1. The University of Winchester

2. 1 Dr Ruth Hellier-Tinoco, Department of Performing Arts, Faculty of Arts Ruth.hellier-tinoco@winchester.ac.uk Ruth.hellier-tinoco@winchester.ac.uk 2 University of Winchester: small institution, former teacher-training college, teaching-led institution, now with major international researchers. 3 Faculty of Arts: Focus on developing new programmes of study and enabling more experimental forms. 4BA (Hons) Performing Arts, sits alongside other programmes including BA (Hons) Drama and BA (Hons) Choreography and Dance Introduction

3. Notion of research in relation to contemporary performing arts at Winchester: 1. an exploration of ideas about performance, in and through performance; 2. theory is explored through practice whilst practice is evaluated and contextualized through theory; 3. reflective practitioner model: on-going cyclical process contemporary performance-making researching-through-performance practice-as-research Research Context

4. All lecturers are involved with their own creative practice, disseminating this through performance work and more conventional scholarly publications and conference papers. Research of the staff is fully integrated into the undergraduate teaching experience.

5. 1. BA (Hons) Performing Arts: contemporary performance practice 2.30 single hons students; 30 combined hons students per year 3. the term ‘performing arts’ is used to encompass a wide range of approaches to creative and critical practices. 4. each student as ‘reflective practitioner’ is at the heart of the programme as pedagogical and philosophical model. 5.introduce practice-as-research from the commencement of the course Case Study

6. The nature of contemporary performing arts is generally fluid, experimental and exploratory so the Performing Arts programme does not set out to convey or teach to students a single body of knowledge, but enables students to develop, investigate and explore devised contemporary performance practices, particularly interdisciplinary and cross-disciplinary work, with reference to historical context, theoretical discourse and bodies of knowledge relevant to the practice. Case Study

7. Key Learning Experiences encompassing practice-as-research: the fore-grounding of concrete experience as a vehicle for student learning (through the making the devised work); the reflective observation and evaluation of their own practice and the practices of others (through the interrogation of their own work and the work of others); conceptualisation as a means by which ideas for development of work are formulated (through research and engagement with theory); active experimentation (through trying out new ideas and processes). Case Study

8. Become creative human beings and graduates, who are open to exploring ideas, to developing their curiosity for the struggles and challenges of contemporary twenty-first century life and who are able to work through the joys and difficulties of collaborative working practices. Develop the “normal” range of skills (reading, writing, articulating ideas through writing, discussion) also able to explore ideas in time and space through creativity and performance. critical and creative thinkers, makers and communicators, independence of thought, research and practice: self-reflective, self- motivated ability and willingness to think and create ‘outside the box’ Graduate Attributes

9. 1 applicable to all creative arts programmes 2engage reflective practitioner model 3 integrate practice-as-research, and research in practice from the outset 4 integrate staff and student research throughout Future Development Potential