Research practice in performing arts education in Hong Kong : an alternative model

Abstract

This paper investigates whether research practice in the performing arts adopts methods that maintain a specificity of its own. The practice-as-research (PaR) models developed for research in the arts that are prevalent in recent years, particularly in the UK, emphasise a combination of practice-led research and research-led practice that serve to produce new knowledge, interdisciplinary as well as specific, as a contribution to a researcher’s field of practice. It cannot be compartmentalised so neatly as conventional research as the models adopted often shift in focus and in loops in order to achieve specific goals. It is systematic in its enquiry and yet open in its methodological considerations in the duration of the research process in order to achieve its end. It is an ongoing process that does not always come to a tidy conclusion; but characteristically, the end informs and triggers the extension of knowledge and practice beyond the research to enable deeper understanding, and contributes to and engenders acquisition of a high level of practice and/or originality in technical know-how and approach. This paper also strives to focus specifically on research for the performing arts, using Master’s students’ research output at the Hong Kong Academy for Performing Arts from 2010 to 2013 and its characteristics as a study. Emphasis will be placed not only on an analysis of what teaching and learning in relation to research practice means in the performing arts, but also its relationship with vocational training of the early years and conventional research. It examines how the current Master of Fine Arts in Theatre and Entertainment Arts programme, as case, was designed originally, and how it evolved over the years into an effective model for Hong Kong and perhaps one that can be emulated by the rest of the region. It purports in this paper that a PaR model can only be contextualized through active development of a postgraduate programme that supports this methodology; they go hand in hand. The investigation was the researcher’s journey in exploring how this programme was developed by her, supported by her colleagues, in response to both educational and industry needs adhering to PaR expectations. This research has thus fulfilled its purpose in examining programme philosophies and theories that influenced the researcher’s choices in the development of an improved and effective model that possesses characteristic features of teaching and learning conducive to PaR activities. It also satisfies to bring to attention their vital contribution to the future of the performing arts industry and current evolution of performing arts higher education in the region. The researcher hopes to encourage dialogue among researchers in the arts to take on more courageous and diverse research methods in their enquiry and paths towards discovery, and for arts institutions to adopt teaching and learning related to research goals that aspire the same.