Artists, creativity and knowledge: a challenge for doctoral change

Abstract

This paper aims to extrapolate the difficulties and challenges posed by ideas about creativity principally in the context of doctoral theses in which the practices of dance play a prominent, if not, pivotal role. While resisting definitive transparency, creativity is a crucial marker as much for postgraduate scholars as it is for artists. The sometimes subtle differences between the two creative identities generate compromise and revision within the conventions borne by both when a merger like artistic research manifests itself in doctoral study. Knowledge and language, theory and protocols become part of a shifting academic landscape arguably because the new knowledge‐seekers have different modes of exploring and demonstrating their creative attributes.

Keywords:

• creativity
• knowledge
• dance
• expression

Acknowledgements

I would like to acknowledge the contribution of my colleagues in the ‘Dancing Between Diversity and Consistency’ project, Cheryl Stock and Kim Vincs and the participants who have so generously contributed their perceptions about post graduate studies, dance and its value. Further information on the project can be found at www.dancingbetweendiversity.com

Notes

1. In Australia, the two principal pathways to doctoral study are: (1) via Honours – a year long introductory research degree for high achieving students directly after a Bachelor degree; and (2) Masters by Research – a two‐year programme usually taken by students returning to academia after some form of professional engagement in the workforce. Both degrees are regarded as eligibility criteria for PhD entrance.