Writing encounters within performance and pedagogical practice
About: This article is published in Journal of Writing in Creative Practice.The article was published on 2009-07-01. It has received 2 citations till now.
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31 May 2016
TL;DR: In this article, the authors present a practice-centred teaching method for collaborative writing for design teams at M-level in higher education (HE) by using Approaches, Practices and Tools (APTs) across three case study workshops.
Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities.
My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.
24 citations
Cites background from "Writing encounters within performan..."
...Indeed, according to Hind & Orr (2009) in order to make meaning work, words must be crafted....
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TL;DR: The Writing Purposefully in Art and Design Network (Writing-PAD) as mentioned in this paper aims to support and disseminate the range of genres associated with writing in art and design, including the exegesis and the studio or practice-based thesis.
Abstract: In disciplines with long histories in higher education, academic literacies, including writing practices, are less contested than in newer academic fields such as art and design The relatively recent incorporation of such fields and schools into the university sector has required these fields to create academic writing practices consistent with existing academic models or to justify their distinctive disciplinary practices Recently, for example, much has been written about the distinctiveness of practice-based, reflective and creative written genres, such as the exegesis and the studio or practice based thesis, as the distinctive voice of art and design However, such models have yet to gain broad acceptance in the higher education sector, where scientific (eg empirical research report) and humanities (eg essayist tradition) practices are far more familiar and of overarching significance Similarly to the sciences and humanities, the field of art and design in fact names a broad grouping of communities of practice, eg graphic design, fine arts, fashion design, with a range of expectations regarding practice and writing Whatever disciplinary consensus is reached regarding legitimate writing practices in art and design, it is important not to obscure these differences and make the same mistake that has hampered clarity in writing instruction for mainstream academic fields, a problem that is at the core of the academic literacies program for change and enlightenment The Writing Purposefully in Art and Design Network (Writing-PAD) aims to support and disseminate the range of genres associated with writing in art and design In the second part of this article, an account of the purposes, practices and scope of the Writing-PAD network demonstrates the characteristics of and consensus on forms of academic writing in art and design Together with our introductory review we hope to promote discussion about the necessary balance of consensus and dissensus that art and design fields require to remain vibrant
24 citations
Cites background from "Writing encounters within performan..."
...Writing PAD Centre Midlands: Contact Dr Jane Cooksey, University of Wolverhampton: H.J.Cooksey@wlv.ac.uk Writing PAD Centre North: Contact Susan Orr, York Saint John University: S.Orr@yorksj.ac.uk Writing PAD Centre South: Contact Julia Lockheart, Goldsmiths, University of London: j.lockheart@gold.ac.uk For the South West there is a collaboration between three institutions: Writing PAD Centre Plymouth: Contact Pete Davies, University of Plymouth: pete.davis@plymouth.ac.uk Writing PAD Centre Falmouth: Contact Nancy Roth, University College Falmouth: nancy@falmouth.ac.uk Writing PAD Centre Dartington: Contact Jerome Fletcher, Dartington College of Arts: j.fletcher@dartington.ac.uk...
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...Our first volume was aimed at giving an overview of the Writing-PAD effect across the sector and was co-edited by Lockheart and Wood, but since then the first two issues of volume 2 have been guest edited by Susan Orr and Claire Hind as a companion to their symposium, Writing Encounters within Performance and Pedagogical Practice, at York St John University (Hind and Orr, 2009; Orr and Hind, 2009)....
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...…by Lockheart and Wood, but since then the first two issues of volume 2 have been guest edited by Susan Orr and Claire Hind as a companion to their symposium, Writing Encounters within Performance and Pedagogical Practice, at York St John University (Hind and Orr, 2009; Orr and Hind, 2009)....
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...Stage 2 Institutions 2004–5: Julia Garratt from Bath Spa University College, Rebekka Kill from Bradford College, Nancy Roth from University College Falmouth, David Buss, Pat Francis and Linda Griffith from University College for the Creative Arts, Guy Julier and Wendy Mayfield from Leeds Metropolitan University, Debbie Flint from Northbrook College, Erik Borg from Northumbria University, Melanie Parker from University of Plymouth, Hilary Cunliffe-Charlesworh from Sheffield Hallam University, Sarah Key and Una Lynch from Somerset College of Art and Technology, Susan Orr from York St John University....
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References
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25 May 2000
TL;DR: A century in view: from suffrage to the 1990s Elaine Aston and Janelle Reinelt as discussed by the authors discuss women playwrights of the 1920s and 1930s and the challenge of women's voices in the 1970s.
Abstract: Notes on contributors Chronology 1. A century in view: from suffrage to the 1990s Elaine Aston and Janelle Reinelt 2. Women playwrights of the 1920s and 1930s Maggie B. Gale 3. New plays and women's voices in the 1950s Susan Bennett 4. Women playwrights and the challenge of feminism in the 1970s Michelene Wandor 5. The politics of location Susan Bassnett 6. Contemporary Welsh women playwrights Anna-Marie Taylor 7. Contemporary Scottish women playwrights Adrienne Scullion 8. Women playwrights in Northern Ireland Mary Trotter 9. Language and identity in Timberlake Wertenbaker's plays Susan Carlson 10. Pam Gems: body politics and biography Elaine Aston 11. Caryl Churchill and the politics of style Janelle Reinelt 12. Violence, abuse and gender relations in the plays by Sarah Daniels Gabriele Griffin 13. Small island people: black British women playwrights Meenakshi Ponnuswami 14. Writing outside the mainstream Claire MacDonald 15. Lesbian performance Sue-Ellen Case.
50 citations
26 Sep 2007
TL;DR: The Wooster Group Work Book as discussed by the authors provides a detailed account of how the Wooster group makes its work, focusing on six performance pieces, Frank Dell's the Temptation of St. Antony (1987), Brace Up! (1990), Fish Story (1994), House/Lights (1999), and To You, the Birdie! (Phedre) (2002).
Abstract: The Wooster Group has consistently challenged audiences and critics alike with their extraordinary performance works, many of which are now recognised as ‘classics’ of the contemporary stage.
The Wooster Group Work Book accesses, often for the first time, the company’s rehearsal methods and source materials, as well as the creative thinking and reflections of director Elizabeth LeCompte and her main artistic collaborators. Focusing on six performance pieces, Frank Dell’s the Temptation of St. Antony (1987), Brace Up! (1990), Fish Story (1994), House/Lights (1999) and To You, the Birdie! (Phedre) (2002), this new volume gathers together an astonishing range of archival material to produce a vivid and personal account of how the company makes its work.
This book’s intricate layering of journal extracts, actors’ notes, stage designs, drawings, performance texts, rehearsal transcriptions, stage-managers’ logs and stunning photographs traces a unique documentary path across the practice of the Wooster Group, one that will be an indispensable resource for all those with an interest in contemporary performance and its impact on contemporary culture.
Highly accessible to the student, scholar, theatre-goer and practitioner, and including three contextualizing essays by Andrew Quick, this book offers a series of remarkable insights into the working practices of one of the world’s leading performance companies.
29 citations
Journal Article•
TL;DR: In this paper, a case study explores the symmetries between the processes of design and writing and reports on the authors' research that contrasts design students' approaches to writing and their approaches to design.
Abstract: This case study explores the symmetries between the processes of designand writing. It then goes on to report on the authors’ research that contrastsdesign students’ approaches to writing and their approaches to design. Thepaper concludes by setting out practical suggestions that can be used toencourage students to see the links between design and writing.
16 citations
01 Sep 2004
TL;DR: The role of writing in art and design education has been discussed in this paper, where the authors argue that writing should be constrained by academic conventions that arise from other disciplines/epistemologies.
Abstract: When art colleges moved into the university sector in the last quarter of the twentieth century the response of many art and design departments was to gain acceptance in the academy. Since writing was/is privileged as a means to analyse and explicate criticality, degrees were created that required extensive writing in traditional academic genres. This positioned writing (and in some cases theory) in a way that was viewed as restrictive by many in art and design. The current development and expansion of practice-based research degrees and the repositioning of art and design in the last RAE has led to a re-questioning of the role of writing in art and design education and a rejection in some quarters that writing should be constrained by academic conventions that arise from other disciplines/epistemologies. These developments create a space which enables us to explore afresh, textual and visual interfaces in art and design education.
7 citations