NiTRO Creative Matters

Perspectives on creative arts in higher education

Edition 42

If the debates about the state of the creative arts PhD appear to have slowed down over the last 15 years, it is perhaps not only due to a contraction of the sector, but because the questions being asked of it are no longer in sync with forces driving structural change, whether in the academy, the creative arts, or in the world more broadly.

There is a part to working in a university that I love – every week I get to work with at least one PhD or Masters (Higher Degree in Research or HDR) student. They are often guided by a sense of purpose and eager to find a way to be a part of a university. HDR students bridge the worlds of artistic practice, creativity and scholarship.

I recall thinking, decades ago, the introduction of Higher Degree Research (HDR) programs had reinvigorated the teaching and learning space. These programs added interactions for staff and candidates on topics of exciting diversity toward cultural insights.

This brief piece responds to the questions of how the PhD might be re-conceived and what necessary combination of changes might ensure its ongoing quality and appeal to a new generation of creative-arts scholars keen to challenge established boundaries in the public domain. In the context of communication and creative arts, aesthetics has something significant to do in relationship to generating and communicating research findings and presenting or challenging the facts of a matter.

Higher degrees by research, in any discipline, are significant but humble undertakings, and bring together a whole set of relationships and expectations, intersecting across and between the candidate researchers, supervisors, institutions, and the wider political economy and policy agenda in relation to research training and its funding. Invested and vested interests can get very partial or biased about the relevance of a research project or practice. The lack of a real or practiced arms-length approach to federal research funding in Australia is a problem.

As we inch closer to the 100-year anniversary of Walter Benjamin’s One-Way Street, it is timely to remind ourselves that journeys in knowledge are rarely linear or constructed from large waypoints. This great creative work, a masterclass in the relations of part and whole, is roughly contemporary with another creative work which is only now hitting it stride – the doctorate.

Graduate degrees in the performing arts are now well established in Australia, with graduates employed in various university departments. The exegesis/project combination of these degrees holds different weightings across the various universities that offer them … The unfolding of the relationship of writing to practice also occurs in vastly different modes across institutions.

This issue of NiTRO takes as its aim a temperature check of the PhD in the creative arts and offers a range of perspectives on its current status, both within universities but also for artists considering the value or otherwise of undertaking this qualification.