Practice as Research in Performing Arts - Call for Paper for Revista Aspas Vol. 14, No. 1 (2024)

Until March 15, 2024, Revista Aspas will receive unpublished articles within the scope: Practice as Research in the Performing Arts.

Fifty years ago, the first master's degree in Arts was implemented in Brazil and forty years ago, the Arts area was created at CNPq. These events were important milestones for our field and brought into debate the relationship between research and creation, between Art and Science. Today, so long after, we want to understand the current state of this debate, emphasizing what has become known as "practice as research".

Throughout these five decades, in different temporalities and latitudes in world terms, with the insertion of the Arts in postgraduate programs and scientific research funding agencies, various nomenclatures have emerged, in different languages, to designate research developed in/on/through artistic practice: practice-based research, practice-led research, practice as research, artistic research, performance as research, performative research, research through practice, research-creation, investiCreación, among others.

The debate on practice as research raises ontological, epistemological and methodological perspectives that can be debated in this issue of Aspas Journal" 14.1 Practice as Research in the Performing Arts". With this call, we aim to stimulate reflections that contribute to the debate and that dialog with one or more of the following questions:

What do we mean by practice as research or its variables? What is the current state of this discussion? How do universities and funding agencies deal with this type of research? Is every artistic practice research? Is every practice within postgraduate studies research? Are the arts and sciences opposites or complements? Do the arts need the legitimization of science in order to produce in the academic sphere? What science are we talking about? How do we link research and creation? What should be the results of research guided by practice? Can a performance be the result of research? How can the body be understood as a locus of knowledge? How can we think about the pedagogical dimension of practice as research and embodied knowledge? Given the historical relationship between the advent of rationalist modernity, the constitutive assumptions of science and the matrix of colonial domination, what contribution does practice-based research and counter-colonial epistemologies make to this debate? How do we confront hegemonic methodologies? What are the paths and trajectories for carrying out practice as research? How is practice understood as research in different contexts and territories?