Vil du skrive for Barn?



Dramatikkens hus etterlyser barnedramatikk med kompleksitet, snert og klassikerpotensiale. Vi skal ha scenetekst for barn mellom som et av våre store satsingsområder i årene som kommer og søker derfor etter tekster som forholder seg aktivt og kreativt til den verden barn lever i.


Vi ønsker tekster som utvider og gir nye perspektiv på hva livet er eller kan være. Som åpner opp fantasien og skaper nye rom. Tekster som ved å tørre å være komplekse, inspirerer barn og unge til å være selvstendige, medskapende og tenkende individer. Vi vil ha tekster som er rike på nyanser, fabuleringer, utfordringer og vanskelige problemstillinger. Tekster som gjør oss sterkere i møte med virkeligheten. Målgruppe er

5-12 år.

Bidragene vil bli juryert. Fem forfattere plukkes ut til å bli med på satsingen som består av et faglig opplegg med inspirerende arbeidsmøter, seminar, oppfølging av dramaturg og finansielle midler til skriveprosessen.


Dramatikkens hus ønsker å lese ditt bidrag. Send idé/ synopsis og et kort teksteksempel på maks seks sider til:

Frist 27.mai 2017.

Det inviteres også til åpent heldagsseminar “Vekst.Verk” om barnedramatikk for alle som interesserer seg for scenekunst for barn.

Seminaret foregår den 24.august 2017. Mer informasjon kommer.








Master Degree in Directing of Devised and Object Theatre

Directing of Devised and Object Theatre

We are currently accepting applications for Academic Year 2017/18

Extended deadline for submitting Applications for Academic Year 2017/2018 is April 30, 2017.

Theatre Faculty of the Academy of Performing Arts in Prague (DAMU) announces:

Master Degree in Directing of Devised and Object Theatre

a 2 year English language program at the Department of Alternative and Puppet Theatre (KALD)

Prague, Czech Republic.

Learn New Ways to Do Theatre!


Program Overview

The Master in Directing of Devised and Object Theatre offers advanced studies in the practice of theatre-making with a twofold focus: learning the process of devising a theatre performance from scratch, with a strong emphasis on a visuality of expression.

Students will learn to create theatre performances with strong visual, spatial, object and media (low tech) aspects, as well as working in other related performance forms such as scenographic installations, sound performances, and other types of performances with strong visual and spatial dramaturgy.

The process will be based in devising techniques: creating thematic, conceptual, and/or documentary projects that are not based in pre-written plays, but are created mainly through the process of rehearsing, often as collaborative work of the whole creative team.

Students will learn to work with variety of authentic, found, and created material: poetry, images, fragments of plays, songs, historical events, personal stories, scientific findings, common knowledge, pop culture etc. Students will further learn a conceptual approach to research and development of materials, creating specific performance structures (in the sense of narrative, space, and relationship to audience), for specific material, and proposing new ways for audience to perceive/experience the performance to provide the students with skills to become independent authors.

Study Program

The degree is in directing, where directing is understood as an expanded practice, with the potential to work within the fields of design, writing, and performing, to prepare students for work in theatre forms without strict divisions of roles within the creative team. Students will be guided toward becoming independent creators making their own artistic work.

For their last semester and final projects, students will be partnered with prominent practicing artists, based on their individual needs, working in the fields of media, site specific, community theatre, movement theatre, documentary theatre, puppet theatre, visual theatre, scenographic installation etc., for a hands on experience.

Students will further have a possibility to create direct Connection to international environment, artists, and institutions as well as connection to Czech artists and companies.

Practical Proficiency

The foundations of the program involve practical work that provides the student with a hands-on experience with all the elements and in all the phases of project creation: selecting a theme; building a concept and dramaturgical structure; processing material; sound, visual and spatial design; dramaturgical work with material; creating material through rehearsal; performing and working with performers; work with puppets and objects; work with audiences.

Theoretical Coursework 

The study program also includes a series of theoretical seminars through which students acquaint themselves with contemporary performance, devised, object and puppet theatre both in the Czech Republic and around the world.

Skills Attained

  • Directing theatre performances with strong visual and spatial components
  • Devising performance from a variety of material
  • Devising using one’s own material (not only interpreting already existing material)
  • Research and development of material
  • Creation of a variety of dramaturgical structures and research of material
  • Performing, and working with performers
  • Performance designing (scenography)


In order to graduate, students must present a performance during the second year of their studies as well as a written thesis containing a reflection of their artistic work.

Department of Alternative and Puppet Theatre

has, in its sixty-five years of existence, achieved international recognition and has since its beginnings cultivated new approaches to theatre making. It is vitally connected to the distinguished tradition of Czech puppetry, yet integrates the newest theatrical trends in the areas of object theatre, media and visual arts. The Department’s program places emphasis on student collaboration among various fields from performing to performance design.

MgA. Jiří Havelka Ph.D., director renowned for devising theatre performances from variety of documentary and fiction materials is the head of the department. Other main teaching artists at the program are faculty members like: doc. MgA. Marek Bečka, member of the Cakes and Puppets theatre company; MgA. Robert Smolik member of Handa Gote research and development; and MgA. Jiří Adámek, Ph.D. director, author and theatre critic, the founding director of BocaLoca LAB.

During the course of four semesters, students will encounter other theatre makers working with innovative tools and genres such as Dragan Stojčevski, Handa Gote, Cristina Maldonado, Stage Code, Petra Tejnorová, Farm in the Cave etc.

Admission to the Program

To apply, students must have bachelor degree and demonstrate an appropriate level of spoken and written English for creative university study.

Tuition fee is 210 000 CZK for one academic year

Application deadline: April 30, 2017

Entrance exams: May 2017


Applicants must submit:

  • a motivational letter, including the reasons why they have chosen the program
  • a detailed description, reflection on, and documentation of their creative work to date including a dvd with work samples
  • a description of their envisioned Masters Study Project and their intentions in the course of study
  • a vision of their future professional activities
  • CV with photograph
  • relevant qualifications (notarized copy of bachelor degree / diploma)
  • completed written application
  • an appropriate letter of reference

All materials must be submitted in English (or must be translated into English).

Selected applicants will be invited to attend an audition. In special cases, an online video audition may be arranged (e.g., via Skype).

Please note: DAMU will not return any items submitted for admission consideration.

Course Leader

MgA. Sodja Zupanc Lotker works as a dramaturg for independent devised theatre, dance, media and site specific projects, working often in unusual performance spaces in Czech Republic, USA, Brazil etc., for instance with CIA Dani Lima, Lotte van den Berg, Farm in the Cave, Cristina Maldonado as well as Lhotakova/Soukup dance company. She was Artistic Director of the Prague Quadrennial of Performance Design and Space 2008-2015, and has curated numerous exhibitions and events for the PQ since 1999. She has been teaching and giving lectures at Visual Arts Academy in Brno, Academy of Performing Arts in Prague, Columbia University, Yale School of drama, KhIO Oslo, Central School of Speech and Drama London, Kiasma Helsinki and a number of festivals and symposia. 

Contact: Sodja Lotker


visual theatre, visual dramaturgy, puppets, object theatre, spatial dramaturgy, devising, devised theatre, directing. 

Sodja Zupanc Lotker

mobile:  +420 777 303 286

skype: sodja.lotker


New release of funds for international projects

Info received from the research council of Norway about INTPART

The objective of the INTPART programme is to develop world-class research and education in Norway through long term international cooperation. The programme will create a framework for expanding cooperation between academic groups considered to be at the international forefront today or that are believed to have the potential to become world leaders in their fields in the future.

The programme will help to increase the extent and enhance the quality and relevance of scientific cooperation with selected countries, in particular by establishing strong ties between higher education and research cooperation. It will also pave the way for cooperation with the business and public sectors, when relevant.

The programme will ensure that its portfolio covers all eight countries: Brazil, Canada, China, India, Japan, Russia, South Africa and the USA, and encompasses both new and established partnerships.

The programme will provide funding for the establishment and further development of institutional cooperation on research and higher education. In addition to including relevant academic environments/research groups, the collaborative activities should also involve strategic leadership and administration, and be reflected in the strategic plans of the applicant institution. Educational cooperation must be integrated as far as possible in the institution’s other educational programmes, and must comprise activities that extend beyond collaboration between individual researchers and doctoral candidates.

As a pilot in the 2017 call a limited amount will be awarded to projects with partner institutions only in Germany and/or France. For these applications the same formal rules and guidelines apply, and they are evaluated by the same criteria as all INTPART partnership applications as described in this call.

This programme/activity normally accepts grant applications from:

Funding from the INTPART programme may be sought by Norwegian universities, university colleges or other Norwegian research institutions (for the Research Council’s definition and specification of research institution, please see the document under “Attachments”).

Some calls for proposals may be targeted towards particular target groups under these categories.


Estimated duration: 2015–2020

Overall budget:

Approximately NOK 250 million.


Prague symposium: Porous Borders

Call for presentations

Prague symposium: Porous Borders

International Curatorial Practices

October 12nd – 14th , 2017 Prague


We would like to invite all national and regional curators, performance art professionals, educators and theorists to celebrate the 50th birthday of PQ and look at the current curatorial practices by sharing your thoughts, ideas and concepts at the Porous Borders symposium. We will also visit the space where the next 14th edition of Prague Quadrennial will be taking place.

We live in the world that is rapidly changing, where the topic of borders, individual and collective identity, cultural thresholds, fast paced movement across boundaries and constant reframing of realities are woven through our thoughts and our lives.

The tensions between local and global, international and national are rising in many parts of the world and the question of identity and border between familiar and other is going through complex evolution bringing both uncertainty and new creative energy.

We are interested in entries and presentations that are exploring the theme of borders, meaning of boundaries, tensions between categories and boundless imagination, thresholds and liminal places between internal and external in connection with international curatorial practices and or creative process of performance design.

Here are three main areas of interest:

Short 5-minute show and tell proposals:

  • Sites of eventuality – possibilities and potential of places where entities connect

20-minute presentation proposals:

  • Between concept and experience – new curatorial methods and inspiring ideas leading toward creation of strong participatory experiences

  • Crossing points – liminal places where past experience is transformed into a new one. Thoughts on how to preserve emotional signatures of outstanding performances created in a specific locality and how to find inspiring ways to communicate its unique message to global audiences.

How to apply?

Please upload an abstract/ the abstracts of up to 2000 characters including spaces, your bio and other information in English language HERE before April 15th, 2017. Authors will be notified by April 30th, 2017.

In case of any questions, please, feel free to contact


Research Pavilion – 57th Venice Biennale

The Research Pavilion constitutes a high level critical platform that produces a significant addition to the 57th Venice Biennale by showcasing how universities and academies function today as genuine critical laboratories within contemporary art.

The Research Pavilion will host three international art exhibitions between May and October, and also feature a parallel cross-artistic program called Camino Events that will include nearly 50 workshops, artistic interventions, screenings, discussions on artistic research and research within the arts and performances.

In generating a series of exhibitions and activities for critical art and thinking, the Research Pavilion will not only present artistic research to a wider audience, but also introduce visions of a reality that has not yet been realised in theory or practice.

The Research Pavilion is created and hosted by Uniarts Helsinki, and realized together with the Norwegian Artistic Research Programme and the Swedish Art Universities’ collaboration Konstex in co-operation with the Academy of Fine Arts Vienna and Zurich University of the Arts.


Articulating Artistic Research 5.0: Positioning the Researcher with/in Artistic Research

“Articulating Artistic Research 5.0: Positioning the Researcher with/in Artistic Research”

Canadian Association for Theatre Research Annual Conference

May 27th – 30th, 2017 / Toronto, ON, CANADA

Seminar Coordinators: Bruce Barton (University of Calgary) & Natalia Esling (University of Toronto)

The “Articulating Artistic Research” praxis seminar enters its fifth year as part of the Canadian Association for Theatre Research’s annual conference in 2017. “AAR 5.0” extends conversations and investigations developed through its past four sessions, shifting attention to the position(ing) of the researcher in Artistic Research. Building on previous seminar discussions of methodology (CATR 2013), utility (2014), epistemology (2015), and results (2016), AAR 5.0 will focus specifically on the role of the researcher – as facilitator, collaborator, subject, material, observer, recorder, articulator, analyst, creator – and the critical impact of this role on the environment in which it operates, through presence, absence, influence, displacement, adaptation, affect.

We welcome proposals that consider the many ways that researchers are positioned and position themselves within research-creation contexts, across the spectrum from deeply embedded to critical/analytical observation.

* How are these different placements direct expressions of the research’s theoretical underpinnings and methodological frameworks?

* In what ways are a researcher’s possible placements predetermined by her prior education, training, and experience, her personal history and habits, her mental and/or physical capacities?

* How do these positions within the processes shape and define potential outcomes and articulate epistemological possibilities and priorities?

As was the case in the previous four iterations of this seminar, this year’s gathering is meant as a forum to explore diversity in motivation, design, execution, and documentation. However, participants will once again be called upon to explicitly articulate their practices with direct reflection on the following aspects: focus, context, participants, methodology, process design, documentation, dissemination and utility. Through this process of detailed articulation, we hope to draw particular  attention to the expanded epistemological horizons attainable within artistic research contexts. We also hope to identify innovative models that may be transferred and adopted within other artistic research contexts and, potentially, within more traditionally organized research processes.

1) A selection of no more than 12 participants will be invited to attend the seminar in accord with the above noted criteria.

2) By March 30th, 2017, all invited participants will share (electronically) with the full group an approx. 3000-word articulation of a personal Artistic Research activity that explicitly addresses the above-identified aspects. (Additional criteria for these documents will be distributed to all accepted participants.)

3) Between March 30th and April 30th, the first stage of seminar engagement will consist of an electronic forum, in which participants of the full seminar group will discuss a selection of published articles addressing the theories and practices of Artistic Research internationally. The focus of this exchange will be issues of process design, methodology, epistemological orientation, and research roles and positions in Artistic Research.

4) After April 30th, the invited participants will be organized into two or three sub-groups (depending upon the number of participants), according to shared interest/focus, and tasked with a structured pre-conference exchange leading to in-conference collaboration.

5) The actual seminar will involve two or three workshop-style Artistic Research exercises designed and facilitated by the sub-groups, involving the participation of other members of the full seminar and attending conference participants.

6) The final hour of the seminar will take the form of an open discussion between the seminar participants and audience members.

7) The entire seminar will be open to all conference attendees.

Seminar proposals should be sent to Natalia Esling ( and Bruce Barton ( no later than Friday, February 17th, 2017.


Bruce Barton

Professor and Director

School of Creative and Performing Arts / University of Calgary

CH D100 / 2500 University Dr. NW / Calgary, AB CANADA  / T2N 1N4 / 403-210-6265 /

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Utvalgt til internasjonalt kunstforskningsprosjekt

Kunstforskningsprosjektet PICTURE Budapest – Østfold skal blant annet utforske hvordan kunst kan omdefinere (post-)industrielle byrom, og høsten 2016 ble det åpnet for søknader fra interesserte kunstnere. Prosjektet skal knytte til seg totalt 10 kunstnere på tvers av Norge og Ungarn, og vil også involvere nøkkelpersoner innen byplanlegging, arkitektur, sosiologi og byutvikling. De fem kunstnere fra Ungarn velges av Artopolis Association i Budapest.

Mange søkere

Av totalt 25 søkere ble det valgt ut fem kunstnere som spesialiserer seg på kunst i det offentlige rom En av dem var Jakob Oredsson, en svensk kunstner med base i Oslo, København og Berlin. Han jobber primært med arkitektoniske installasjoner, lyd- og lysinstallasjoner og kunstneriske intervensjoner i byrommet. Oredsson har bakgrunn bl.a. som scenografi-student og underviser, ved Akademi for scenekunst på Høgskolen i Østfold.
– Prosjektet appellerte til meg umiddelbart fordi det dreier seg spørsmål rundt kunst i det offentlige rom, noe som er helt i tråd med min nåværende, kunstneriske praksis og mine interesser, sier Oredsson og fortsetter:
– Jeg er veldig glad for å være del av dette. Det viktigste for meg nå er at jeg får delta i forskningsdiskursen på dette feltet sammen med andre kunstnere som spesialiserer seg på kunst i offentlig rom. Jeg blir også introdusert til det EU-støttede IN SITU-nettverket, noe som kan føre til spennende samarbeid i fremtiden.

De fire andre kunstnerne som er valgt av Østfold kulturvikling er: Jonas Bjerketvedt, musiker, komponist og lyd-designer; Liv Kristin Holmberg, performancekunstner og organist som søkte sammen med Camilla Wexels Riser, visuell kunstner og scenograf; og Naja Lee Jensen, kunstner, koreograf og regissør.

De fem Ungarske kunstnere som deltar i prosjektet er:

Dániel Makkai – musician and cultural anthropologist

(Dániel does not have his own website)

Flóra Eszter Sarlós – choregorapher, dancer

& Kristóf Szabó – visual and digital artist

Dávid Somló – sound artist, performance artist

Edit Vizer – installation artist

Åpne presentasjoner

James Moore, prosjektleder for PICTURE Budapest – Østfold, gleder seg til å komme i gang, og innbyr allerede nå interesserte til å sette av datoene. De faglige samtalene avholdes 22. og 23. februar på House of Foundation i Moss og Litteraturhuset i Fredrikstad, med innlegg fra tverrfaglige spesialister. Disse inkluderer bl.a.: Andy Merrifield, sosialteoretikker og geograf fra England som spesialiserer i urbanisme; Yvonne Franquinet, direktør for Architecture Center Amsterdam; Marius Grønning, førsteamanuensis i by- og regionplanlegging på Institutt for landskapsplanlegging (ILP) ved NMBU, Szilvi Kovácz, Hungarian sociologist researching in the fields of art and urban planning  og Terje Pettersen, kommuneplanlegger i Moss. I slutten av workshopen skal det være presentasjoner fra arbeidet 28. og 29. mars. [Szilvi Kovács]

– Dette er et spennende prosjekt å følge med på for kunstmiljøet, arkitekter, byplanleggere, kulturaktører og andre innen administrasjon og næringsliv. På seminaret skal vi stille spørsmål som er relevante på tvers av samfunnssektorer, og se på hvordan innovative samarbeidsforhold kan bidra til stedsutvikling og vitalisering av det offentlig rom. Når det gjelder workshopen skal vi kartlegge aktuelle steder og strategier med mål om å utvikle idéer for fremtidige prosjekter.

Er du interessert i å følge dette prosjektet? Klikk her for å melde deg på vårt nyhetsbrev >>

 Prosjektets milepæler i 2017
  • 13.–17. februar: Seminar i Budapest
  • 20.–24. februar: Seminar i Moss og Fredrikstad
    • Faglige samtaler
  • 22. februar: House of Foundation, Moss
  • 23. februar: Litteraturhuset i Fredrikstad
    • påmelding – begrenset plass
  • 21.–30. mars: Workshop i Moss og Fredrikstad
  • 28.–29. mars: workshop presentasjoner
    • påmelding – flere opplysninger kommer etter seminaret
  • 13.–22. april: Workshop i Budapest
  • 20.–22. april: program av intervensjoner for offentlig publikum

What is “Grossraum” and why we should all see this exhibition?

A research based exhibition about Organisation Todt and the use of forced labor in Norway 1940-45 at the Norwegian Museum of Science and Technology .

The project is to be conveyed to the general public by way of a large exhibition to open in January 2017. Senior researcher Ketil Andersen is currently working on a monography on Organization Todt in Norway and is at the same time curating the exhibition. The research project called Politics of Space and the Grossraum exhibition is going to be developed during workshops and laboratories led by Senior researcher Ketil Andersen, researcher Ingebjørg Eidhammer and Geir Christiansen as the head of the construction team.

My role as a scenographer in the project is to develop the exhibition space and find new ways of displaying objects and explore the capacities of the historical material to tell stories in a physical, spatial way. 

Senior researcher Ketil Andersen told a story about a family who was living next to a prisoner’s camp. They could see from their windows what was happening there during the occupation. According to Ketil Andersen the family decided to close their curtains in order not to see what happened there.

This short story became a key point in the development of the exhibition concept. The story refers to a simple movement, an everyday activity that has a strong connotation and tells about decision making, movement and interaction. The key words reflect the three main goals of the spatial concept.

“How much do you want to see” is the concept of the scenographical intervention. To present the narrative, not as a given statement, but as a bodily experience, presenting the narrative as fragments. The exhibition should persuade the audience to: “move your head, bend your body, choose a path, find a hidden idea, wait for sounds, look back to see the real image, stop and get deep into the text”.

Photos & Text by Alejandra Mendez (former MA student-freshly graduated from the academy in 2017)20161101_115340img_5522


Utstillingen på Teknisk Museum

Delprosjektet Store ting

Tittelen «Grossraum» på som åpner 16. februar, peker mot de mange store objektene som foreligger fra okkupasjonshistorien. Som ledd i prosjektet, og som en del av «Tingenes Metode», gjennomførte museet workshopen «Store ting» høsten 2015.

Sammen med en gjeng BA-studenter fra Akademi for scenekunst, Høgskolen i Østfold, dro de involverte fra Teknisk Museum til et bunkeranlegg på Nøtterøy og Tjøme, et av de 15 000 betongkonstruksjonene som til sammen utgjør Atlanterhavsvollen.

Hvordan få så store ting inn på museum? Scenografistudentene fikk i oppgave å ta innover seg dimensjonene, og jobbe med ideer for å ta store, uflyttbare objekter og gjøre de om til en museumsopplevelse. – Atlanterhavsvollen er uforståelig stor. Det er et sammenhengende beltet av betongbunkere, batterier og skytestillinger, fra Biscayabukta til Kirkenes. Poenget med slike gigantiske byggverk er å få menneskene til å framstå som små, byggverkene kan forstås som uttrykk for nazismens rompolitikk, «the politics of space», sier førstekonservator og prosjektleder for «Grossraum» Ketil Andersen. For utstillingsscenografien i «Grossraum» ble arbeidet med Store ting-prosjektet betydningsfullt. – Det ble utviklet viktige ideer og innspill til hvordan selve betydningen av målestokk og dimensjon kunne gjøres til et utstillingsobjekt, sier Andersen.

– STORE TING: På veg inn i Grossraum-utstillingen som åpner 16. februar kan du gå fra Biscaya til Kirkenes langs denne kystlinjen på gulvet. Her ligger Atlanterhavsvollen.

© Museumsnytt




A publication by European League of the Institutes of the Arts (ELIA)

Endorsed and supported by AEC – Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen CILECT- International Association of Film and Television Schools (Centre International de Liaison des Ecoles de Cinéma et de Télévision) Cumulus – International Association of Universities and Colleges of Art, Design and Media SAR – Society for Artistic Research


This paper is intended as a position paper on the doctorate in the arts (1) . It is formulated as a point of reference for policymakers, university leaders, curriculum designers and research funding agencies. It is addressed to universities of art and science alike, helping the former to secure recognition for their endeavours (with national funding bodies, legislature, etc.) and helping the latter to learn about the research developments within the art university sector. This paper is a consequence of the inclusion of “artistic research” in the OECD’s Frascati Manual, and it has the intention of further shaping understanding of research in the field of the arts and creating the necessary frameworks, environments and resources for early stage researchers (doctoral researchers) to develop their projects. Finally, this paper makes the point that all which holds true for doctoral research and the establishment of doctoral studies – as defined in the central papers “Salzburg Recommendations” (2005) and “Taking Salzburg Forward (2016) (both by the European Universities Association EUA) or “Innovative Doctoral Training” (European Commission) within the EU framework – is also valid for doctoral studies in the arts. As different as research results might appear to be, the processes, epistemological drive and consistency with which research projects in the arts are undertaken remain the same. This paper has been developed by the Artistic Research Working Group established by the European League of the Institutes of the Arts (ELIA), which includes also delegates of both the Society for Artistic Research (SAR) and the Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC). It was drafted by the members of this group (2) , discussed with a working group of EUA’s Council for Doctoral Education (3) and edited by the ELIA working group until the final draft. The paper was endorsed by the ELIA board of representatives on 4 November 2016 and presented at the ELIA Biennial Conference in Florence on 2 December 2016.

(1) For simplicity, the term ‘doctorate in the arts’ is used in this paper to describe all formats of third-cycle programmes in art. The term is meant also to be inclusive of all artistic disciplines and areas (i.e. fine art, music, drama, performing arts, architecture, etc.).

(2) Andrea B. Braidt (chair), Giaco Schiesser (co-chair, SAR), Cecilie Broch-Knudsen, Anna Daucikova, Peter Dejans (AEC), Lars Ebert (ELIA office), Henry Rogers, Johan Verbeke.

(3) In a workshop in Zurich in May 2016; EUA-members Melita Kovacevic, Edwin Constable, Thomas Jorgensen.

Part A:

Context Approximately 280 institutions around the world offer research degrees in the arts (fine art, design, music, architecture, dance, theatre, and all other art disciplines). The administrative structures of the institutions that grant such degrees vary widely, and the names of the degrees they offer (DCA, DPhil, PhD, DFA) also differ. All these institutions have special strengths, differences in assessment, funding, levels of international students and, of course, faculty and staff. Yet they share the same concern – to realise doctoral programmes that allow artists to ‘advance knowledge through original [using artistic and other methodologies] research’ (4) .

(4) Salzburg Principles on Doctoral Education, EUA publication, 2005. []

Over the past four decades, the doctorate in the arts has been established to varying degrees and in various forms throughout the EU and beyond. For example, some countries (UK, Norway, Sweden, Spain) have ten or more years of experience of awarding doctoral degrees in the arts, and, whilst other countries have begun to introduce third-cycle studies over the past ten years, some have only recently decided to do so. As the legal conditions of national frameworks differ with respect to the introduction of artistic/arts/ design-based doctoral research studies, we can speak of a Europe of multiple speeds in this regard. Whilst the legislature in Norway, for example, permitted the introduction of a third-cycle diploma in artistic research as early as 2003, in Austria the University Law was amended to include this only in 2015. Art universities also vary with respect to their institutional status. Many countries have autonomous art universities with the same status (and legislative norms) as so-called comprehensive universities (e.g. Austria, Sweden); other countries organise art universities in the same way as universities of applied science (e.g. Fachhochschulen in Switzerland and the Netherlands) or as academies (Italy) or as faculties forming part of ‘classical’ universities (Spain, Croatia). As a consequence of this, the implementation of doctoral programmes in the arts is subject to varying processes and regulatory norms. While some countries have introduced doctorates in the arts as part of co-operative study programmes with scientific universities (e.g. Switzerland and, in parts, Belgium), art universities in other countries have been able to implement artistic doctorates in their own right, without the need for co-operation (e.g. UK, Norway, Finland, Austria, Czech Republic). Whatever the structural differences may be, discussions around the doctorate in the arts – led by ELIA, art universities and other organisations – have shown that there is a growing motivation to offer doctoral programmes all over Europe and beyond. This growing motivation coincides with, and, to a certain degree, is a consequence of, the massive development of artistic research within the arts – across all artistic disciplines. At the same time, there exists an international community of artistic research, an international and Europe-wide group of artistic research organisations (e.g. EARN European Artistic Research Network, SAR Society for Artistic Research, EPARM European Platform Artistic Research in Music), a multitude of national organisations (e.g. PARSE Platform for Artistic Research Sweden), several peer-reviewed journals for the dissemination of artistic research results (e.g. JAR Journal for Artistic Research; PARSE Journal) and a wealth of funding programmes for artistic research projects (e.g. PEEK Programme at the Austrian Science Funds, Norwegian Artistic Research Programme and the funding programme for artistic research within the Swedish Research Council). Tackling research questions with artistic methods and creating works of art that deal with the big challenges of European – and, indeed, worldwide – research and development has become a vibrant, innovative endeavour. In 2015, the OECD responded by including ‘artistic research’ as a classifier for research and development within the Frascati Manual, paving the way for the further inclusion of artistic research within the European research frameworks5 . The European Research Council, for example, has incorporated artistic research into its funding schemes. Looking at the development of artistic research and doctorates in the arts over the past 20 years, it is evident that a global debate has been taking place, and the development of common standards for art-based PhDs have begun to emerge. A number of shared topics has been identified and become the subject of national and European discussion within the artistic research community and arts universities and one central commonality has been found within the artistic research community: a doctorate in the arts complies with the prerequisites for a PhD, as formulated in the sciences and humanities and as described, for example, by European position papers such as the Salzburg Recommendations (EUA) or the Principles of Innovative Doctoral Training (EU Commission). International debates within doctorates in the arts can be grouped around two poles. On the one hand, discussion has centred on practical, institutional questions concerning doctoral degree regulations (e.g. admission, examination, requirements of the PhD project, taught courses and the extent to which this should be mandatory) and the financing of PhD candidates (employment, grants). On the other hand, questions have been identified about what is at stake in relation to a series of strategic areas including :

– The Bologna Declaration, in which the PhD was positioned, and its effects.

– The formats for presenting PhD outcomes and the significance of the discursive within this.

– The discussion of best practices (7) and role models, without fixing a normative canon or becoming bogged down in loose descriptions of criteria.

– The role, quality and training of doctoral supervisors (8) .

– The organisation and structure of doctoral programmes in the arts (e.g. mixed graduate schools, research groups, individual PhDs)

(5) OECD, The Measurement of Scientific, Technological and Innovation Activities. Frascati Manual 2015. http://www. sum=A451260 FDB07D04058B19D5A531AD1A2

(6) See, for example, Schiesser, Giaco: ‘What is at stake – Qu’est ce que l’enjeu? Paradoxes – Problematics – Perspectives in Artistic Research Today’. In: Arts, Research, Innovation and Society. Eds. Gerald Bast, Elias G. Carayannis [= ARIS, Vol. 1]. New York: Springer 2015.

(7) A compilation of 15 case studies, including comments, is presented in: SHARE Handbook for Artistic Research Education, Wilson, Mick / van Ruiten, Schelte (Eds.), Footnote 2, pp. 74–120.

(8) See, for example, 3rd EUFRAD Conference (Vienna, September 2013) about »The Experience and Expertise of Supervisors in the Development and Realization of Doctoral Level Work in the Arts« (s. eufrad-vienna, checked March 22, 2014).


Which adequate formats for dissemination of the results of doctoral work in the arts should be urgently developed?9 – Employability and different career perspectives of artistic PhD graduates: do doctoral programmes in the arts mainly serve the individual’s development as an artist? In which ways do PhD graduates become integrated into the research environment of art universities? – Internationalisation.

The next section (Part B: Relations) references position papers that are pertinent to our discussion. Following this, in section C of this paper, we focus on seven points that might serve as orientation pillars in the discussion. Descriptive, rather than normative, in their rhetoric, these points draw attention to that which matters for the development and further success of doctorates in the arts

(9) The peer-reviewed Journal for Artistic Research (JAR) offers a promising approach, simultaneously allowing for artistic research per se, documentation, peer reviewing and hybrid formats of dissemination of PhD results.

Part B: Relations

This section identifies the policy papers and strategic documents that have informed discourse around doctorates in the arts. They have shaped our discussion and, in varying degrees, form the substance and basis of our conception of the “points of attention” in the following section. The publication of The Salzburg Principles in 2005 (10), laid the ground for discussing doctoral education as part of the Bologna process. This identified 10 principles for third cycle degrees – doctoral training as the advancement of knowledge through original research; the embedding of doctoral training in institutional strategies and policies; the importance of diversity; the identity of doctoral candidates as early-stage researchers; the crucial role of supervision and assessment; attainment of a critical mass as an important aim of doctoral programmes; a study duration of three to four years; the promotion of innovative structures; the importance of mobility for doctoral researchers; appropriate funding for doctoral candidates as a prerequisite. These principles, formulated as intentions more than ten years ago, remain part and parcel of almost all discussions about doctoral education, although many of them have since become certainties. In 2010, the EUA published the Salzburg II Recommendations (11), a paper building upon the 10 principles and intending to serve as a ‘reference document for those who are either shaping doctoral education in their country, or institution, or those who are involved in other aspects of the process of doctoral education reform’(12). The recommendations took account of changing university structures, emphasising the role of the institution within the doctoral process and steering away from the traditional one-on one supervision model. In 2011, the European Commission’s Directorate-General for Research and Development published a paper which would influence discussion on doctoral education and result in the position paper Principles for Innovative Doctoral Training” (13). Building on the Salzburg Principles, the Commission’s document added transferable skills training and quality assurance to the list of recommendations for third-cycle education. At the same time, a point about ‘exposure [of doctoral candidates] to industry and other relevant employment sectors’ was added, reflecting the much-discussed (and criticised) notion of ‘employability’ of the Bologna process.

(10) Conclusions and Recommendations from the Bologna Seminar on ‘Doctoral Programmes for the European Knowledge Society’, Salzburg, 3–5 February 2005,

The Principles resulted from the Salzburg Seminar, initiated by the Austrian Federal Ministry of Education, Science and Culture, the German Federal Ministry of Education and Research and the European University Association. The main aim and objective of the seminar was to identify the key challenges to be met in implementing the new Action line (during the period 2005–2007).

(11) Salzburg II Recommendations. European Universities’ Achievements since 2005 in Implementing the Salzburg Principles. EUA, 2010. list/Salzburg_II_Recommendations

(12) Melita Kovacevic and S. Mihaljevic, ‘New Developments in Doctoral Education’, in Lucas Zinner (ed.), Professionals in Doctoral Education, Vienna 2016, 1-14. 5.

(13) Principles for Innovative Doctoral Training, European Commission, DC Research and Innovation, Directorate B European Research Area, Unit B.2 „Skills’

All of the above-mentioned papers – and certainly also the recently published Taking Salzburg Forward (EUA) (14), which adds the dimensions of research ethos, global orientation and the necessity of engagement with non-academic stakeholders – provide crucial reference points for the framework of art/design doctorates. The past five years have seen the publication of several position papers, white papers, and so on, emerging from the arts concerning artistic research and – as a consequence – doctoral studies. The European Association for Architectural Education (EAAE), for example, passed a Charter for Architectural Research in 2013, emphasising the need for specific and inclusive types of communicating knowledge within research, spanning artistic and scholarly projects (15). In addition, the Association Européenne des Conservatoires, Académies de Musiques et Musikhochschulen (AEC) published a White Paper asserting the importance of the role played by artistic research in the field of musical arts. The White Paper affirms that ‘artistic research should aspire to the same procedural standards that apply across the whole research spectrum – replicability (especially of procedures), verifiability, justification of claims by reference to evidence, etc. – even though, especially in areas such as replicability, it must be allowed the freedom to achieve these standards in ways particular to its own nature, and to the individual and subjective nature of artistic practice’ (16). The most comprehensive publication on third-cycle studies and artistic research was produced by ELIA as part of the EU Lifelong Learning Programme project on Step-Change for Higher Arts and Research in Education (SHARE, 2010–2013). The SHARE Handbook contains an overview of the development of doctoral programmes in the arts in Europe, identifying numerous examples of best practice for PhD projects and doctoral programmes from all over Europe. It provides insight into the debate by featuring prominent representatives from the artistic research community, and it contains a toolkit for curriculum-building by providing reflections on methodologies employed by research in the arts as well as an in-depth study on the question of (new) disciplines (17). As the main aim (and success) of the SHARE project was to build a large network of institutions and people investing in doctoral education in the arts, the final publication reflects a major effort to bring together the relevant European research community, taking up and reflecting many different voices in the area. The seven ‘points of attention’ in the next section build upon all the papers mentioned above. They attempt to extract the critical core of doctoral education in the arts and seek to provide orientation pillars for a field which has been developing over the past 20 years or so.

(14) Taking Salzburg Forward. New EUA-CDE Recommendations on doctoral education. (2016) Research.pdf 

(16) Key Concepts for AEC Members. Artistic Research. An AEC Council White Paper (2015), %20Key%20Concepts%20for%20AEC%20Members%20-%20EN.pdf

(17) SHARE Handbook for Artistic Research Education, eds. Mick Wilson, Schelte van Ruiten (2013), artistic-research-education-high-definition. pdf

Part C:

Seven Points of Attention (“The Florence Principles”) •

Preamble Doctoral studies (doctorates and PhDs) in the arts enable candidates to make an original contribution to their discipline. Doctoral study programmes in the arts aim to develop artistic competence, generate new knowledge and advance artistic research. They enable candidates to progress as both artists and researchers, extending artistic competence and the ability to create and share new insights by applying innovative artistic methods. The general principles for doctoral education elaborated in the Salzburg Recommendations II and in the Principles on Innovative Doctoral Training are largely held to be valid in the arts. The following points isolate criteria which are essential, and perhaps also particular, to doctoral studies in the arts.

• Qualifications

Doctorates in the arts provide a research qualification that builds upon diploma/masters studies and requires the in-depth development of an artistic research project. Candidates are selected who meet formal requirements defined by institutions and as a result of their artistic qualifications and competences. Potential supervisors may be part of the selection process, to ensure the academic quality of the dissertation process.

• Career Perspectives

Holders of doctoral degrees in the arts may enter (or continue) an academic career at a higher education institution and/or enter (or continue) their career as artists. As a doctorate in the arts is usually undertaken when the candidate has completed graduate studies and produced a significant body of work, cohorts of doctoral programmes comprise established, internationally mobile artists. In bringing their academic and professional experience together, cohorts build valuable networks and accumulate key transferable skills that shape future perspectives for doctoral candidates in the arts. Upon completion, holders of doctoral degrees have the potential to combine their career as artists with a career in higher education.

• Doctoral Work

The doctoral work (the dissertation project) undertaken during doctoral studies in the arts includes the development of an original and concrete artistic research project. This project uses artistic methods and techniques, resulting in an original contribution to new insights and knowledge within the artistic field. The project consists of original work(s) of art and contains a discursive component that critically reflects upon the project and documents the research process. Internationalism, interdisciplinarity and interculturality are implicit in many artistic practices and can benefit from doctoral programmes in the arts. 18 A doctoral degree in the arts is not a prerequisite for obtaining and holding an academic position at a higher education institution in the arts.

• Research Environment

Artistic doctoral studies embedded within an appropriate research environment ensure the best possible (inter)disciplinary advancement of work. Appropriate research environments consist of a critical mass of faculty and doctoral researchers, an active artistic research profile and an effective infrastructure which includes an international dimension (co-operations, partnerships, networks). Doctoral research projects in the arts can advance discipline(s) and interdisciplinary work, by extending borders and establishing new cross- disciplinary relations. Artistic doctoral projects require adequate resources and infrastructure, in particular studio space and exhibition/performance environments. Funding for doctoral researchers in the arts is crucial.

• Supervision

Supervision is a core issue for good practice in doctoral education, and at least two supervisors are recommended. A doctoral agreement, outlining the supervision roles (candidate – supervisor – institution), triangulates this process and setting out the rights and duties of all parties. Institutions establish a good supervision culture by precisely defining responsibilities in their guidelines which provide a basis for avoiding and resolving conflict. Supervision is to be separated (at least partially) from final evaluation (assessment, reviewers), and supervisors should focus on maintaining the quality of the dissertation project in relation to national and international standards. Doctoral programmes in the arts follow the standard quality assurance and evaluation procedures applicable in the relevant national and institutional context (accreditation, reviews, etc.).

• Dissemination

The results of doctoral work in the arts are disseminated through appropriate channels. For artistic work, exhibitions, performances, media installations and content, websites, and so on provide appropriate dissemination frames. A particular effort needs to be made to create adequate archives for the results of doctoral work. Wherever possible and under the provision of proper copyright regulations, open access is the guiding principle for dissemination of artistic research work and the documentation of artistic work (e.g. digital portfolios in institutional repositories). Peer-reviewed and/or externally validated contexts are to be prioritised (e.g. via exhibition programmes in museums or curatorial selection processes). The specificity of dissemination contexts should be clarified at the beginning of the doctoral studies (e.g. in the doctoral agreement).