Institute for Performing Arts Development

Research

Institute staff have research interests in the following fields:

• performance writing
• translation and adaptation theory
• composition
• music for film
• music and identity
• popular and contemporary music studies
• participatory performance
• live art
• visual performance
• contemporary dance.

We are especially interested in research by practice, with a particular emphasis on inclusion and innovation. In addition to this, we undertake contract and commissioned research and consultancy work.

Graham Jeffery and Alice Sampson are leading a major three-year research project funded by the Arts and Humanities Research Council (AHRC) entitled ‘Creative Industries and Social Inclusion: young people’s pathways through informal and community learning in the performing arts’, examining the impact of current cultural policy discourses on practice, pedagogy and people in a range of youth arts settings across the UK.

Staff work with the pan-London Teacher Artist Partnership professional development programme for artists and teachers, which includes an action research framework funded by Creative Partnerships, the Paul Hamlyn Foundation and the Esmee Fairbairn Foundation.

UEL is a partner in the FORTE research project led by the Interarts Foundation in Barcelona, examining different approaches to fostering participation in culture and education within four innovative projects in London, the Basque Country in Spain, Vilnius in Lithuania, and Berlin, Germany. This is funded by the ‘Joint Actions’ strand of the European Commission’s Socrates, Leonardo and Youth programmes.

The Institute also conducts project evaluation and short-term research activity: most recently working with Theatre Royal Stratford East on their ‘Hear My Voice!’ project, which develops performance writing with young people who are refugees and asylum seekers. Previous activity includes work for Arts Council England, Creative Partnerships, NESTA, and consultancy work for colleges and universities seeking to develop curriculum models and pedagogies based on some of the innovative practices at UEL.

We are just putting the finishing touches to our East London Theatre Archive project - a unique partnership project which has established a theatre archive for theatre researchers based on the precious resources from a wide range of local and national partners. This project was funded by the Joint Informations Systems Committee.

PhD Practice As Research

IPAD welcomes applications and expressions of interest in research by practice leading to a PhD award from postgraduates and artists working in a range of disciplines. Students on this programme work on individual creative projects and participate in a common workshop and seminar programme as they work towards writing an analytical thesis contextualising their creative work.

Students typically split the practical element of their research work on a 50/50 basis with a 40,000 word thesis.

The normal length of full-time study is three years, but part-time mode is also available, and lasts up to five years. Many international students choose this mode, and partake in the programme while working in their home countries, and completing intensive workshop/seminar programmes in London three times a years in February, July and October. UEL regulation require that students spend at least six weeks in each year studying at the university.

IPAD is currently interested in receiving PhD proposals from students interested in researching their practice in the following areas:

• actor and director training
• British Asian theatre
• translation and adaptation for the stage
• dance and culture
• dance and technology
• dance and music
• creative writing (all forms)
• ethics and contemporary performance
• landscape and performance
• sonic culture
• theatre and conflict resolution

How do I apply to do a PhD?

The first step is to contact the relevant member of staff and talk to them about your practice and your idea for research. Through this discussion, a Phd proposal can be worked on that will then lead to a formal application to the university.

Are there any bursaries or scholarships?

The School does offer bursaries and scholarships but you would first of all need to have made a successful application in order to apply.

For general enquiries about our PhD by Practice, please email our PhD Convenor Dr Dominic Hingorani.

Practice As Research Seminars

As part of our ongoing contribution to this important area of research, we offer a rolling programme of PaR seminars which are open to the public.

The 2009-10 programme will take place in Room WB 2.01.:

October 2, 2009

Presenters: Saraleigh Casteyln, Jo Thomas
Title: Mapping the Body: The Politics of Movement
Description: As a choreographer, I am extremely aware of how the body produces and composes space. I am also conscious of how the categories of size, speed, form, density, diversity, are at the core of the individual's experience of the environment. In this workshop, I explore how dance helps us understand how we make sense of and shape our surrounding space.

November 6, 2009

Presenters: Mark Hunter, David Chapman
Title: Walking and Talking: Pedestrian Pedagogy
Description: A workshop investigating modes of teaching and learning beyond the classroom and the broader environment.

December 11, 2009

Presenters: Kate Sicchio, Paul Gormley
Title: Systems and Content: Dance & Technology
Description: Real Time Video Systems & Its Effect on the Content of Choreography. The editing and filming process of ‘Discovering Sherry’ based on the cultural history connections between Jerez and UK...closing the session with a Sherry tasting!

March 5, 2010

Presenters: Mark OThomas, Helen Reddington
Title: Songwriting and Dramaturgy
Description: A workshop which looks at the process of applying dramaturgical techniques to research through a range of practical activities.

April 16, 2010

Presenters: Dominic Hingorani, John Nassari (to be confirmed)
Title: How can the ethnicity of the actor be addressed in rehearsal and performance?
Description: We shall look at practical ways in which the ethnicity of the performer can be addressed in the rehearsal room. This may lead us to address wider cultural and political questions as to why it should be addressed and how might this impact on issues such as representation, authenticity and identity.

May 7, 2010

Presenters: Ananda Breed, Roshini Kempadoo (to be confirmed)
Title: Practice in Conflict, Archival Research

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© 2010