practice based research literature review june 2014

8/12/2019 Practice Based Research Literature Review June 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,LiseVaugeois,andEllen 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 intoBuilding 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-EngagedLearning.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.ICASPandMcMaster, 24 Jan. 2013 Web. Video and Print..

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

Heble, Ajay, Rob Jackson, Melissa Walker, Ellen Waterman, and Ashlee CunsoloWilcox. "Say who you are, play who you are: Improvisation, pedagogy, and youthon the margins."Action, Criticism, and Theory for Music Education. SpecialIssue: Music Education in Urban Contexts. 10.1 (2011): 11431. Web.

Heble, Ajay. Destinations Out: Towards a Jazz-Inflected Model for Community-BasedLearning. Keynote talk for Key Changes: Transitions in Our Students, OurClassrooms, Ourselves, Association of Atlantic Universities Teaching ShowcaseConference, University of Prince Edward Island, September 24-25, 2010. Web videoand print.

Heble, Ajay, Rob Jackson, Melissa Walker, Ellen Waterman, and Ashlee CunsoloWilcox. Improvisation as Pedagogy for Youth on the Margins. Improvisation,Community, and Social Practice (ICASP), Web. 24 Aug. 2010. Web.
http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Ceschi-Smith%2C%20Tegan%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Friesen%2C%20Doug%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Heble%2C%20Ajay%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Lewis%2C%20Eric%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22O%27Neil%2C%20Kevin%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Siddall%2C%20Gillian%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Smith%2C%20Charles%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Smith%2C%20Julie%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Stewart%2C%20Jesse%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Thorne%2C%20Kim%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Vaugeois%2C%20Lise%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Vaugeois%2C%20Lise%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Waterman%2C%20Ellen%22http://highered.mcmaster.ca/http://act.maydaygroup.org/articles/Willox-Heble10_1.pdfhttp://act.maydaygroup.org/articles/Willox-Heble10_1.pdfhttp://highered.mcmaster.ca/http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Waterman%2C%20Ellen%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Vaugeois%2C%20Lise%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Vaugeois%2C%20Lise%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Thorne%2C%20Kim%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Stewart%2C%20Jesse%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Smith%2C%20Julie%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Smith%2C%20Charles%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Siddall%2C%20Gillian%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22O%27Neil%2C%20Kevin%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Lewis%2C%20Eric%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Heble%2C%20Ajay%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Friesen%2C%20Doug%22http://www.improvcommunity.ca/search/apachesolr_search/?filters=sm_authors:%22Ceschi-Smith%2C%20Tegan%22


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Heble, Ajay and Winfried Siemerling. .Voicing the Unforseeable: Improvisation, SocialPractice, Collaborative Research.ICASPUniversity of Guelph, 25 May 2010. Web.

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

Improvisation, Community and Social Practice (ICASP) and Musagetes. Things that youhope a human being will be. 2011 Improviser-in-residence Jane Bunnett with videosby Dawn Matheson. ICASP, 2011. Print and Web with DVD and downloadablevideo.

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

Ttreault, Yvan. Getting the Music off the Page: Practice-based Research and theConstruction of the Practitioner-Theorist. Paper presented at Witty Music? GuelphJazz Festival Colloquium. Diaspora, Dispersal, Improvisation, and Imagination.3-5Sept., 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-BasedHip Hop, Critical Studies in Improvisation, 5:3 (2011). Web. 5 April 2014.

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

Midgelow, Vida. "Nomadism and Ethics in/as Improvised Movement Practices." CriticalStudies 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 toappropriately present oneself to others"): Extra-musical pedagogical values of creative
http://www.criticalimprov.com/public/csi/index.htmlhttp://www.criticalimprov.com/public/csi/index.html


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a horizontal link and rather each discipline remains individual). This trans-disciplinarityis expressed in methodology and action. Miereanu offers a theoretical discussion of thescientific potential of art practices in the research, through a discussion of thedevelopment of art research practices and poly-art in France. Allegue discusses thehistory 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 andDVD.

This book and DVD combination is an indispensible resource on Practice as Research.The book includes chapters from sixteen researchers/practitioners offering diversehistorical, methodological, theoretical and practical perspectives on and examples ofpractice as research in the UK, Australia, Canada and France. The topics include theorieson 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 throughtwo specific examples; PaR in Canada through the lens of a transdisciplinary project; andthe 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 thevolume demonstrate the different ways creative practices constitute research;methodology and ways to theorize PaR; and the historic and contemporary struggles forthe 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 ArtsEnquiry,London: I.B. Tauris, 2007. Print.

This book is composed of chapters written by artists and other researchers conductingstudio-based research. It offers critical reflection and observations on practice-based andpractice-led research. Contributors have focused largely on the processes rather than theproducts of enquiry. They have also emphasized the dialogic relationship between theexegesis or research paper and studio practice in their respective arts disciplinesdesign,creative writing, dance, film and paintingdemonstrating that practice as research notonly produces knowledge that may be applied in multiple contexts, but also has thecapacity to promote a more profound understanding of how knowledge is revealed,acquired and expressed (Barrett, foreword). The appendix, Developing and WritingCreative Arts Practice as Research: A Guide is of particular interest to those developingand writing practice as research, as it provides a detailed description of the different stepsof the research drafting process, including questions, definitions and schemas of theresearch steps.


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Andrews, Stuart, and Robin Nelson. 2003. Regulations and protocolsgoverningPractice as Research (PaR) in the performing arts in the UK leadingto the award of PhD.Paper read at PARIP 2003, at Bristol, UK. Web.

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. .

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 Scholarshipthrough Creativity."Nebula7.1-2 (2010): 23-43. Web.

Caines, Rebecca and Ajay Heble, eds. (forthcoming). Spontaneous Acts: TheImprovisation Studies Reader.London and NY: Routledge, 2014.

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

Candy, Lindy. Practice BasedResearch: A Guide. CCS Report V1.0. Creativityand Cognition Studios.Sydney: University of Technology, Nov. 2006. Web.

This is an excellent introduction to what the author calls practice-related research:practice-based and practice-led research. It provides clear definitions, historicalbackground, and a very pedagogical approach to structuring a practice-based PhD. Undereach of these categories, Candy includes a detailed bibliography, and at the end of theessay 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 knowledgepartly by means of practice and the outcomes of that practiceas opposed to practice-ledresearch which is concerned with the nature of practice and leads to new knowledge that
http://www.bris.ac.uk/parip/biggs.htmhttp://www.creativityandcognition.com/research/practice-based-research/http://www.creativityandcognition.com/research/practice-based-research/http://www.bris.ac.uk/parip/biggs.htm


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has operational significance for that practice.And to separate practice-based frompractice-led, the author specifies: if a creative artefact is the basis of the contribution toknowledge, the research is practicebasedbut if the research leadsprimarily to newunderstandings 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. InPractice-as-Research inperformance and screen,eds. Ludivine Allegue, Simon Jones, Baz Kershaw, andAngela Piccini, 148-162. London: Palgrave Macmillan, 2009. Print.

This chapter discusses practice-as-research in Canada, in terms of practice, theory andpolicy. In order to frame this policy discussion, Daniel introduces Transnet(Transdisciplinary Network for Performance and Technology), the research network heled, and which has national and international affiliations. It is based in the School forContemporary 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 culturalknowledge within society through dance and other performance activities (149). Danieloffers a discussion of cultural sustainability and transdisciplinarity, to define the twoconcepts and explain how they work methodologically and in relation to practice-as-research. Unfortunately, as Daniel demonstrates, for government agencies, theimportance of cultural industries have been omitted or sidelined, instead focusing onother cultures of science and technology. Through the discussions of his involvement inTransnet and his role as a SSHRC grantee, Daniel explains how he had to negotiate thecomplex connections between scholarly work, artistic practices, the academic institutions,national granting agencies, and national policies on the arts. Furthermore, a discussion ofthe creative multicultural performance project, Skin, allows the author to demonstratecomplexities of local and national definitions of cultural vitality and the need for localand national communities and associations, academics, granting agencies andgovernment to be interconnected in order to understand each other and work together.

Drummond, John. The Creative Artist as Researcher Practitioner. InDunedinSoundings. 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 sciencehistory, to explain why it is important to focus on the creative process when consideringpractice or performance as research. He begins with a couple anecdotes, including how ascientific colleague had trouble evaluating a music colleagues CD of her compositions asresearch. He uses musical examples to explain how new knowledge creation in thecreative arts is a result of intellect, which then may produce something aestheticallypleasing. The creation of new knowledge in creative arts practice isa matter of beautyand brains. The work of art, the artistic experience, doesnt happen accidentally. It mayhave aesthetic value, but that is the result of the exercise of intellect (36). FinallyDrummond 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 theneed 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 inthis book. He alternates his observations, reflections, theories, opinions and methodologyon many topics related to practice-based research, with other authors detailed, writtendescriptions of their creative projects. Interestingly, so as to not be influenced by thesecase-studies and vice versa, Freeman and the case study contributors did not each otherscontributions until the book had gone to press. As a result, the juxtaposition of thedifferent texts offer an fascinating dialogue between broader theory/reflections andspecific reflections on case studies, that fits well with the practice-based theme of thebook. At the end of the book, the author includes a list of methodologically orientedquestions 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 thecase-studies demonstrated, since it is difficult to understand and explain the objectives ofa creative project without the explanation.

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

The authors in this edited book examine what they call research creation, or sometimestranslated as research-based creation from the perspectives of the following differentdisciplines: 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 ofresearch creation; the second explores epistemologies, from relations to researchcreation; the third section offers some methodologies for research as artistic practice; andthe fourth explores methodologies of conception and creation. The research creation isdefined here, in many chapters, from an arts practitioner perspective, such as an artisticcreation that is practiced in conjunction with research. In the second chapter, Gosselinproposes two methodological parameters for research in artistic practice: paying closeattention to the construction of the work (Gosselin, ch. 2 (p. 28)); and exposing therelationship between the artistic nature and its practice by constantly moving back andforth between experiential and conceptual areas (Ibid. 29). For the latter, he furtherexplains that the methodological steps are heuristic by nature, vacillating the researcherbetween experiential subjectivity (exploration) and conceptual objectivity(comprehension) in order to make progress in the desired data collection and synthes is(Ibid, and P.E. Craig 1978). The Heart of the Teacher. A Heuristic Study of the InnerWorld of Teaching, thse indite prsente la Boston University Graduate School ofEducation.). In chapter 8, Sylvie Fortin explains how a mixture of methodologies can beused for research creation, with particular emphasis on ethnographic field researchtechniques 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 suitthe 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.>. 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 haspublished seminal works in the area, providing definitions and methodologies based onpractical and academic research experiences. Her site includes her biography, personalpractices and research. In the research section it is possible to download many of thepapers she has authored or co-authored.

Gray, Carole. Inquiry through Practice: Developing Approriate ResearchStrategies. Web. 30 Mar. 2014.

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 beapplied to doctoral and other academic projects.

Gray, C, and J. Malins. Visualizing research: A guide to the research process in artand 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 MusicEthnography."Journal Of Popular Music Studies23.2 (2011): 221-228.RILMAbstracts of Music Literature. Web. 27 Mar. 2014.

In this article, the author aims to put forth practice (very broadly speaking) as a mainresearch focus in popular music studies. He uses a post-modern ethnographic approach,with an inductive methodology: Participation both in music cultures and in ethnographydemands a degree of flexibility, an ability to go with the flow, and varying levels ofimprovisation. Rather than proposing a set of guidelines and/or frameworks throughwhich to incorporate more practice-based research (PBR) methods into popular musicscholarship, my interest is in advocating for greater attention to practice-basedconsciousness and philosophy within popular music's ethnographic habitus. []Withreference 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 thatseeks to uncover new knowledge through practice and its outcomes (Candy 2006). Thecreative activities surrounding the generation of an artifact are typically at the core of itsanalysis. PBR has strong overlaps with other performative research approaches, most
http://carolegray.net/index.htmlhhttp://carolegray.net/researchpapers.htmlhttp://carolegray.net/Papers%20PDFs/ngnm.pdfhttp://carolegray.net/Papers%20PDFs/ngnm.pdfhttp://carolegray.net/researchpapers.htmlhttp://carolegray.net/index.htmlh


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Kerhsaw, Baz. Practice as Research through Performance. In Practice-ledResearch, Research-led Practice in the Creative Arts, eds. Hazel Smith and RogerT. 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 introduceddirectly into the equations of knowing, conventional views of how knowledge is bestproduced, accumulated, stored and transmitted may be called deeply into question. Thisis because the most crucial effect of performance practice as research is to dis-locateknowledge [] (105). In the third section, entitled Starting Points, the author provideshistorical background to the practice as research approach, locating it as a movement thatdeveloped in less than two decades into a well-established approach in the late 2000sin North America, Australia, Scandinavia and other countries and in research in all artsdomains (Ibid). However, within the academy, and particularly in relation to PhD awards,

practice-as-research was challenged by definition and fundamentally. Using his ownextended experience (International Federation of Theatre Research Performance asResearch working group member; Past director of the Practice as Research inPerformance project in the UK) and his paradoxology of performance (Kerhaw2007:101) as foundation, through case studies the author offers a methodologicalunderstanding of performance as practice-as-research. The first case study he discusses isSlightly Cloudy, Chance of Rain, the first ever jointly written thesis by Lee Miller andJoanne Whalley, which was based on a public performance of ten wedding couplesreiterating their wedding vows at a public highway-side caf. From this example, theauthor traces the history of how practice-based doctoral proposals and research fundinghave been framed since the early 1990s in the UK. A discussion of starting pointsisrequired in proposals, and although the terminology has changed over the years fromresearch imperatives to questions and questions to problems, these terms havebeen contested by researchers because these types of queries can lead to predicableanswers and the entire process then contradicts the openness and excess that thecreativity of performance practice at its best can produce (112). The fourth section,Aesthetics, discusses the conundrums related to aesthetics inBeing in Between, adurational performance at Bristol Zoo (2005) which involved performers offering playfuldisruption; and performing dances by the four primate enclosures, in conjunction with theprimate movements. In this section, the author points out the complexities and paradoxesinvolved with video documenting in practice-as-research. The fifth section,Documentation, examines the paradoxology of a live performance presented as a DVDevent.

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


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Landry, Pierre-Luc. Internet, tudes suprieures et recherche-cration : le cas dela 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 journaldedicated to the topic of recherche-cration. The journal is based out of Laval Universityin Quebec, an institution which has several programmes in which creation in the arts ispossible. The reviewer mentions two other publications on this topic: 1. La Cration enMilieu Universitaire (ed. Pierre Hamelin, 1991; CERAF), which is a collection ofconference papers by professors/artists of the University of Quebec and Laval networks;2. La Cration Artistique lUniversit (ditions Nota Bene), also a publication ofconference papers. He also mentions that in 2010 a conference was organized on thesame theme: Crer luniversit : pourquoi ? comment ? Enjeux et devenirs de larecherche-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, andvisual art. She follows each genre discussion with a research article by a recognized ABRpractitioner on that genre. She also has an introductory chapter called Social Researchand 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 checklistof considerations for using the particular genre in research, discussion questions andactivities, and suggested readings, websites and journals. Basic methodology andquestions 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 baseresearch on arts methodologies, it does have practiced-based methodological componentsthat Leavy mentions briefly at different moments in the book.

Little, Suzanne. Practice and Performance as Research in the Arts. InDunedinSoundings. 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 thedifferent forms of practice and performance as research, the history and drive for itsdevelopment, and the type of knowledge that it defends. In the section detailing thedifferent types of terms and definitions, she gives the reader a thesaurus of terms for thistype of research, explaining that some can overlap and some are interchangeable. Littlecreates a conversation between researchers theories on practice and performance asresearch to ask whether this domain should be considered a third research paradigm, inaddition to quantitative and qualitative research. Although the UK has made incredibleadvances in officially recognizing practice and performance as research (through the


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Research Assessment Exercise (RAE) officially recognizing practical work as apublication 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 endedofficially 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 concerningthe 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 numerouspublications in the visual arts, is divided into two parts: the first consists of five chapterswritten by Robin Nelson explaining definitions, a how-to methodology, pedagogy, aswell as a discussion on institutional constraints; the second has regional perspectives on

PaR. Nelson provides institutional and pedagogical discussions on PaR, and herdefinition discussions and the other authors regional perspectives provide concreteexamples of how PaR projects are lived as research experiences and how they areaccomplished administratively in different parts of the world. This book is based onNelsons 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 relevantand useful for many other models of practice-based research. Her discussion of thismethodology in chapter 2, From Practitioner to Practitioner-Researcher is of particularinterest to those creating a methodology or setting up a project. The third chapter, whichdiscusses conceptual frameworks, and the fifth chapter, which offers a successful projectexample, complement the information on definitions and methodology in the first twochapters. 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 theAustralian 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 theAcademy. InPractice-as-Research in performance and screen,eds. LudivineAllegue, 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 howdiverse creative processes of all arts can constitute research. Supporting her argumentswith past and more recent philosophical statements, Nelson argues that creativepractitioners need to be understood within the academy as new knowledgemakers(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 dothings than the factual knowledge-producing category (117). She describes differentways phenomenological or embodied practices can be performed and/or taught,


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producing and disseminating knowledge that can be evaluated like any other scientific orscholarly production. As with other academic areas, the author argues for the value ofpeer-review processes. These creative endeavors can be knowledge producers in theirown right during the performance or as recorded on media, without having to followed upwith 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 maystand alone as evidence of a research outcome. A musical composition, a choreography, atheatre piece, an installation or exhibition, a film or other media artifact, a performance inany field, many self-evidently illustrate a development of what has gone before in wayswhich offer substantial new insights in the subject domain as adjudged by those in aposition to make such judgements, namely peer reviewers. Because art is inherentlyreflective and reflexive, practice-as-research activity may be identical with art activity inkey and necessary aspects. But, more typically perhaps, practice-as-research is marked asdistinct from art per se by differences of degree rather than kind in such matters asintention and context. The reflective and reflexive intent of practice-as-research isdirected 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 theend of her article, she reemphasizes the idea that practical knowledge is knowledge thathad dominance historically, before the rise of empirical scientific knowledge. In order forit to regain the recognition it deserves, creative arts research, practice-based research, orpractice-as-research must be considered as valid research on its own ground. Indeed, itis time to speak less of practice-as research and to speak instead of arts research: asignificant methodology of which just happens to be based in practices (130).

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

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

OBrien, R. What is Action Research?In:An Overview of the MethodologicalApproach of Action Research. Toronto: Faculty of Information Studies,University of Toronto, 1998. Web.


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O'Grady, Alice. "Interrupting Flow: Researching Play, Performance AndImmersion In Festival Scenes."Dancecult: Journal Of Electronic Dance MusicCulture5.1 (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 methodologiesfrom performance studies in order to analyze and critique the experience and provides athorough and up to date literature review of PBR and performance studies.

Parker, A. and E. K. Sedgwick, eds.Performativity and Performance. London andNew 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 ofTeacher Education Practice). The authors define self-study much like reflexiveethnography or auto-ethnography. They explain how they place the relationship to theself as a central part of the research process: As researchers write biography,collectnarrative, study history, employ an action research cycle, or even investigate economicissues, the questions raised and the interpretations proposed emerge from within theresearchers head as do understandings of the data, the literature, and the documentsources. In other words, in the social sciences we study ourselves in relationship to othersand we seek to gain understanding in order to move ideas forward in specific settings likeclassrooms or more general settings like education. Researchers engaged in self-studymethodology do not reject other research paradigms, strategies, or methods. Rather weuse those methods rigorously taking into account the researchers position as both theresearcher 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, butcould be used in any other social sciences or humanities field. Although self-study as amethodology is different than practice-based research methodologies, looking at oneselfas both a researcher and the researched could be relevant in relation to practice-basedresearch, especially if the practitioner is also the researcher. A section of the book, whichis dedicated to comparisons between self-study and other qualitative methodologies,offers insight into the different types of methodologies. Additionally, there is a section ofthe book that focuses on arts-based methodologies. The book provides a very generaloverview of many topics related to self-study, but some of the examples and definitionscan be useful for other practice-based research projects, particularly in reference toteaching.


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Piccini, A. and B. Kershaw. Practice as research in performance: fromepistemology to evaluation.Journal of Media Practice4.2 (2003): 11323.Downloaded Ebsco. 18 April 2014.

Richards, Alison. Performance Research in Australia 1988-2007. InPractice-as-

Research in performance and screen,eds. Ludivine Allegue, Simon Jones, BazKershaw, and Angela Piccini, 164-178. London: Palgrave Macmillan, 2009.Print.

This article presents a very detailed account of the struggle to develop and firmlyestablish performance practice and practice-based research in Australia from 1988 to thepresent day, where it now holds its own legitimate place in the academy and theprofessional world. In her description of the struggle to establish practice-as-research inhigher education, Richards breaks it down into five time-demarcated phases that are eachmarked by their challenges and advances within the multi-level layers of academic andgovernment administrations. Though the challenges were difficult, the Australian model

demonstrates success in establishing practice-as-research in the academy and in theprofessional world, followed by subsequent success of creative projects and employmentretention in this area. This serves as an excellent model for other countries and placesstruggling to establish practice-as-research as a legitimate field, method and manner ofconceiving knowledge and research.

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

This book is a central contribution to the growing field of Performance as Research in theUnited 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 bothacknowledges the legacies and influences of PaR [practice as research] elsewhere andpays attention to the particular influences of the way that performance studies hasdeveloped in the United States (xv). Thegoal is to delineate PAR in the United Statesmore clearly while contributing to the discussions related to PaR and PARIP (Practice asResearch in Performance) in other parts of the world (Ibid). The editors argue for therecognition for knowledge produced in creative activities: While performance practicehave always contributed to knowledge, the idea that performance can be more thancreative production, that it can constitute intellectual inquiry and contribute newunderstanding and insight is a concept that challenges many institutional structures andcalls into question what gets valued as knowledge. Perhaps the most singular contributionof 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 thiseffect, the book combines contributions from practitioner/researchers from around theworld 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 andPerformance as Research in different geographical, disciplinary and institutionalcontexts. 2. The middle section provides cartographies, or short essays that define key


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

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

Schippers, H. The Marriage of Art and Academia: Challenges and Opportunitiesfor Music Research in Practice-based Environments.Dutch Journal of MusicTheory12 (2007): 3440.

Smith, Hazel and Roger, T. Dean, eds.Practice-led Research, Research-led Practicein 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. InHandbook of Research and Policy in ArtEducation, eds. E. Eisner and M. Day, 795-814. Mahwah, NJ: LawrenceErlbaum, 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 Flauberthttp://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 topicis still not well defined and this is the first journal that is dedicated to the topic. Althoughthey 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 creativecontributions, such as reflections, theater excerpts, and more.
http://jrp.icaap.org/index.php/jrphttp://jrp.icaap.org/index.php/jrphttp://www.lecrachoirdeflaubert.ulaval.ca/http://www.lecrachoirdeflaubert.ulaval.ca/http://www.lecrachoirdeflaubert.ulaval.ca/http://jrp.icaap.org/index.php/jrp


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Paltridge, Brian, et al. "Doctoral Writing in the Visual and Performing Arts: Issuesand Debates."International Journal of Art & Design Education30.2 (2011): 242-55. Web.

Arts

Angelides, Panayiotis, and Antonia Michaelidou. "Collaborative Artmaking for ReducingMarginalization." Studies in Art Education51.1 (2009): 36-49. ProQuest SocialSciences Premium Collection. Web.

Bannerman, C. "Reflections on Practice as Research: The University, the Artist, theResearch Endeavour."Digital Creativity15.2 (2003): 65-70. Web.

Bresler, Liora. "Toward Connectedness: Aesthetically Based Research." Studies in Art

Education48.1 (2006): 52-69. ProQuest Social Sciences Premium Collection. Web.

Brewer, Thomas M., and Ronald N. MacGregor. "Introduction and Commentary: TwoSides of an Orange: The Conduct of Research." Studies in Art Education39.3 (1998):270. ProQuest Social Sciences Premium Collection. Web.

Briggs, Judith, and Kimberly McHenry. "Community Arts and Teacher Candidates: AStudy in Civic Engagement." Studies in Art Education54.4 (2013): 364-75.ProQuest Social Sciences Premium Collection. Web.

Chalmers, Graeme. "Editorial: Seven Readers." Studies in Art Education40.3 (1999):

195. ProQuest Social Sciences Premium Collection. Web.

Congdon, Kristin G. "Folkvine.Org: Arts-Based Research on the Web." Studies in ArtEducation48.1 (2006): 36-51. ProQuest Social Sciences Premium Collection. Web.

Erler, Carolyn. "Exploring Festival Performance as a State of Encounter."Arts andHumanities in Higher Education12.2-3 (2013): 268-83. Web.

---. "Targeting "Plan Colombia": A Critical Analysis of Ideological and Political VisualNarratives by the Beehive Collective and the Drug Enforcement AdministrationMuseum." Studies in Art Education50.1 (2008): 83-97. ProQuest Social Sciences

Premium Collection. Web.

Garoian, Charles. "Art Practice as Research: Inquiry in the Visual Arts." Studies in ArtEducation48.1 (2006): 108-12. ProQuest Social Sciences Premium Collection. Web.

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 etCommunications, ACFAS 2000, 75-83. Montral: ditions Nouvelles, 2001.


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Hutzel, Karen. "Reconstructing a Community, Reclaiming a Playground: A ParticipatoryAction Research Study." Studies in Art Education48.3 (2007): 299-315. ProQuestSocial Sciences Premium Collection. Web.

Irwin, Rita L., et al. "The Rhizomatic Relations of A/r/tography." Studies in Art

Education48.1 (2006): 70-88. ProQuest Social Sciences Premium Collection. Web.Irwin, Rita L. "Becoming A/r/tography." Studies in Art Education54.3 (2013): 198-215.

ProQuest Social Sciences Premium Collection. Web.

Staikidis, Kryssi. "Personal and Cultural Narrative as Inspiration: A Painting andPedagogical Collaboration with Mayan Artists." Studies in Art Education47.2(2006): 118-38. ProQuest Social Sciences Premium Collection. Web.

White, John Howell. "Performing Pedagogy: Toward an Art of Politics." Studies in ArtEducation48.1 (2006): 113-7. ProQuest Social Sciences Premium Collection. Web.

ArtsEducation

Campbell, Laurel H. "Spiritual Reflective Practice in Preservice Art Education." Studiesin Art Education47.1 (2005): 51-69. ProQuest Social Sciences Premium Collection.Web.

Castro, Juan Carlos. "Learning and Teaching Art: Through Social Media." Studies in ArtEducation53.2 (2012): 152-69. ProQuest Social Sciences Premium Collection. Web.

Desai, Dipti. "The Ethnographic Move in Contemporary Art: What does it Mean for ArtEducation?" Studies in Art Education43.4 (2002): 307-23. ProQuest Social SciencesPremium Collection. Web.

Emme, Michael J. "Visuality in Teaching and Research: Activist Art Education." Studiesin Art Education43.1 (2001): 57-74. ProQuest Social Sciences Premium Collection.Web.

Erickson, Mary. "Building Bridges, Experiential Art Understanding: A Work of Art as aMeans of Understanding and Constructing Self." Studies in Art Education40.4

(1999): 381. ProQuest Social Sciences Premium Collection. Web.

---. "Teaching for Transfer through Integrated Online and Traditional Art Instruction."Studies in Art Education46.2 (2005): 170-85. ProQuest Social Sciences PremiumCollection. Web.


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Gates, Leslie. "Professional Development: Through Collaborative Inquiry for an ArtEducation Archipelago." Studies in Art Education52.1 (2010): 6-17. ProQuestSocial Sciences Premium Collection. Web.

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 lEducation24.3 (1998): 647-666. Web.

Heise, Donalyn, and Laurie MacGillivray. "Implementing an Art Program for Children ina Homeless Shelter." Studies in Art Education52.4 (2011): 323-36. ProQuest SocialSciences Premium Collection. Web.

Jagodzinski, Jan. "Beyond Aesthetics: Returning Force and Truth to Art and itsEducation." Studies in Art Education50.4 (2009): 338-51. ProQuest Social SciencesPremium Collection. Web.

La Porte, Angela M. "Crossroads: The Challenge of Lifelong Learning." Studies in ArtEducation45.2 (2004): 174-7. ProQuest Social Sciences Premium Collection. Web.

Lawton, Pamela Harris, and Angela M. La Porte. "Beyond Traditional Art Education:Transformative Lifelong Learning in Community-Based Settings with OlderAdults." Studies in Art Education54.4 (2013): 310-20. ProQuest Social SciencesPremium Collection. Web.

Levy, Leanne, and Sandra Weber. "Teenmom.Ca: A Community Arts-Based New MediaEmpowerment Project for Teenage Mothers." Studies in Art Education52.4 (2011):292-309. ProQuest Social Sciences Premium Collection. Web.

Lin, Ching-Chiu, and Bertram C. Bruce. "Engaging Youth in Underserved Communitiesthrough Digital-Mediated Arts Learning Experiences for Community Inquiry."Studies in Art Education54.4 (2013): 335-48. ProQuest Social Sciences PremiumCollection. Web.

Marche, Theresa. "Narratives of 1970s Disciplinary Reform: Competition OrCollaboration?" Studies in Art Education44.4 (2003): 371. ProQuest Social SciencesPremium Collection. Web.

Mullen, Carol A. "Reaching Inside Out: Arts-Based Educational Programming for

Incarcerated Women." Studies in Art Education40.2 (1999): 143. ProQuest SocialSciences Premium Collection. Web.

Parsons, Michael. "Editorial: The Continuing Vitality of Art Education." Studies in ArtEducation41.2 (2000): 99. ProQuest Social Sciences Premium Collection. Web.


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Pennisi, Alice C. "Negotiating to Engagement: Creating an Art Curriculum with Eighth-Graders." Studies in Art Education54.2 (2013): 127-40. ProQuest Social SciencesPremium Collection. Web.

Richardson, Jack. "Interventionist Art Education: Contingent Communities, Social

Dialogue, and Public Collaboration." Studies in Art Education52.1 (2010): 18-33.ProQuest Social Sciences Premium Collection. Web.

Rolling, James Haywood. "A Paradigm Analysis of Arts-Based Research andImplications for Education." Studies in Art Education51.2 (2010): 102-14. ProQuestSocial Sciences Premium Collection. Web.

Sanders, James H.,III, and Christine Ballengee-Morris. "Troubling the IRB: InstitutionalReview Boards' Impact on Art Educators Conducting Social Science ResearchInvolving Human Subjects." Studies in Art Education49.4 (2008): 311-27. ProQuestSocial Sciences Premium Collection. Web.

Shin, Ryan. "Social Justice and Informal Learning: Breaking the Social Comfort Zoneand Facilitating Positive Ethnic Interaction." Studies in Art Education53.1 (2011):71-87. ProQuest Social Sciences Premium Collection. Web.

Stout, Candace Jesse. "Editor's Preface." Studies in Art Education48.1 (2006): 3.ProQuest Social Sciences Premium Collection. Web.

---. "With all due Respect: A Second Look at Action Research." Studies in Art Education47.3 (2006): 195-7. ProQuest Social Sciences Premium Collection. Web.

Sullivan, Graeme. "Editorial: The Curiosity of Unchained Memories." Studies in ArtEducation44.2 (2003): 99. ProQuest Social Sciences Premium Collection. Web.

---. "Research Acts in Art Practice." Studies in Art Education48.1 (2006): 19-35.ProQuest Social Sciences Premium Collection. Web.

Swann, Annette C. "Children, Objects, and Relations: Constructivist Foundations in theReggio Emilia Approach." Studies in Art Education50.1 (2008): 36-50. ProQuestSocial Sciences Premium Collection. Web.

Sweeny, Robert W. "Complex Digital Visual Systems." Studies in Art Education54.3

(2013): 216-31. ProQuest Social Sciences Premium Collection. Web.Zimmerman, Enid. "My Research Life through Studies in Art Education: A Body of

Work." Studies in Art Education47.1 (2005): 70-82. ProQuest Social SciencesPremium Collection. Web.


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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 ofMusic Literature. Web. 27 Mar. 2014.

Describes a selection of recent activities at the Music Research Centre, University ofYork, England. It presents details of current research projects, postgraduate courses andinternational collaborations. It is one of the premier facilities for practice-based research,technical research and postgraduate study in computer music and sound art. The centerspecializes in research and development related to new aesthetics in computer music thathave emerged since the mid 1990s, and works extensively with independent professionalcomposers 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 ofArchitecture one-day seminar, Research/Practice/Practice/Research. It was organised byCUMIS (Cambridge University Moving Image Studio) and ResCen (MiddlesexUniversity) in association with CRASSH (Centre for Research in the Arts, SocialSciences & Humanities, University of Cambridge) and Future Physical/RESPOND.Topics addressed ranged from spatiality, digitality, art and design to media, culture andperformance. The articles in this issue of Digital Creativity grew out of the papers andwork presented at the symposium (1).

Peer-reviewed papers from the Research into Practice conference 2000https://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." DanceResearch Journal43.1 (2011): 48-57. Web.

Cunnington, Maree Helen. "Inside the Power Station : Allegory and the Dance ofRepresented Ideas." Queensland University of Technology, Web.
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-2000https://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-2000https://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-2000https://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-2000https://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-2000https://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


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Hay, Marie. "Assessment And Feedback: Aligning Dance Practice With PedagogicResearch." (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 & Society29.4-5 (2012): 334-42. Web.

Randall, Tresa M., (Ed.). Global Perspectives On Dance Pedagogy: Research AndPractice. Birmingham: Congress on Research in Dance, 2009.RILM Abstracts ofMusic Literature. Web. 27 Mar. 2014.

Reports on three years of research conducted through the Centre for Excellence inPerformance Arts at De Montfort University. The intention of the article is to align theassessment of dance practice with pedagogic concerns. The development of an innovativeapproach to assessment and feedback is discussed with respect of the nature of dancepractice, constructive alignment, and validity and reliability. While this research derivesfrom 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 ofMeaning Making in an E-Mail Generated Art Project." Studies in Art Education47.1(2005): 34-50. ProQuest Social Sciences Premium Collection. Web.

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.DesignIssues23.3 (Summer 2007): 62-69. Web.Jstor.28 March 2014.

Yee, Joyce S. "Methodological Innovation in Practice-Based Design Doctorates."Journal of Research Practice6.2 (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 futureprovision of research training. Six recently completed design PhDs are used to highlightpossible philosophical and practical models that can be adopted by future PhD students indesign. Four characteristics were found in design PhD methodology: innovations in theformat and structure of the thesis, a pick-and-mix approach to research design, situatingpractice in the inquiry, and the validation of visual analysis. The article concludes byoffering suggestions on how research training can be improved. By being aware of recentmethodological innovations in the field, design educators will be better informed when


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

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

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

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

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

Graham, Sandra Jean. Performance as Research (PAR) in North AmericanEthnomusicology. InMapping Landscapes for Performance as Research:Scholarly Acts and Creative Cartographies, eds. Shannon Rose Riley and LynetteHunter, 99-106. Hampshire: Palgrave, 2009. Print.

This article offers a short historical perspective of performance as research inethnomusicology. As the author explains, although performing music should notnecessarily be the only research methodology, it can be a way to begin ethnographicresearch or to complement other methodologies. Furthermore, practicing andparticipating in the music and ritual events can provide illumination into the culture thatwould otherwise go undetected.

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

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


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scientific research on any aspect of this topic. Music Interaction typically involvescollaboration between researchers, interaction designers and musicians, with individualsoften 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. InMapping Landscapes for Performance as Research: Scholarly Actsand 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 ofelectronic music research through his own practice in electronic music. By way ofconclusion, 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.InMapping

Landscapes for Performance as Research: Scholarly Acts and CreativeCartographies, 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. AsSpiller explains, meaning in music varies greatly from community to community, andbecause of its false sense of familiarity, music is more likely to be misunderstood than aforeign language, which will immediately sound like gibberish to a non-speaker. Fromthis introduction, Spiller takes the reader further than original intent of Mantle Hoodsbimusicality, which had the goal ofperforming outsiders music as a researchmethodology. Spiller briefly discusses the history of the institutionalization of Gamelanensembles in higher education and how they can constitute research. They trainresearchers, but for Spiller, they are also an ethnography in and of themselves (1 77).As he explains, If the goal of my ethnomusicological work is a translation of themeanings 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 musicto learn toproduce and consume those meanings for and by themselves? What better way to drivehome the variability of human behaviors and engender a healthy skepticism of their owncomplacent reactions than to allow them to experience the results of a different system ofbehavior? (Ibid). He then goes on to say that due to a limited audience of scholarlypublications, people have probably understood his research more from his ensembleteaching than his writings.


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OCallaghan, C., and McDermott, F. Music therapys relevance in a cancer hospitalresearched through a constructivist lens. The Journal of Music Therapy41.2(2004): 151-185.

Ridder, Hanne Mette Ochsner. "Effects Of Music Therapy In Dementia: Turning

Practice-Based Research Into An RCT."Music Therapy Today9.1 (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 MusicTherapy on Quality of Life, Agitation and Medication for People with Dementia (Ridder& Stige, Aalborg Universitet, 2011) and on the relationship between practice-basedresearch and randomized clinical trials (abstract).Of particular interest here are thereferences to the practice-based research.

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

Smeijsters, Henk et al. "Arts Therapies For Young Offenders In Secure Care: APractice-Based Research." The Arts In Psychotherapy38.1 (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 rangeof researcher practitioner perspectives.

Grant, Stuart, Matthew Lockitt, and Abigail Kate Egan. "The Uncertain Musical: AnExperiment in Performance as Research as Pedagogy."Australasian Drama Studies57.57 (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 Inquiry9.2 (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 inSouth Africa." Themes in Theatre.6 (2011): 171. Web.

---. "Tipping Points in the History of Academic Theatre and Performance Studies inSouth Africa." Theatre Research International35.3 (2010): 275-87. Web.


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Hicks, Jonathan, et al. "Considering Calamity: Methods for Performance Research.; theCambridge Companion to Performance Studies." Cambridge Opera Journal21.1(2009): 89. Web.

Whybrow, Nicolas. "Situation Venice: Towards a Performative 'Ex-Planation' of a City."

Research in Drama Education16.2 (2011): 279-98. Web.

Practice-Led Research

Marley, Ian R. "Investigating the Appropriateness of the Theory of OrganisationalKnowledge Creation as a Management Model for Practice-Led Research."Literator33.1 (2012): 1. Web.

Qualitative Research Methodology

Creswell, John. Qualitative Inquiry and Research Design: Choosing Among FiveApproaches. Beverly Hills: Sage Publications, 1999 (2012 3rded).

Denzin, N. and Y. Lincoln, ed. The SAGEHandbook of Qualitative Research. BeverlyHills: Sage Publications, 1999 (2011 4thed).

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

Richardson, L. New writing practices in qualitative research Social Sciences Journal17.1 (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. 21March 2014.

This is a how-to guide for qualitative research. It is accessible to undergraduates but alsoto graduates and advanced researchers. The author does not compare different qualitativemethodologies, 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, completewith teaching tools such as exercises, worksheets, lesson plans and more.


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Religious practice research

David Rhoads. "Biblical Performance Criticism: Performance as Research." OralTradition25.1 (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 Welfare22.2: 23-43.FRANCIS. Web. 27 Mar.2014.

Petrucci, Carrie J. and Kathleen M. QUINLAN. "Bridging The Research-PracticeGap: Concept Mapping As A Mixed-Methods Strategy In Practice-Based

Research And Evaluation (English)."Journal Of Social Service Research34.2:25-42.FRANCIS. Web. 27 Mar. 2014.

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

This how-to textbook provides definitions and research designs of practice-basedresearch (PBR) in the context of social work. There are many practice examples andit 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 TransgressiveResearch (English)." Sociology37.1 (2003): 81-102.FRANCIS. Web. 27 Mar.2014.

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


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'practice-based evidence' are identified. Firstly, the pursuit of knowledge should beacknowledged as a local and contingent process. Secondly research activity should beconstitutive of difference, questioning the legitimation and repression of particularaspects of the world. Finally, theory-building should be seen as an adjunct to practicalactivity. Together, these positions dissolve the researcher/researched and

research/practice oppositions in traditional research and supply an ethically andpolitically engaged research. Practice-based research is explored in terms of fourmoments in the research process (Abstract).

Theater

Arlander, A. "Finding Your Way through the Woods - Experiences of Artistic Research."Nordic Theatre Studies20 (2008): 29-. Web.

Aston, E. "Editorial: Critical Turning Points." Theatre Research International37.1(2012): 1-4. Web.

Betteridge, Thomas, and Greg Walker. "Performance as Research: Staging JohnHeywood's Play of the Weather at Hampton Court Palace."Medieval EnglishTheatre27 (2005): 86-104. Web.

Carlson, Marvin. "Inheriting the Wind: A Personal View of the Current Crisis in TheatreHigher Education in New York." Theatre Survey52.1 (2011): 117-23. Web.

Dominic Symonds. ""Powerful Spirit": Notes on some Practice as Research." Themes inTheatre.7 (2013): 209. Web.

Fleishman, Mark. "The Difference of Performance as Research." Theatre ResearchInternational37.1 (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 DramaStudies(2011): 104. Web.

Smith, Phil. "Mythogeography Works: Performing Multiplicity on Queen Street."Research in Drama Education16.2 (2011): 265-78. Web.

Starcevich, Lara Elizabeth. "Women Stand-Up Comics, Performance Communities, andSocial Change." ProQuest, UMI Dissertations Publishing, 2001. Web.


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Symonds, Dominic. ""Powerful Spirit": Notes on some Practice as Research." Themes inTheatre(2013): 209. Web.

Tyszka, Juliusz. "Theatre and Memory in Utrecht."New Theatre Quarterly28.2 (2012):200. Web.

Wilkins, Caroline. "A Theatre Of Energies." Studies In Musical Theatre6.1 (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 dramaand vocal music as a theatre of energy to her own practice in sound theatre. The articleexplores electronic sound theatre,zaumpoetry and sound theatre in relation to her ownreflexive and auto-ethnographic experience with practice as research.

Visual Arts

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

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

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

A new media art installation investigating virtual and phenomenological understandingsof site.

Caines, Rebecca, John Campbell, Nicholas Loess and Bree Hadley.Virtual MemoryBoxes. 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 internationalaudio art project working with community groups in Canada, Northern Ireland andAustralia. New media, installation, workshops, performance works and sound artcomponents, 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 Education49.1 (Fall 2007): 23-41.
http://soundescapes.improvcommunity.ca./http://soundescapes.improvcommunity.ca./


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Performances (Live and DVD)

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

Programmes/courses

Beer, Ruth. Social Sciences and Humanities Research Council of Canada (SSHRC) Grantfor research and creation projects including most recently for Trading Routes:Grease Trails, Oil Futures (2013-2017). Her recent artwork of geologically-inspiredforms 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 Education64.3 (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 authordemonstrates inherent tensions in action research.

Practice Based Research in the Arts. Stanford Online Course.Stanford University.Oct. 9Dec. 11, 2013. Web. 8 March 2014. .

This is an online course designed to facilitate and advance the work of students pursuingarts 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 conversationsaround their works; develop portfolios online around their works and the works of theirpeers; and create critical and creative exchange. For the co-teacher Leslie Hill, she isexcited to have a secure platform for our works. As she explains, they make their workovert by having conversations, refering to published works and developing a networkthrough the course (Leslie Hill).

Practice-based Research. Emily Carr University of Art and Design..

How they define practice-based research at their institution: Much of theresearch atEmily Carr that is not associated with one of the applied research centres, can bedescribed as Practice-based research. This form of research integrates the professionalpractice of an artist or designer with specific research questions, methods andoutcomes. The research can be about art, for example examining the work of a particularartist or group in a new context. It might be research for art in the form of anexploration of new technologies like 3D printing that can be used by artists. Finally, itmight be research as art where the outcome of the work is not a published paper but an
https://novoed.com/pbrhttps://www.ecuad.ca/research/practicebasedresearchhttps://www.ecuad.ca/research/practicebasedresearchhttps://novoed.com/pbr


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

Research ProjectsSound Artists

Viv Corringhamhttp://vivcorringham.org/recent_work

Music-based Methodology

Shadow-Walks:Doing an interview walking through an area with someone, while theyare describing it. By doing this, the interview is much more candid. People say thingsthey 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 sometimesrecording while moving through a place at a walking pace (McCartney 2013).

2014 (Forthcoming). McCartney, Andra. Soundwalking: creating moving environmentalsound narratives. In The Oxford Handbook of Mobile Music Studies, Volume 2, editedby 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.

This was a five-year project directed by Prof. Baz Kershaw in the Department of Dramaat the University of Bristol.PARIP's objectives were to investigate creative-academicissues raised by practice as research, where performance is defined, in keeping withAHRB and RAE documentation, as performance media: theatre, dance, film, video andtelevision. As a result of PARIP's investigations and in collaboration with colleagues,educational institutions and professional bodies throughout the UK and Europe PARIPaimed to develop national frameworks for the encouragement of the highest standards in
http://soundwalkinginteractions.wordpress.com/about/http://soundwalkinginteractions.wordpress.com/about/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://www.bris.ac.uk/parip/http://www.bris.ac.uk/parip/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/http://soundwalkinginteractions.wordpress.com/about/


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OSullivan, Sandy. The Real Gunya.Dr. Sandy OSullivan, as part of an AustralianLearning and Teaching Council Teaching Fellowship carried out between 2008-10. 2011. Web. 5 March 2014..

She is the first Aboriginal ALTCT fellow and this is for an Indigenous research project Inthis project, she is looking at alternative dissemination (i.e. new medias) for indigenousresearch students and career researchers. As she explains, she is interested in the waysthat we might use new media and digital forms to create research outcomes that are bothrigorous, culturally appropriate and meaningful for our cultural communities and ourcommunities 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 inpractice-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-ledresearch, 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 referencesfocus on art and media as spaces of dissemination in research and research training, it isimportant to note that many of the strategies, methodologies and processes can beadopted and adapted from the creative arts and reconfigured into the broader humanitiesand other discipline areas.

There is also a lengthy annotated research bibliography on examples of practice-basedand 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: CambridgeScholars Publishing, 2013. Web.

Leavy, Patricia. Fiction as Research Practice. Short Stories. Novellas, and Novels, 2013.
http://www.indigenousresearchers.org/NMR_IR/Real_Gunya.htmlhttp://www.indigenousresearchers.org/NMR_IR/References_PBR_PBL.htmlhttp://www.indigenousresearchers.org/NMR_IR/References_PBR_PBL.htmlhttp://www.indigenousresearchers.org/NMR_IR/Examples.htmlhttp://www.indigenousresearchers.org/NMR_IR/Examples.htmlhttp://www.indigenousresearchers.org/NMR_IR/References_PBR_PBL.htmlhttp://www.indigenousresearchers.org/NMR_IR/Real_Gunya.html


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Dissertations using practice-based approaches

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Beattie, Ronn.A Passage in Women's Sculpture: Diversity, hapticity and domesticity

in one contemporary lineage of women's sculpture. Diss. Open University, UnitedKingdom. UMI Dissertations Publishing, 2001.ProQuest.

This practice based research project is sited within my experience of my own sculpturemaking. From this experiential basis I have observed the practices of other womensculptors, selecting, for closer, critical examination, those whose working methodsprivilege a specifically haptic process, diversity of materials and evidence of a domesticsource. Through these criteria a 'lineage' of teacher/makers within women's contemporarysculpture has been traced, offering one particular passage in women's recent sculpture. Inthis lineage the textual content within the work presents a strong vein of women'sdomestic experience. []This sculpture project and the dissertation together form asingle body of work. The written words have been rendered as more nearly equivalent tothe 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, openended, spoken dialogue form (Authors Abstract).

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

The aim of the current study was to discover the voice of the military wife, examine itthrough a feminist lens, and then translate those voices into artwork that represented the

collective, lived experience of the women interviewed. Three methodologies wereutilized to analyze and translate the voices of military wives into textile art. These threemethodologies: practice-based research, phenomenology, and feminist inquiry provided asuitable structure for shaping the study to fulfill the project aim. Interviews conductedwith 22 military wives revealed two overarching themes: militarization and marriage; aswell as multiple subthemes. Three subthemes were recognized as being the mostprominent: relationships, separation, an

practice based research literature review june 2014

Documents