# data[].attributes.headline
Visioning/imagining - thinking about the pathways towards that. Individual role or organisational

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Visioning/imagining - thinking about the pathways towards that. Individual role or organisational

# data[].attributes.headline
Producing role - I've had it x6 times and every time it has been a different job

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Producing role - I've had it x6 times and every time it has been a different job

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an act of making things happen...

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Catalyst, building relationships, making connections between people who bring different skills

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Producing means different things to different people in daily discourse / more acknowledged now than before in terms of importance to practices, process, work

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Producing means different things to different people in daily discourse / more acknowledged now than before in terms of importance to practices, process, work

# data[].attributes.body
making things happen - activity of producing

# data[].attributes.body
Gathering resource - developing the framework for realising an idea - making sure the framework is safe, realistic, centres care

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The practical: fundraising, planning, writing, budget management, relationship building, brokering, holding multiple relationships, networking, well connected with other art forms, film music etc. 

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The practical: fundraising, planning, writing, budget management, relationship building, brokering, holding multiple relationships, networking, well connected with other art forms, film music etc. 

# data[].attributes.headline
Kate Castle in the publication 'Producers: Alchemists of the Impossible' 

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Kate Castle in the publication 'Producers: Alchemists of the Impossible' 

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'Producers are often highly instinctual in their decision making, combining great flexibility with unswerving fixity of purpose, and opportunism with a strong sense of direction. Temperamentally, they are able to take the lead in action and decision-making, and to facilitate others, often in complex patterns of partnership.

# data[].attributes.body
producing 'work'

co-creation

enabling things to 'work' - generating a context that makes a space for things to happen

# data[].attributes.body
Where does the term producer come from? When did it emerge? Where is it borrowed from? When did we adopt it and what for?

# data[].attributes.body
wider dramaturgy of an idea/project, wider framework, overview, the relationships between aspects/elements

# data[].attributes.body
administrative act, care, resourcing, creating conditions for moving practices to happen

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The visisoning, the creative dialogue in the studio or cafe or bar. Coaching withinin producing. Support an artist to find the core of their idea/intention - to enable via questioning/dialogue.

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The visisoning, the creative dialogue in the studio or cafe or bar. Coaching withinin producing. Support an artist to find the core of their idea/intention - to enable via questioning/dialogue.

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Administrative brilliance

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it speaks clearly to the place where the resourcing happens (space / partnerships / people )

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it speaks clearly to the place where the resourcing happens (space / partnerships / people )

# data[].attributes.headline
Mentoring as perhaps more hierarchical as opposed to coaching

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Mentoring as perhaps more hierarchical as opposed to coaching

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skills and knowledge needed to understand contexts and needs of creative practice

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Those  help create the context that enables work to happen. 

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Those  help create the context that enables work to happen. 

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Leadership - often co-leadership, co-authorship of a project

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understanding the context and practice and what is needed...

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producers that offer; supportive interventions in self-produced work and then also completely 'produce' work or co-produce with multiple producers/organisations

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producers that offer; supportive interventions in self-produced work and then also completely 'produce' work or co-produce with multiple producers/organisations

# data[].attributes.headline
producing sits within role of producer but might be part of other 'jobs' 

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producing sits within role of producer but might be part of other 'jobs' 

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Weaving - holding & pulling together beautiful, different threads into a wonderful whole

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Does an enabler inherently involve having economic resource? Resources also include: space and time

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Does an enabler inherently involve having economic resource? Resources also include: space and time

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Storytelling as a producer - guide people forward, bring people forward with the narrative of the artist and their journey

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Storytelling as a producer - guide people forward, bring people forward with the narrative of the artist and their journey

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knowledge of ecologies and current policy, funding streams, of work in the sector, of where and how dancing might exist..

in what mays might producers be setting and changing policy/conditions ( example of setting a higher rate that changes practices)

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Keeping all the balls in the air. The juggler. 

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Keeping all the balls in the air. The juggler. 

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leadership, co-authoring, dramaturgical, understanding the vision, overview context, able to weave threads together in whatever context of what.

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leadership, co-authoring, dramaturgical, understanding the vision, overview context, able to weave threads together in whatever context of what.

# data[].attributes.body
different relationships to artists...

producers working together as a group to co-support work

holding spaces with stakeholders

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What do I do that might be considered producing?

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What do I do that might be considered producing?

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Role in relation to resourcing slipping into and roles around the 'creative' practice...

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when did we start to use the title of producing?

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when did we start to use the title of producing?

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how is is used in dance? how is it used in other fields?

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producing student work and research events

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producing student work and research events

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Students in final year making their own work - some students choosing to focus on producing. Are courses equipping students to think about producing in a holistic way OR are courses separating out the notion of producing and practice?

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Ability to self-initiate is important

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generic skills (e.g. technical / marketing) might be present in larger HE institutions, as opposed to specialist knowledge of artistic work (more flexible and responsive)

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generic skills (e.g. technical / marketing) might be present in larger HE institutions, as opposed to specialist knowledge of artistic work (more flexible and responsive)

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HE is context and large organisations that lack flexibility

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HE is context and large organisations that lack flexibility

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Relationship between higher education and dance - some things are conflicting (inter-relationship between courses and relationship with the dance sector)

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Arts management courses - not specific producing courses?

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Higher education is moving towards a privatized model. people studying through private providers  - leading to a different type of careers. 

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Higher education is moving towards a privatized model. people studying through private providers  - leading to a different type of careers. 

# data[].attributes.headline
what is the relationship of (practice) research to audiences / the public? (only recently addressed through conversations on impact etc)

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what is the relationship of (practice) research to audiences / the public? (only recently addressed through conversations on impact etc)

# data[].attributes.headline
producing of process, producing of the enquiry

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producing of process, producing of the enquiry

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producing / thinking through a problem in process...

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Gulf between 'being a student' and life after graduating - understanding of the sector, how to survive, being a 'portfolio artist', the opportunities and the limitations - 'the energy not just to fit into it, but to change it'

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'executive producer' - strategy finance and sign off

creative producer - initiates/involved in conceptualising

'learning and participation producer'

etc

# data[].attributes.body
conceptualising

resourcing

delivering

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The culture of making - having an inquiry and letting it take you somewhere - making work through active research vrs 'making a piece'

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Dance moving into other disciplinary contexts - practice research needed to develop new language

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producing practice research

producing as a research practice

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Work Room has been industry partner in PhD analysing the value and impact of artist residency initiatives on an artists' practice. Room

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Work Room has been industry partner in PhD analysing the value and impact of artist residency initiatives on an artists' practice. Room

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Project Description

Analysing Artist Residencies is a PhD collaboration between University of Glasgow, Glasgow School of Art and industry partners Cove Park, The Bothy Project and The Work Room. The value of artistic practice is notoriously hard to define, especially with regard to its long-term impact, and the artist's perspective is often overlooked. This project will place the artist's experience at the heart, through exploring methods to evaluate the impact that artists' residencies have on their long-term artistic practice.

Partners

‌

‌

‌Student Name

Morag Iles

Academic History

2008-2011, BA (Hons) Drama and Theatre Studies, University of London

2013-2014, MA Arts, Business and Creativity, Newcastle University

Supervisors

Zoe Strachan, University of Glasgow

Professor Kirsteen McCue, University of Glasgow

Johnny Rodger, Glasgow School of Art

Research Interests

Creative Economy, Cultural Policy, Urban and Rural Artistic Infrastructure, Contemporary Arts Practice

Previous Research Projects

The Guided Tour as a Performance Strategy: what role does the audience play? (MA Dissertation, 2014, Newcastle University)

Scholarships

Tyne Theatre and Opera House Preservation Trust Scholarship

Awards

Best Dissertation on MA Arts, Business and Creativity (2013-2014)

Best Student on MA Arts, Business and Creativity (2013-2014)

Contact Details

College of Arts, University of Glasgow, G12 8QQ
m.iles.1@research.gla.ac.uk
07510256169

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Scottish Graduate School for Arts & Humanities

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Project Description Analysing Artist Residencies is a PhD collaboration between University of Glasgow, Glasgow School of Art and industry partners Cove Park, The Bothy Project and The Work Room. The value of artistic practice is notoriously hard to define, especially with regard to its long-term impact, and the artist's perspective is often overlooked.

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Is practice research about looking at how dance works in new contexts and hybrid contexts between dance, business, health etc and finding a language for this and developing the processes for these ways of working?  

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Is practice research about looking at how dance works in new contexts and hybrid contexts between dance, business, health etc and finding a language for this and developing the processes for these ways of working?  

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status of dance in higher education - how far it has come...but also current instability

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Dance training now increasingly offered by private providers

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blending of dance into other disciplines -

science and dance

health and dance

tech and dance

etc

how much of this about money, status, etc

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cross sector partnerships

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dance in formed practice/outputs beyond what conventionally is recognised as dance

what are the practices - social media, non-theatre, in 'applied contexts'

----

responses that are creative but also based in crisis of de-funding

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dance shifting into social spaces

dance as social work

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how has practice research opened up the nature of the type of things or perspectives we might bring to dance

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What kind of knowledge does dance generate in the different contexts it might be produced? 

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What kind of knowledge does dance generate in the different contexts it might be produced? 

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how do we change the value systems relate the multiple ways of doing dancing ?

What is the role of HEi education in this?

What can producers do the enable shifts in (very outdated) values?