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Disciplinary ‘Specificity’ and the Digital Submission
Disciplinary ‘specificity’ and the digital submission

My main concern in this chapter, given the relatively recent entry of expert performance-practitioners into the postgraduate and higher degree programme of the British university and more widely, is with some of the implications for the higher degree/postgraduate submission and its examination, when the research enquiry is itself pursued, in significant part, through a creative practice that continues, in the digital age, to involve a performance-making whose outcome is real-time and event-based, combining live performance and spectating – hence that continues to cohere with certain notions of disciplinary specificity and identity.

In other words, these are creative practices that might still be called ‘dance’ or ‘movement-based performance’, or ‘dance theatre’, or ‘collaborative performance’, in the ...

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