Publi by Otago University Pex PO Bor 56 Level 1, 398 Cumberland Seost. Daman, New Zealand Fos 3479385 E:anietdaypeanBongoscnt Werermotagoaeanlprn Fe published 2011 10 Dar Bend and Grooms Downes 201 India chapter copyright © ha Inia! utr a stdin the ote li 2011 Vole op (SBN 978 La7IS7822 9 Goer pho y Emly Hla Green, worclenapecom Plies Wendy Horex Er: Geog MeWhice Typeset Otago Unie Pest Cover by Pana Mae Priced by Pace Le, Wellton See Contents Acknowledgements 7 Dunedin sounds 9 Dan Bendrups Performance as Research Practice and performance as research in the arts 19 Suzanne Little The creative artistas esearch practitioner 29 ebm Drummond Music, Communication and Community Songwriting process inthe Verlaines album Corponace Moronic 43 Graeme Downes ‘Southern gold bars: the gamelan community in Dunedin 57 Shelley D. Brunt and Hey Johnson SSabject2Change: musical reassemblage in the juz diaspora 67 Darn Bendraps and Robert G.H. Burns Remix culsure and the new folk process 80 Jolin Ezenes Reflections from 2 reformed exile 89 Trevor Coleman cones 51 Practice and performance as research in the arts Suzanne Little Over the last couple of decades a new trend has emerged in research in the performing, creative and fine arts, one that inchides practice and performance as tepresenations of and vehicles for research. This isa highly significane and often ‘controversial extension t the conceptualisation of academic research. Asa new form of investigation, ie has come under intense scrutiny in academia, where issues of ‘lity, rigour, originality ad claims to knowledge are key co the acknowledgement ‘of work as ceseatch and tothe subsequent accrual of governmenc and public sector funding. As Shantton Rose Riley and Lynette Hunter nce: While peormance pracces ave alma eontbited to knowledge the Idea chat perfoomance can be more than ereadve producto, that I can contre ntl ingly and ontibute new undentandng ad insight concep that eallenge many insieuonal stratus and calls ino question wha gts valued as knowledge Perhape she most singular concibuson of the developing areas of practice as wacich (PR) and performance as research (DAR) isthe elm that cetve production cn conte incl ng! Asan emerging area, performancesbased research i sil in sate of fx, growth and acceptance; ic has yet to secure a universally agreed language, assessment system teria for its nomination as research. This is changing, however, and ‘much hae already beon done on a country-by-co basis. Foresample, government bodies and acadermic/praciioners in che UK and Auscrla have generated guidelines for what consticutes this eype of research and how it may be assessed and ranked, This proces is alo occurring in numerous other countries, including Now Zealand, where performance-hased postgraduate degrees ate becoming more common. New Zealand’ proximicy to Australia means that a climate of exchange is emerging and hastening the aceepeance ofthis new forms of research. Reciprocal arrangements are being made between institutions in the two countries to cover key practices such as ‘To understand the major contribution that this emerging form of eesearch is ‘making co the arts, Ics necessary to outline belly che many diferent Forms that PRACTICE se PERFCRMUNICE AS RESEARCH I THE ARTS 19