new digital tools, and to build an archive of personal stories by the people of Wales
(Authors Abstract).

Menano, Maria Luisa Bastos. The Uncertain Fragments of Memories. Diss.
University of Southampton (United Kingdom), 2005. ProQuest. Web. 26 Mar.
2014.

In stage 1 the artist discusses her motives for her investigation into self and identity
using examples of supporting evidence from a number of texts. [] Stage 2 still draws

58
upon the above authors but from a more autobiographical point of view. [] The
outcome of this research includes the manuscript, a research Archive, and one DVD
which contains two video works, one of which is the recorded performance of the
presentation of the research, interACTING and two sound installations, InSide a
Confession and fragments of memories (Authors Abstract).

Orlow, G. U. "Time+again: Critical Contradictions in Chris Marker's La Jete."
Diss. Royal College of Art (United Kingdom), 2002. ProQuest. Web. 26 Mar.
2014.

This thesis is an investigation into the critical power of a work of art. This critical power
is seen to be produced by paradoxes which are particular to it and which have the
potential to infiltrate theoretical debates in the form of contradictions. The thesis takes the
form of a case study of Chris Marker's 1962 film La Jete. [] The theoretical research
which culminates in the thesis is supported by practice-based research which is presented
as and in an art-work, Housed Memory, consisting of three parts which are shown as a
multi-screen video-installation. This work is documented under separate cover. While the
theoretical and practice-based research share many concerns and both, in a sense, take the
form of a case study, their respective methodologies, however, are profoundly different.
That is, they engage with and intervene in different ways in personal, historical, pictorial
and philosophical notions of time, producing different kinds of critical paradoxes and
contradictions (Authors abstract).

Petric, Maja. "Transforming the Poetic Experience of Space through Light." Diss.
University of Washington, 2013. ProQuest.

Ramsey, Ashlee. "Embodied Continuity: Weaving the Body into a Web of Artistry
and Ethnography." Diss. Arizona State University, 2012. ProQuest. Web. 26
Mar. 2014.

Embodied Continuity documents the methodology of Entangled/Embraced, a dance
performance piece presented December, 2011 and created as an artistic translation of
research conducted January-May, 2011 in the states of Karnataka and Kerala, South
India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems
from an interest in body-mind connectivity, body-mind-environment continuity,
embodied epistemology and the implications of ethnography within artistic practice. The
document begins with a theoretical grounding covering established research on theories
of embodiment; ethnographic methodologies framing research conducted in South India
including sensory ethnography, performance ethnography and autoethnography; and an
explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant
that emphasizes concepts of embodiment and body-mind-environment continuity
uniquely inherent to these sciences. Following the theoretical grounding, the document
provides an account of methods used in translating theoretical concepts and experiences
emerging from research in India into the creation of the Entangled/Embraced dance work.
Using dancer and audience member participation to inspire emergent meanings and
maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts

59
inspiring research interests, along with ideas emerging from within research experiences,
in addition to philosophical standpoints embedded in the ethnographic methodologies
chosen to conduct research, weave into the entire project of Entangled/Embraced to unite
the phases of research and performance, ethnography and artistry (Abstract).

Robson, Julie. Songs of knowledge : Sirens in theory and performance. PhD by
Creative Works. Queensland University of Technology. 2004.

This inquiry is a two-tongued performance as research project asking &quotWhy was
the voice of the Sirens deadly?" and &quotHow can the Sirens inform contemporary
feminist theatre praxis?". The two questions in constant dialectic have been explored in a
written dissertation as well as in a one-hour original and ensemble performance called
The Quivering: a Matter of Life and Death. Analysing references in mythology, art and
history, the written component suggests how the Siren's sonic qualities are manifest in
distinct cultural icons and embodied by actual female performers. Four Siren vocalities
are identified and theorised: The Monster vocality is evidenced in the figure of the femme
fatale; the Lamenter exists in traditional funerary singers and contemporary torch songs;
the sound of the Diva is heard in the opera queen; and the Lullaby Maker acoustics
oscillate between the banter of Mother Goose and the 'red hot mamas' of the blues.
Pursuing what is deadly about each of these embodied voices, the thesis articulates why
female sound, like the Siren song of knowledge, is so ambivalently received - its
evocation of otherness (Monster), liminality (Lamenter), jouissance (Diva) and contra-
diction (Lullaby Maker) is both feared and revered. These four vocalities have grown in
and out of The Quivering, a performance odyssey that has interrogated aesthetic, content,
characterisation, narrative and devising practice, all with an ear to the Siren's 'deadly'
sonority. Subverting portrayals of death as a woman and a taboo, its comic-tragic
heroines exist in a liminal landscape as lamenters who confront and facilitate the
audience's death passage. In counterpoint to Homeric legacy, it has been designed as an
open text, which, combined with its heightened physicality and musicality, make for an
'other' aesthetic or contemporary Siren 'song'. The Quivering is pitched at the same tone
as the distilled Siren vocalities or 'blue notes', and, as a performance as research project,
also re-sounds provocatively within traditional academic discourse. The 'deadliness' of
the female voice, in myth, in theory and in performance thus resides in its dissolution of
logos and certainty. It quivers with the pleasure and trauma of a corporeal jouissance that
exceeds narrative and linguistic frames with its full-bodied, acoustic and imagistic
resonance (Authors abstract).
Education

Joyce, Mary F. "Vocabulary Acquisition with Kindergarten Children using Song
Picture Books." Northeastern University, 2012. ProQuest. Web. 25 Mar. 2014.

Schroeter, Sara. "Theatre in My Toolbox: Using Forum Theatre to Explore Notions
of Identity, Belonging and Culture with Francophone Secondary Students in a
Context of Diversity." York University (Canada), 2009. ProQuest. Web. 25 Mar.
2014.

60
This thesis explores the use of theatre as a pedagogical tool for exploring how a group of
secondary students, particularly those of refugee background, in a minority (francophone)
language school negotiate their educational needs and interests and sense of identity,
belonging, cultural community and country. I argue that a particular form of theatre,
Forum Theatre, a branch of Theatre of the Oppressed (TO) that emerged from liberatory
pedagogy advanced by Paulo Freire, can be useful for engaging students and help them
negotiate and navigate the school system. The data from a secondary school in Western
Canada gathered through a combination of ethnographic, participatory action research
and practice-based research methods, reveals that the students' experiences--being
streamed into subjects unrelated to their interests and aspirations, difficulties with peers,
and discrimination--were heavily influenced by their identities as French speakers and
refugees (a label they avoided) as well as their race, class and gender. This study
demonstrates that Theatre of the Oppressed techniques were useful for enabling students'
to express their varying identities and be situated through their experiences to begin to
address some of the problems they encounter in their school (Authors abstract).

Warstat, A. F. H. "Negation and the Image: John Stezaker, Mediation and the
Afterlife of the Work of Art." Diss. University of Leeds (United Kingdom),
2009. ProQuest. Web. 26 Mar. 2014.

This thesis is a component part of a practice-based research project into art and
negation. The thesis addresses various philosophical and art theoretical accounts of what
it means for something, specifically art, to `die. The project proposes that negation and
death are pre-eminent issues for understanding the art, philosophy, and history of
modernity. For the purposes of this thesis, the key that links an understanding of death
and negation to art, history and philosophy is conceptual and material mediation: literally
how something becomes conceivable (Abstract).
Search Terms

Practice Based Research (PBR)
Practice Led Research (PLR)
Practice as Research (PaR) Australia; UK
Practice as Research in Performance (PARIP) Australia; UK
Performance as Research (PAR) US
Studio Research - US
Studio Art - US
Recherche Cration (Research Creation) - Canada
Practice-integrated Research
Creative Practice as Research
Creative Arts Research
Research through Practice
Artistic Research Nordic countries
Performing Arts Research Methodology
Artography

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Arts-informed research
Performative research
Qualitative research methodology
Experiential research
Narrative inquiry
Grounded theory
Participant observation
Ethnography
Reflective practice
Action Research
Action learning

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