• Acting Alone: exploring by-stander engagement through performer/audience relationship

      Hunt, Ava; University of Derby (Taylor and Francis, 2019-12-02)
      Acting Alone: a solo performance that explored how social and political engagement in the Israeli/Palestinian conflict might be created through the performer/audience relationship. Drawing on practice as research and data gathered from an extensive tour, this article examines the complexities of creating human rights theatre for a by-stander or tritagonist audience to create engagement, discourse, and agency. Acting Alone used verbatim and autobiographical material to create a theatrical immediacy through which the audience, as by-standers, were invited to cross the dramaturgical divide to engage actively in the Israeli/Palestinian conflict exploring the question – can one person make a difference?
    • The benefits of an arts education

      Mcgravie, David; University of Derby (University of Derby, 06/12/2017)
      Latest reports suggest the creative industries are under pressure and question whether they can provide a useful education to young people. David McGravie, Head of the School of Arts at the University of Derby explains why an arts education is important and how it can benefit students
    • A cage for the muse and the limits of invention

      Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2016)
      This paper explores the notion that creativity in the arts, particularly music, benefits from constraints. Expressive freedom is often fostered within education to encourage the pursuit of artistic individualism, but straying too far from stylistic norms can often engender incoherence. This paper does not challenge the breaking of rules that define a style nor does it denigrate the benefits that may arise from conflicting ideas and unusual combinations, but explores the virtue and benefits of boundaries and suggests that freedom, from a creative perspective, is often an illusory construct; strong creative identities are achievable through and often defined by creative constraints. Conclusions focus on the potential profits of constraints that bind expressive ideas and the function and virtue of intuition within the creative process; theorizing upon whether creative confinement, or the awareness thereof, is ultimately a liberating or inhibiting experience. We determine that artistic creative freedom as a concept may indeed be illusory, but the perception of freedom for some is a necessary ingredient in the creative act.
    • Conformity, deformity, and reformity: considering the domain-idiolect creativity dynamic

      Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2015-07)
      In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with specific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and expressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style provides a basis for consideration of notions of originality in the context of activity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post-structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivolous or subversive intent are considered. This chapter presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essentially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge.
    • The developing professional

      Bryson, David; University of Derby (Informa Healthcare, 2014-10)
      There is an expectation that we will keep on learning and developing as practitioners. That we will grow in confidence and expertise moving from just qualified to expert in a seemingly smooth transition. Unfortunately like many things in life developing as a professional is not that simple, this paper looks at how we develop as learners and professionals and some of the complexities behind many a learning journey. There will be a number of learning activities attached to this paper some will be appropriate for individuals to undertake, others are more aimed at managers and senior managers and others could be used as themes for departmental discussions or even regional meetings.
    • Education for innovation: exploring the place of creativity, innovation and entrepreneurship in Higher Education

      Wilson, Chris; Lennox, Peter; University of Derby (IETSD, 05/09/2012)
      This paper explores the increasing focus on the value of creativity, innovation and entrepreneurship in contemporary discourse and the challenge that this presents for established educational systems and traditional pedagogy. Through analysis of key literature and exploration od educational case studies, issues of definition and interpretation are explored in parallel with consideration of wider questions of operationalization and systemization. Focusing on how educational systems impact on the development and realization of these capacities through educational processes, the paper develops an overview of key perspectives, highlights examples of variation of interpretation of key terminology and presents points for consideration in the process of educational systems design. The paper concludes that there is an evident tension in educational models related to the definition and development of graduate attributes in particular but that there are educational strategies capabl;e of developing creativity, innovation and entrepreneurship as definable outcomes of learning and teaching processes.
    • Personalising your learning.

      Bryson, David; University of Derby (2009)
    • Project management and music in education and related fields

      Sivaraman, R; Wilson, Chris; University of Derby; Project Management Institute (PM World Inc., 2015-09-07)
      Project Management (PM) is a well-established field of research with the scope of inquiry now ranging far beyond the industrial and corporate sectors from which it first emerged. Starting from the premise that PM expertise is a valuable professional attribute and life skill of relevance to many if not all educational disciplines, questions emerge both as to how relevant techniques can be most effectively applied in educational contexts, and how insights might potentially be drawn from the study of different disciplines to enrich the PM profession. This paper focuses initially on higher education (specifically university level study) within the United Kingdom (UK) and other countries, and provides a contextual analysis of the discourse and practice of PM in undergraduate degree subjects. Discussion then narrows in on the discipline of music, as a specific context for consideration of PM through the educational and professional continuum. Identifying a relative absence of explicit PM theory or terminology in the vast majority of degree subjects at least in the UK, there is, nevertheless, an underlying presence of project-based activity at least implicit in all university education and music, in particular, presents a distinctive example of a creative, cultural, educational, where PM is an integral component and experience of subject and discipline. This paper concludes by identifying significant value in the development of a more explicit approach to PM in educational contexts and considerable scope for the development of professional relationships between PM organizations and the higher education sector in particular.
    • REDO - Contemporary Art

      Jones, Rhiannon; Nottingham Trent University; Design School Kolding, Denmark (Cumulus International, 2017-05-31)
      For this paper presentation, Dr Jones discussed the collaborative work of the artists Traci Kelly and Rhiannon Jones, (Kelly + Jones), 2015 to the present, 2017. Considering how do we re-do practice by resisting the expectations of language, it forms part of a subversive investigation into writing as a visceral encounter and as an excavation of self and site – a mode of human extension into the world. In connection with the REDO conference theme of "how do we REDO our design education, our design practice, and our design research so that our knowledge comes to have an actual effect on how we live, from the micro level of the domestic to the macro level of politics? How do we train our students to become DOers and to confront the challenges that face the world in terms of social inclusion, climate/environment, and economic growth? How do we impact our disciplines and beyond? The REDO biannual Cumulus 2017 conference in Kolding aimed to playfully inspire, challenge and develop the role, relevance and scope of design, art and media in a global world with sustainability for people, planet and profit in mind. The overall aim of the conference is to create lasting impact in design and design education and initiate (future) actions." Cumulus, 2017. "For several years in Cumulus (an international art and design organization) I worked with Rhiannon Jones as I chaired the Contemporary Art Workshop. At my invitation she consistently presented projects and led group discussions. Her engaging presentations promoted diversity in art and design at our group meetings in Sweden, Portugal, Italy, France, and Denmark. After my tenure as chair of this workshop/committee, I nominated Dr Rhiannon Jones as Cumulus Contemporary Art Working Group chair person in 2019 – present". Dr Ann Albritton, Art History - Contemporary Issues Ringling College of Art & Design Sarasota, FL
    • Seeking best practice for education and training in the recording studio

      Vandemast-Bell, Paul; Werner, Duncan; Crossley, John; University of Derby (Audio Engineering Society, 20/08/2015)
      This paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design.
    • Staying creative: creative technique, habit and experience

      Wilson, Chris; Brown, Michael; University of Derby (KIE Conference Publications, 2016)
      This chapter focuses analysis on a practice-based research project exploring personal creativity in musical composition. Seeking simply to explore the process and experience of creative routines in a more focused way―most specifically through imposed constraints of discipline, productive time and working materials―the project developed in unexpected ways and the focused act of observation itself led to the development of unanticipated insights. Initial assumptions being that: 1) The right balance of challenge/constraint and creative context can stimulate creative fluency and flow, and; 2) The wrong balance of challenge/constraint and creative context can inhibit creativity, the subtle variations of experience and the delicate structures involved in framing ‘creative balance’ in the composition process developed insights into the relationship between creative boundaries, activities, and creative identity. Creative fluency and creative quality can, and routinely does, emerge from difficult and constrained creative conditions. This text presents a personal insight into the creative experience of working through a defined programme of compositional activity, deliberately designed to test and to challenge, and how the same parameters of creative activity can frame everything from the most positive and affirming of musical activity, to the most desperate and distressing. It is through both pain and pleasure that creative value can emerge.
    • This is Derby Reimagined: S.H.E.D School Tour

      Jones, Rhiannon; University of Derby; Derby Theatre (University of Derby, 2019-10)
      S.H.E.D was commissioned by Cultural Campus and Arts Council England Youth Performance Fund to support the planning and evaluation approach for the project through using S.H.E.D as a creative and cultural space for artistic practice and discourse with a targeted number of schools and their local communities. From Jones’ perspective this research activity enabled S.H.E.D to ask the following research questions: • What impact can a mobile arts space designed for talking have on cultural, social and political discourse? • What impact will S.H.E.D have on its partners and on the theory of place shaping? • How does S.H.E.D facilitate an opportunity to rethink about the ambitions for S.H.E.D to be a literal and metaphorical vehicle for the transformation of dialogue? In Partnership with This is Derby Cultural Producer and Derby Theatre the S.H.E.D facilitated workshops with cultural delivery partners to plan a bespoke series of activities and events within S.H.E.D and programmed a tour to 5 schools. The schools were selected and the locations for the site-specific engagement of S.H.E.D within their school grounds was researched and carefully planned. The participating schools were St Martins School, Pear Tree Primary School, Kingsmead (The Castle), Derwent Primary School and Firs Primary School. Delivery partners were, Quad, Artcore, Baby People, SifoniaViva, Deda, Derby Theatre, Blazers Basketball, Drummersize, pound fit, EMCCAN Carnival Group, Derby County Community Trust Football sessions and Hubbub. Over the course of the tour S.H.E.D and cultural coordinators, working closely with Dr Jones, facilitated sessions on dance, sport, drama, music, art, film making and carnival. In addition to this, the research activity /tour also supported data collection through its creative programming of activity, acting in this way as a consultation space. Questions such as “what is Derby to you?/Where do you feel safe/unsafe?/What would you like Derby to be like in the future?” To this end, S.H.E.D was able to operate as a dialogic site through its bespoke design as an Inter/transdisciplinary vehicle for (social) scientists/humanities scholars to interact with artists and engage public/others. S.H.E.D was commissioned by Derby Theatre and the Derby Opportunity Area Partners, through the Arts Council England Awarded Youth Performance Fund. This research activity with S.H.E.D was to support the planning and evaluation approach for the project using S.H.E.D as a creative and cultural space for artistic practice and discourse with a targeted number of schools and their local communities. S.H.E.D engaged with 1,351 school staff and children.