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Performances, preservation and policy implications: digital curation and preservation awareness and strategy in the performing arts

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Performances, preservation and policy implications: digital curation and preservation awareness and strategy in the performing arts

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Laura Molloy: 'Performances, preservation and policy implications: digital curation and preservation awareness and strategy in the performing arts'. Presentation to the Digital Preservation for the Arts, Social Sciences and Humanities (DPASSH) conference, Dublin, Eire, 26 June 2015.
Please contact laura.molloy AT glasgow.ac.uk for further information on the study described.

Laura Molloy: 'Performances, preservation and policy implications: digital curation and preservation awareness and strategy in the performing arts'. Presentation to the Digital Preservation for the Arts, Social Sciences and Humanities (DPASSH) conference, Dublin, Eire, 26 June 2015.
Please contact laura.molloy AT glasgow.ac.uk for further information on the study described.

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Performances, preservation and policy implications: digital curation and preservation awareness and strategy in the performing arts

  1. 1. Performance, preservation and policy: digital curation and preservation awareness and strategy in the performing arts Laura Molloy Digital Curation Centre HATII, University of Glasgow E: laura.molloy AT glasgow.ac.uk / @LM_HATII DPASSH, Dublin. Friday 26 June 2015
  2. 2. DC/DP skills development resources for the performing arts Existing research and initiatives: • There’s not much • Mostly focused on research and practice within institutional context – Notable exception: InterPARES • Some fixed-term projects but little sign of uptake / routine inclusion in education
  3. 3. digital objects in the performing arts objects created in order to serve as documentation of performance What I’m on about today. (P.S. Not to scale.) Digital documentation – just part of the picture.
  4. 4. Image: Ed Fay: @digitalfay
  5. 5. Definitions. (Yay.) • The performing arts • Practitioner (self-employed) • Digital object • Digital curation and preservation
  6. 6. Practitioner-focused study: selected findings Respondent profile: • Small study (not representative of the entire professional sector) • Currently working in UK • Self-defined artforms • Most work in multiple artforms • 8/12 self funding; 9/12 public / charity funded
  7. 7. Practitioner focused study: selected findings Digital object (DO) creation and use: • Widespread: 11/12 create and all (12/12) use • 10/12 report valued specific use for preserved DOs = economic benefit
  8. 8. Practitioner focused study: selected findings ‘Preservation’ of performance work: • 9/12: uncertainty displayed re. ‘preservation’ • All believe practitioners en masse should preserve (at least in some contexts) • 11/12 believe they preserve own work • 8/12 put things in a cardboard box • 7/12 conflate creation and preservation of documentation
  9. 9. Practitioner focused study: selected findings Access to DOs created by self and others: • 9/12 rate access to digital collections ‘somewhat’ or ‘extremely’ important to their workflow • 8/12 expect their DOs to be available in perpetuity / as long as desired • 10/12 in favour of access by other practitioners for research
  10. 10. Practitioner focused study: emerging themes • No relationship between artform and level of DC/DP skill / knowledge; or between creation of born-digital work and DC/DP knowledge • PA practitioners: active in creation and use of DOs – In favour of access to DOs for community of practice – Expect DOs to exist in perpetuity – BUT low levels of DC/DP awareness and skill = suggests awareness and skills gap across community of practice
  11. 11. Practitioner focused study: emerging recommendations • Uptake of existing skills development resources in FE/HE PA education • Need for advocacy to FE/HE, creative funders, PA representative organisations • Need for good practice expectations / policy from funders for practitioner use • Guidance for sustainable DO management available from funders as part of bidding process • Anything else?
  12. 12. Thanks for your attention! Laura Molloy Digital Curation Centre HATII, University of Glasgow E: laura.molloy AT glasgow.ac.uk @LM_HATII

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