Secondly, like the qualitative researchers before them, artistic researchers need to carefully mark out the territory of a performative paradigm and differentiate it from the established research orthodoxies by refining its protocols and procedures; defining its concepts, methodologies and interpretive methods and assessing whether a performative paradigm really can hold its own within the broader field of research.
He termed this methodology “performative” research. A performative paradigm potentially offers the creative arts a radical new vision and a way of distinguishing its research from dominant knowledge models.
Haseman’s work has been significant in boldly asserting a performative paradigm and claiming it for the creative arts.
Drawing from his own field of theatre, Haseman agued that: when research findings are presented as performative utterances, there is a double articulation with practice that brings into being what, for want of a better word, it names.
The research process inaugurates movement and transformation. It is not qualitative research: it is itself – a new paradigm of research with its own distinctive protocols, principles and validation procedures.
Seen in the context of other research paradigms—namely the qualitative and quantitative paradigms of research—I will argue that what is at stake are the possibilities that a performative paradigm offers a new perspective on research not just in the social sciences and humanities, but also in the sciences.
In 2009, I published an essay entitled “A Performative Paradigm for the Creative Arts” in Working Papers in Art and Design.
This essay had developed in response to my experience in supervising creative arts MFAs and Ph Ds in artistic research in Australia, where an exhibition, recital, performance or other form of creative work constitutes the major component of the submission in conjunction with an exposition that provides a meta-discussion of the context, methodology and research findings of the research.
In this model, the art is the research and the written exposition provides the discursive contextualisation for the research project. The question of “what gets left” out in the reporting of scientific research is instructive. Von Hantelmann differentiates the concept of the performative from that of the avant-gardes arguing that the avant-garde position sees itself as working from outside of society rather than being embedded with “convention”.
Barbara Bolt is a practising artist and art theorist and is Associate Dean of Research at the Victorian College of the Arts, and the Melbourne Conservatorium of Music at the University of Melbourne. Her website is: Over the past decade or so the term “performativity” has come to pervade contemporary discussions around the visual and performing arts—the performative arts, performative arts practitioners, performative arts based research, performative strategies, performative pedagogy, performative sound design, ad infinitum—ushering in what has been termed the performative turn.
She has written extensively on artistic research and the ethical implications of art as research. She has co-edited four volumes including Material Inventions: Applying Creative Arts Research, London (I. Tauris, 2014), Carnal Knowledge: Towards a “New Materialism” through the Arts, London, (I. Tauris, 2013) and Practice as Research: Approaches to Creative Arts Enquiry, (I. While initially there tended to be a conflation of the terms performativity, performance and performance art in discourses around contemporary art and aesthetics, it could now be said that all art is ontologically performative.