Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537601
Title: Tower songs : Critical coordinates for collaborative practice
Author: Murphy, Ailbhe
Awarding Body: University of Ulster
Current Institution: Ulster University
Date of Award: 2010
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Abstract:
This thesis has explored the possibilities within collaborative arts practice for creating an interdisciplinary form of evaluation to address the centrality and complexity of negotiation in collaborative practice. The navigational challenges for artists negotiating this field were considered in light of the critical debates within socially engaged arts practice (Kester, 2004 and 2005; Kwon 2002: Bishop, 2009, Lind 2004 and Doherty 2008) which tend to organise the field along a series of binary oppositions such as: process v product; aesthetics v ethics; participative v collaborative practice and intersubjectivity v autonomy. The cross-city collaborative project I initiated in Dublin called Tower Songs served as the vehicle for a practice-based investigation of my research questions. Tower Songs was concerned with the dynamics of a changing city amplified in the demise of public housing (flat complex) estates across Dublin. The thesis introduced a theoretical frame drawn from feminist and post colonial theory (Rodríguez 2006) in order to examine a series of reflective processes which sought to make sense of the first two years work of Tower Songs. From there an interdisciplinary turn in practice was described where questions of epistemology and knowledge production from within the social sciences encounter those negotiated practices and critical references from socially engaged arts practice. The question of evaluation of collaborative projects was tested from the point of view of this expanding theoretical register by Vagabond Reviews through the review of a large scale community-based street spectacle called the Night of the Dark Angel. That interdisciplinary practice was examined in relation to a post structuralist critique which drew on arguments for the destabilising of voice in qualitative inquiry (Lather, 2009 and 2004; Mazzei, 2009; Mazzei and Jackson, 2009 and Jackson, 2009) The post structuralist critique of voice was explored as a move away from the binary oppositions of art critical debates and the pre-determined linguistic arenas of formal evaluation frameworks in favour of a transversal reading of the collaborative experience.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.537601  DOI: Not available
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