Design/methodology/approach This paper takes a case study approach using reflection, indicative theories and consideration of student work to evaluate the introduction of the 'professional artefact' into the BAPP (Arts) curriculum. Following pragmatist and phenomenological descriptions of the lived experience as embodied (Dewey et al., 1989;Merleau-Ponty, 2002) and using learning models based on experience in the workplace (Boud, D. and Garrick, J., 1999), our methodology takes the work based principle of 'experience as knowledge' to examine the impact of the professional artefact on students learning. FindingsThe professional artefact has proven to be a useful way for the learners on the course to reflect on the purpose of their own study and the ways in which work based learning can be incorporated into their practice through embodied 'ideas'. Practical implicationsWe suggest that the inclusion of a professional artefact to the curriculum provides a flexible means for bridging academic and workplace learning. The inclusion of the professional artefact could be recommended as a strategy for other work based learning programmes. Originality/valueThe added value for professional practice is that the professional artefact provides a flexible and creative means of communication for emerging and establishing workplace professionals.

Purpose -Using data drawn from two cohorts of learners studying the Bachelor of Arts (Professional Practice) programme at Middlesex University, the purpose of this paper is to critically analyse the effectiveness of work based learning in improving the skills bases of early career arts professionals in the twenty-first century and to explore the changing place and role of "traditional" concepts of knowledge and teaching. Design/methodology/approach -This study utilised a collaborative action research approach in order to categorise and theorise the themes that have emerged from the practice of delivering the programme, and to provide data that informed the on-going curriculum development.Findings -The study identified three emerging themes in terms of the role of knowledge attainment for the early career arts professional undertaking work based learning. First, knowledge attainment processes shift from a push model to a pull model, second the authors noted a change in the inequalities in knowledge attainment facilitated by the use of the web 2.0 platforms and third it is argued that there are recognisable differences in the value and use of experientially gain knowledge in the establishing and in the established practitioner. The study then suggests changes that may occur in terms of curriculum design, delivery and pedagogy to support establishing arts professionals through a work based learning programme. Originality/value -There is a limited research discourse on the authenticity of the use of work based learning with early career professionals. Further, the study of this emerging cohort for work based learning programmes at Middlesex University points to a wider discourse in terms of positioning work based learning in volunteer environments, third sector and other creative industries contexts where the notion of work is challenged and the connection of learning to practice less firmly set in the established identity of a workplace.

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This article considers fifty-eight selected dance works created during the time period of 2000-2018. In doing so the work of renown artists Wayne McGregor, Garry Stewart, Dawn Stopiello and Bill T. Jones are used as case studies to highlight how the eminence of these choreographers has engaged dance as a meeting point and merging point for humanity and ‘New technology’. The article reviews the impact of new technologies as an essential tool in the creative processes of dance and exploration of the moving-body. Innovative technologies in the 21st Century have offered choreographers new capacities for the creation of movement. These explorations into the performance space advance insights into broader questions of the human body at the intersection of arts and science. The choreographers’ exploration of the dancing form cultivates questions about how the human body extends, begins, ends and is present. As the digital age proposes new ways to (re)imagine the communication and impact of the human body we suggest these artistic collaborations also offer insights into commonalities and places of exchange across notions of art vs. science. These choreographers inter-disciplinary artistic endeavors, into how the moving body transacts and is harnessed as a mode of expression reveal deeper possibilities of the ontology of the lived-experience.