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Leeds Arts University Research Strategy 2023-2030

Photograph taken by Memory Potifa from the book launch at Leeds Arts University on 30 June 2023 for: Broadhead, S. (Ed.). (2022). The Industrialisation of Arts Education. Palgrave Macmillan. This book comprises the responses of a group of multi-disciplinary writers/researchers/practitioners to the proposition that arts education in the twenty first century has become industrialised.
Photograph taken by Memory Potifa from the book launch at Leeds Arts University on 30 June 2023 for: Broadhead, S. (Ed.). (2022). The Industrialisation of Arts Education. Palgrave Macmillan. This book comprises the responses of a group of multi-disciplinary writers/researchers/practitioners to the proposition that arts education in the twenty first century has become industrialised.

Photograph taken by Memory Potifa from the book launch at Leeds Arts University on 30 June 2023 for: Broadhead, S. (Ed.). (2022). The Industrialisation of Arts Education. Palgrave Macmillan. This book comprises the responses of a group of multi-disciplinary writers/researchers/practitioners to the proposition that arts education in the twenty first century has become industrialised.

Woolley, D. 15 July - August 2024. The Substitute Exhibited as part of ‘A Real Woman’, Season 4 of The Gallery, 2024, a major public art project playing across thousands of digital billboards in sites across London, Leeds, York, Nottingham, Norwich, Edinburgh, Bristol, Belfast, and Aylesbury. It was supported by the Artichoke trust. Photograph by Yves Salmon.
Woolley, D. 15 July - August 2024. The Substitute Exhibited as part of ‘A Real Woman’, Season 4 of The Gallery, 2024, a major public art project playing across thousands of digital billboards in sites across London, Leeds, York, Nottingham, Norwich, Edinburgh, Bristol, Belfast, and Aylesbury. It was supported by the Artichoke trust. Photograph by Yves Salmon.

Woolley, D. 15 July - August 2024. The Substitute Exhibited as part of ‘A Real Woman’, Season 4 of The Gallery, 2024, a major public art project playing across thousands of digital billboards in sites across London, Leeds, York, Nottingham, Norwich, Edinburgh, Bristol, Belfast, and Aylesbury. It was supported by the Artichoke trust. Photograph by Yves Salmon.

Hodson, M. (2021). At This Very Moment. [Artefact] Licensed under CC BY-NC-ND Image from a research output by Matthew Hodson. The output is a children’s picture book (At This Very Moment) illustrated and authored by Hodson which introduces notions of mindfulness, presence and natural phenomena to early years readers.
Hodson, M. (2021). At This Very Moment. [Artefact] Licensed under CC BY-NC-ND Image from a research output by Matthew Hodson. The output is a children’s picture book (At This Very Moment) illustrated and authored by Hodson which introduces notions of mindfulness, presence and natural phenomena to early years readers.

Hodson, M. (2021). At This Very Moment. [Artefact] Licensed under CC BY-NC-ND Image from a research output by Matthew Hodson. The output is a children’s picture book (At This Very Moment) illustrated and authored by Hodson which introduces notions of mindfulness, presence and natural phenomena to early years readers.

Photograph taken by Memory Potifa from the book launch for: Woolley, D. (2022). Consuming the Body: Capitalism, social media and commodification. Bloomsbury Publishing. Consuming the Body: Capitalism, Social Media and Commodification examines contemporary consumerism and the commodified construction of ideal gendered bodies, paying particular attention to the new forms of interaction produced by social networking sites.
Photograph taken by Memory Potifa from the book launch for: Woolley, D. (2022). Consuming the Body: Capitalism, social media and commodification. Bloomsbury Publishing. Consuming the Body: Capitalism, Social Media and Commodification examines contemporary consumerism and the commodified construction of ideal gendered bodies, paying particular attention to the new forms of interaction produced by social networking sites.

Photograph taken by Memory Potifa from the book launch for: Woolley, D. (2022). Consuming the Body: Capitalism, social media and commodification. Bloomsbury Publishing. Consuming the Body: Capitalism, Social Media and Commodification examines contemporary consumerism and the commodified construction of ideal gendered bodies, paying particular attention to the new forms of interaction produced by social networking sites.

Dale, N. (2023). Head On. [Show/Exhibition] Licensed under CC BY-NC-ND The output is a series of sculptural headpieces by Nicola Dale premiered via a solo exhibition at Bobinska Brownlee, London.
Dale, N. (2023). Head On. [Show/Exhibition] Licensed under CC BY-NC-ND The output is a series of sculptural headpieces by Nicola Dale premiered via a solo exhibition at Bobinska Brownlee, London.

Dale, N. (2023). Head On. [Show/Exhibition] Licensed under CC BY-NC-ND The output is a series of sculptural headpieces by Nicola Dale premiered via a solo exhibition at Bobinska Brownlee, London.

We are a world-facing, creatively driven community where professional educators, practitioners and researchers collaborate to develop and enable excellence.

Leeds Arts University’s research has a transformative impact on local, national, and international communities including communities of creative practitioners. Our research makes a positive difference and creates cultural and social value. Our research also drives the excellent teaching and learning in the University.

Building on our first submission to the research assessment exercise (REF 2021) which followed a period of strategically developing our research activity with all higher education staff, we are now looking towards REF 2029 and a strategy which will further develop and progress impactful research practice. This will be through a research framework made up of 3 pathways as part of a supported environment for established and early career researchers as well as those undertaking PhDs.

Aims

  • Supporting an inclusive environment that produces high-quality, rigorous research that is open to all.

  • Promoting a research culture that supports a diversity of people, institutions, ideas, methodologies, outputs and activities.

  • Nurturing transformative collaborations that lead to local, national and international research partnerships.

  • Sharing our research with others, bringing about positive changes in culture, practice and society through public engagement and impact activities.

These aims will be met by:

  1. Providing transparent systems that support researchers to create outputs that are recognised internationally in terms of originality, significance and rigour.

  2. Setting clear expectations for those who are supported to undertake research, that they act with openness, honesty, care, respect and are accountable for their actions.

  3. Growing external grant income to achieve financial sustainability for research activities.

  4. Providing a means to conduct open and responsible research through training and inclusion in our University repository.

  5. Developing our research facilities, archives and resources to support excellence in research.

  6. Providing developmental opportunities for established and early career researchers to flourish in their research careers, bringing in specialist external support when needed.

  7. Working towards the registration of PhD students.

  8. Ensuring that research from across the University is recognised including that created by small teams. This is important because a large proportion of our researchers work in Unit of Assessment (UoA) 32 (Art and Design: History, Practice and Theory)but this should not obscure the smaller number contributing to UoA 33 (Music, Drama, Dance, Performing Arts, Film and Screen Studies) and UoA 27 (English Language and Literature).

  9. Recognising that Equality, Diversity and Inclusion strengthen our University and expand our research activities.

  10. Encouraging our researchers to build strategic collaborations that maximise their research and impact potential.

  11. Working in partnership with appropriate communities and organisations in the public and private sectors to create opportunities for meaningful international engagement and reach.

  12. Disseminating our research through public engagement and impact activities that draw upon our specialist creative arts discipline areas.

  13. Monitoring our progress through reports to the SMT, Academic Board and the Board of Governors.

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