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46 history of pai 11 Florman's engagement ceount of Picasso’ painting is laminating as much ‘Denisa a seudy in both RUPTURE AND RECOGNITION: IDENTIFYING THE PERFORMATIVE RESEARCH PARADIGM Brad Haseman ‘There has been considerable debate around how best to articulate a research meth bles practitioners ti | Carole Gray has been a pi 1 practitioners scro practices of atists and prac ‘These disnctve qualities point vs towards amen new eer arg, which this new methodology. Aecogising Aernatve Forms of Reporting Research Cent ne for an alternative meth for the Creative Arts is an search, The OECD definition, whieh is quoted in all ‘Australian Department of Education, Science and Training, tates: dderaken on a systematic inchiding knowledge of man, Given the acceptance of alternative research outputs within the research framework, ics perhaps surprising that the research feld isso slow to recognise alternatives 0 ‘qualitative and quantitative research methodologies. ‘Rupture: Beyond Qualitative Research (One way to understand the developments wrought by practtioner-researchers from and desiga isto see the ‘capacity of words to capture the n- iuman behaviour, there has been a ms of research and presentation. Again, in moving towards performance the investigator avoids the mystify. Of truth and simultaneously expands the range of communities in which the work can stimulate the: ‘writing, andthe meaning of research itself (Lincoln new paradigm of research with its own and validation procedures Schemaically the thee research paradigms can be represented thus Qualitative Research [Performative Research ‘All forms oF social inquiry Expo ison meri past fife years qualitative research 1nd catalogued a wide range of ‘mixed methods designed to gat need to erystaise the knowl ‘cige claims which can be made through their heuristic and interpretative practices the performative paradigm have found ‘own right. This places considerable power with means there is 2 need to identify and validate the practice-led researcher. Certain ting methods of practice (and methods, specific Acknowledging any don’t always have to turn to to justify their research, 152 Pracrice As Rustancit research pat fl theatre director and practice Jed researcher Fenton designed study which inconporated three creative development periods across 2004, 2005 and 20006, The purpose of his study was to examine t ‘of con: theatre- making, focussing particulary on 1 gathering data were used by Fenton; the enguiry eycle from action researc, reflective practice, a post-performance reception study and action tacking and fixing, These are briefly described below. Planning a change ‘Acting and observing the Reflecting on these proce Rephning Acting and observing Reflecting, and so on .. (Kemmis and MeTaggart 2003: 381) practice-led most esc and have Few guns apg nd aang research and its other defining features (Kemmis and McTaggart 2005: 2 Refltion Prac Fenton acknowledged a debt to De that Sen's arguments Schén for his workin reflective practice, rng in practice” are compelling and of b RISKARCHE PARADE 5h, Experienced prac 14 racic AS Ressanea final xed acon. In this way the prompt copy ing, tool for action tracking snd fixing, However, Fenton found that when devising an interdscplinary work without a erp, the established method for actior Fixing, the prompt copy, broke down. Instead a new method of documes red. Fenton's response was to the performance. Five codes were ‘patterned into the final and performances: screen thod of actio-tracking ‘emerging strategy of practice-led research can draw. Bot ive practice arise di tea to the chagtn of traditional action researchers, practce-led researchers follow these methods slavishy, preferring to adapt existing methods suit their focus groups t0 gather descripsve and inferential statistics to measure Eli i ‘method belongs to the quas-experimental met fixing to their own, Dance, research methods tween quantitative and qual ind a phenomena more Fully than is methodological innow ‘hese innovations are like research is its capacity to forge new, hybrid or mutant research methou specific to the object of enquity ‘The Promise and Practice of Performative Research Ics important to acknowledge that proposils for a third research paradigm ate hard, 1995: 1). This involves Establishing an aware and self-ctieal movement between experience and re- systematically honed and refined. (Reason 1 ® for recognition in the current research om and impact. ative arts, design and related search strategy, will hive applications far beyond the creative arts, desiga