Business as usual

More than ten years of ERA (Excellence of Research in Australia) data gives a clear picture of the trajectory of creative arts research in academe … from 2006 to 2013, the total number of research outputs in field of research (FoR) 19 Creative Arts and Writing increased by 36%. This makes the 14% increase for the period 2011 to 2016 look far less like a cause for optimism, especially considering the national average discipline growth of 17%. The full-time equivalent number of staff producing research outputs in FoR19 … has shown a marginal increase of 4%. This ends the good news, such as it is.

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The problematic nature of creative arts supervision: How well do we service our postgraduates?

There is no denying that creative arts in the university have been successful over recent decades. Yet Jen Webb still asks, in a July 2018 NiTRO piece, “Are we there yet?” - the ‘we’ being the collective staff and students of the creative and performing arts disciplines. I want to site this discussion at the ground level where creative arts postgraduates and supervisors interact.

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University management should take creative practice research seriously … before it’s too late

It was heartening to read QUT Vice-Chancellor, Margaret Sheil, write in support of the arts and humanities in the last edition of NiTRO. In it, she insisted that universities “must foster the creative arts and the human and social sciences, not only alongside the sciences but in concert with them”. It’s the human aspect that I want to pick up on here.

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Two perspectives: In conversation

Drawing on Draper and Harrison’s earlier reflections in NiTRO on doctoral projects at Queensland Conservatorium (QCGU), I met with Charulatha Mani, an artist-researcher who has recently submitted her PhD on intersections between early opera and Karnatik music. From the perspective of a supervisor and a recent student, we talked about research in - and through - music in an institutional context.

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The long and winding road

In relation to the progress of creative arts research within higher education institutions, Jen Webb asks the important question “Are we there yet?” In this article I would like to partially address this question by focusing on a key component of a practice-led submission for PhD - namely the inclusion and presentation of artefacts as part of the overall argument, about which there has been a long debate.

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Practice, research and relationality - a manifesto

“Are we there yet?” is a searching but also ambiguous question posed about creative practice research and the academy. In fact, yes, we are now deeply ensconced in the academic sector and its intersections with ways of governing knowledge and research. Of course, systems need to be developed and conformed to if we are to be able to ‘play the game’ … but ultimately this is also a highly differentiated and differentiating sector … segmented and divided by New Public Management discourse and practices.

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Inter-disciplinary art and technology practice-based research and the creative arts

I have been deeply involved in creative art and design research since the mid 1990s but have never worked in an art and design faculty. Instead, I found a home in IT and computer science where from the outset, there was a remarkable openness to having artists amongst the mix of people from different disciplines. My very first research grant for studying collaboration between artists and technologists … funded a series of artist residencies over four years.

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Horizon scanning the creative arts

In step with profound changes in the form and function of universities, creative arts research has been undergoing a process of transformation. While the past decade has been spent consolidating the creative arts into the evolving academy … the landscape we now face promises ongoing dramatic changes.

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Dramaturgy: the "intellectual mise-en-scène" of performance

The UQ Drama Creative Fellowship, piloted in 2014, brings a playwright of national standing to UQ’s School of Communication and Arts each year to provide workshops, masterclasses and lectures. These activities have focussed both on the craft of playwriting and on the dramaturgy, or attributes, of the playtext. In 2019, UQ Drama took a different approach to the Fellowship.

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