Art

The following modules are available to incoming Study Abroad students interested in Art.

Alternatively you may return to the complete list of Study Abroad Subject Areas.

LICA200: Critical Reflections

  • Terms Taught: Full Year course.
  • Also Available:
    • Michaelmas Term only.
    • NOTE:  If you are studying with us for a Full Academic Year and you select a course that has full year and part year variants, you will not be allowed to take only part of the course.
  • US Credits:
    • Full Year course - 8 Semester Credits.
    • Michaelmas Term only - 4 Semester Credits.
  • ECTS Credits:
    • Full Year course - 16 ECTS Credits.
    • Michaelmas Term only - 8 ECTS Credits.
  • Pre-requisites: Secure background in twentieth century art history with a good understanding of the major movements and their aims. This course can only be taken in the Michaelmas term.

Course Description

This course aims to develop analytical and critical skills in the study of contemporary artworks (buildings, installations, paintings, sculptures; documentaries and films; sound works, scores and musical performances; and dance works, plays and theatre performances) specifically relevant to the Art discipline. Students develop appreciation, knowledge and understanding of key theoretical concepts common to the analysis of all contemporary artworks from a variety of disciplines and forms.

Educational Aims

This module aims to:

  • develop analytical and critical skills in the study of contemporary artworks (buildings, installations, paintings, sculptures; documentaries and films; sound works, scores and musical performances; and dance works,plays and theatre performances) relevant to each students specific subject discipline (Art, Film, Music,Theatre)
  • make students aware of analytical and critical skills specific to other subject disciplines
  • develop appreciation, knowledge and understanding of key theoretical concepts common to the analysis of all contemporary artworks from all artistic disciplines and forms.

Outline Syllabus

This course provides an introduction to critical theory in the arts and its application to aesthetics and art. The first term concentrates on 'structures' in artworks and the second on 'identities'. The structure of the course is six three-week blocks, following an introductory lecture:

  • Block 1. Form and Structure- Composition  the Pleasures of Form: The lectures and workshops in this block will look at how we describe and analyse works of art, especially inrelation to different art forms, and how different disciplines can learn from each other. Students are also introduced to the main developments in aesthetics, from Plato to Kant and onto various kinds of formalism and contemporary means of analysing artworks.
  • Block 2. Semiotics and Authorship - the art work as a sign system that critiques authorial authority: The lectures and workshops in this block look at the idea of the artwork as a system of signification, using the principles of semiology (i.e. the science of signs). Originally applied to linguistics and anthropology, semiology offers a powerful set of tools with which to understand and engage with works of art in everydiscipline from the visual arts to music to dance and performance. More recently it has also come to inform the work of practitioners in all fields. No attempt to understand the debates and issues in contemporary arts can take place without a basic grasp of this area.
  • Block 3. Phenomenology and Spectatorship - Structures of lived experience: The lectures and workshops in this block celebrate and consider the lived experience that artists and audiences have of an artwork, and in particular places bodily experience at the heart of the ways in which artworks attempt to understand the world. The sessions ask: what is the relationship between the viewer or listener who experiences an artwork and the artwork itself? What is the relation between intuition and concept? Is it possible to reflect on the prereflective sensations that a listener or viewer has of an artwork asit unfolds through time in the gallery, performance space or concert hall? The sessions test methods by which it is possible to describe how an artwork might distil the essential qualities of its source material, how it is possible to describe the viewers or listeners consciousness of that artwork, and the hidden meanings which are disclosed through both processes of description.
  • Block 4. Sexuality and Gender - Feminism, Queer Theory and the Deconstruction of Gender and Sexuality: Among the more pressing questions asked by theorists in relation to art is how our experience of artworks, whether as producer or consumer, is inflected by gender and sexuality. Some of the most powerful analyses of art have been motivated by such questions. The lectures and workshops in this block will introduce students to the basic concepts underlying those analyses as well as some of the ways they have been mobilised in relation to art and culture.
  • Block 5. Race and Ethnicity - the arts in a post-colonial and multi-racial society: Questions of race and ethnicity, like those of gender and sexuality, have also become a means by which some of the presumptions underlying the arts have been questioned and deconstructed, especially as a reaction to the dominance of white, western cultural ideals. The lectures and workshops in this block engage with some of the principle debates and ideas in this area, especially as they relate to art and culture.
  • Block 6. Class and Society - Marxist, Post-Marxist and other materialist critiques of art works: No attempt to understand contemporary culture and the arts can take place without engaging with the workand influence of Karl Marx. Though originally concerned mainly with questions of economics and politics, Marxs ideas have been employed in powerful ways as means of understanding the relation between art and broader social structures and relations. The lectures and workshops in this block introduce the most relevant concepts of Marxism and looks at some of the ways in which they have been used in relation to the arts.

Assessment Proportions

  • Coursework: 50%
  • Exam: 50%

LICA211: Perception and the Arts

  • Terms Taught: Michaelmas Term only.
  • US Credits: 4 semester credits.
  • ECTS Credits: 8 ECTS.
  • Pre-requisites: There are no fixed pre-requisites but students should have had some prior experience of historical or theoretical study of Fine Art, Film, Music or Theatre.

Course Description

The ear is not a microphone and the eye is not a camera. Many things happen in the processes of aural and visual perception, and these have an impact on the arts, especially music, fine art and film. Artists know, albeit perhaps unconsciously, how their works will be perceived by the human perceptual system, and they create works which depend on this for their impact. This course examines the basic phenomena of perception and their influence on the arts. Students will also gain experience in relating scientific research to the arts.

Educational Aims

The aims of this module are to help students:

  • learn about the perception of objects and sounds through the eye and ear,

  • learn to relate scientific research to their own experience and artistic practices,

  • understand technical terminology and quantitative data,

  • develop critical/analytical skills,

  • learn about the important phenomena of illusion, attention and categorisation,

  • relate these perceptions and phenomena to artistic practices in music, film and fine art.

By the end of the course students will:

  • understand secondary literature based on experimental research,

  • relate scientific findings to creative practices,

  • distinguish relevant from irrelevant information,

  • explain the functioning of the eye and the ear,

  • explain the limits of perception,

  • describe phenomena related to the perception of sound and colour,

  • relate the principles of Gestalt psychology and other psychological principles to the perception of pieces of music and of visual art,

  • analyse an artwork according to the ways in which is makes use of perceptual phenomena.

Outline Syllabus

The course is taught in weekly one-hour lectures and alternating seminars and workshops. Seminars are centred around set readings and intended to encourage in-depth understanding of case studies. Workshops are based on activities in a computer lab designed to allow students to explore some of the important phenomena through their own experience and to work on examples which relate perception to specific artworks.

Topic covered include scientific method, functioning of the eye and ear, colour, pitch, Gestalt principles, categorical perception, rhythm, proportion, memory and recall, learning and culture, digital representation in relation to perception, and scientific theories of aesthetic value.

Assessment Proportions

  • Exam: 50%

  • Essay: 50%

LICA231: Studio Practice

  • Terms Taught: Full Year course.
  • Also Available:
    • Michaelmas Term only.
    • NOTE:  If you are studying with us for a Full Academic Year and you select a course that has full year and part year variants, you will only be allowed to take the Full Year variant.
  • US Credits:
    • Full Year - 12 semester credits.
    • Michaelmas term only - 4 semester credits.
  • ECTS Credits:
    • Full Year - 24 ECTS.
    • Michaelmas term only - 8 ECTS.
  • Pre-requisites: This is a studio course suitable for Fine Arts Majors who are ready to work with a degree of independence and self direction. A portfolio of personal work (at least 15 artwork pieces) must be submitted, electronically, to the Fine Art Study Abroad Coordinator.

Course Description

This course provides Fine Art students with a structured syllabus, a studio space 24/7 and regular tutorials with artist/teachers. LICA 231 is a demanding but enjoyable course. It requires high levels of student independence and commitment and is suited for Fine Art majors only.

Educational Aims

The key aims are to nurture:

  • an  appropriate  level  of  expertise  within  or  across  the  fine  art  disciplines  of sculpture and Installation, drawing, digital art, painting.
  • students to become “informed practitioners”.
  • a personally-directed combination of visual, conceptual and technical expertise in a student’s chosen studio practice.
  • an engagement with a practice in progressively more depth, focus and independence within, or across, chosen discipline areas during the three levels of the degree scheme.
  • a knowledge and understanding of aspects of twentieth and twenty first century Western fine art and approaches to it, so that students have a critical, historical and conceptual understanding of their own practice, whether that practice is “cutting edge” or traditional.  This is what Art means by the term “informed practitioner”.
  •  a range of transferable skills such as analysing visual or textual material, carrying out research, exhibition planning and organisation, making a presentation on the student’s own work, participating in group discussions, reviewing peer progress, and communicating effectively.

Outline Syllabus

LICA231 is a student-centred course; it requires students to direct their own research and to develop, through negotiation, a self-reliant and independent approach to studio practice. Students are also expected to take increasing responsibility for the creative and conceptual direction of their work. To support the creative development of the individual student, the appropriate teaching and learning mechanisms are:

  • one-to-one tutorials,
  • group tutorials,
  • technical workshops,
  • peer-feedback.

Assessment Proportions

  • Coursework: 100%

LICA235: Documentary Drawing

  • Terms Taught: Michaelmas Term only.
  • US Credits: 4 US credits
  • ECTS Credits: 8 ECTS
  • Pre-requisites: Open to Fine Art Majors or students with experience in drawing practice.

Course Description

This is a studio course which would suit Fine Arts Majors with a special interest and aptitute for drawing. The syllabus is designed to support training and live application of drawing skills with development of a final Personal Project.

The first part of the syllabus consists of drawing workshops. Each session will introduce both different materials and techniques alongside drawing exercises to enable students to capture a variety of environments, objects, people and events.

The second part will include an introduction to on site drawing such as selecting site and practicalities including health and safety - followed by students drawing at a site of their choice, these sessions will be held at Bailrigg campus.

The third part will be given over to portfolio development. Student will begin work on their individual projects. Each student will write a project proposal and present a short description of their topic and receive peer and tutor feedback on the artwork, ideas and future plans, additionally tutors will conduct one-to-one portfolio inspections to review and give feedback.

Educational Aims

The module aims to:

  • Give students an understanding of the potential practical applications of drawing, for example as creative notation and data gathering.
  • Provide training in on-site and observational drawing.
  • Teach appropriate material skills, techniques and processes of drawing.
  • Support students in the selection, development and refinement of an independent personal project.

Outline Syllabus

Creative practitioners gather information and material from the world and lived experience, at its poles contemporary art practice radically reinvents experience in entirely new forms or represents it objectively. This module will enable students to develop a range of graphic skills to allow them to approach and represent ideas, issues and experiences in a documentary manner. The module is designed to be relevant to creative practice in Theatre, Music, Film and Fine Art. It will enable students with a specific interest in drawing to expand their knowledge and experience of observational and on-site drawing, and develop their learning and experience by engaging in further technical training and by introduction to drawing beyond the studio and 'in the field'.

On completion of this module it is expected students will have significantly developed their drawing skills and ability to select a meaningful topic, demonstrate ability to engage in independent study and develop a substantial personal project for assessment.

Assessment Proportions

  • Portfolio: 50%
  • Project: 50%

LICA274: Introduction to Sound

  • Terms Taught: Lent / Summer Terms Only
  • US Credits: 4 US Semester Credits
  • ECTS Credits: 8 ECTS Credits

Course Description

This module designed to cover a focused area of sound studies and enable students to take sound as a component of a single major or joint degree in LICA.  The course will be offered to students LICA-wide because it has an important role to play in dance/theatre, film and fine art.  Students are asked to engage with the coalescing body of discourse engaging with sound across many disciplines. This module seeks to provide students with knowledge of the production and theory of sound art across multiple disciplines; it will include an introduction to the history and development of sound art practice and theory, including sound within the disciplines of dance, theatre, fine art, film and music (electro acoustic sound and performance). 

Educational Aims

The aim of this course is for the students to develop a conceptual and contextual understanding of sound arts in practice and in theory.  A part of the process of understanding sound is the practice of listening.  The module will look at practical techniques to the art of listening, exploring the soundscape and documenting sound using a series of methods such as deep listening, sound walking and recording. (The soundscape is any environment, which contains sound-includes the natural world, cinema, theatres and gallery spaces). They will apply this knowledge of sound and sounding to an awareness of the role of sound in media spaces such as film and theatre.

Outline Syllabus

Each week the class is broken in to two hours, one hour seminar and one hour practice. The practice element will include, outdoor recording, sound walking and sound mapping, deep listening techniques, sound editing, live performance-vocal and digital. Week 8 will include the screening of film material. Each week will incorporate the learning of a new audio technique, a technical and non technical one.

Topics covered will normally include:

 Soundwalking and recording the soundscape as practice: A practice of walking and documenting different sound environments through various means, from field notes to audio recording.

Deep listening as practice:A practice of learning to listen through a series of workshops developed by the Deep Listening organisation, these workshops are intended to heighten awareness of sound, silence and sounding.

Building piezo microphones:Contact or piezo microphones are a strong component of creating sounding objects and building new instruments. They introduce the student to the concept of sound as a material with basic structural properties that may be manipulated.

Use of distribution technologies such as radio, Internet, and others: they will explore presence (the voicing body) and absence (the disembodied voice); voices of authority; uses of text -- communication, propaganda, seduction, translation, misinformation, poeticization, interruption, etc.; language as a malleable material; simulacra and appropriation; scales of transmission (broadcast and narrowcast).

Live performance, improvisation, and audio installation: This class will focus on the ambiguous relationship of the body as an agent of meaning and control in live audio visual art.

 The age of technology: the impact of recording on listening: This class will explore the history of audio technologies and the impact this has had on mediated performances, electroacoustic music and digital processes including live coding and audio editing.

Audio cultures and sound design: This class examines how listening, despite its obvious physiological basis, is a practice inflected by cultural, historical, sociological and contextual factors. We will examine the writings of Leppert, Drobnyck and Feld. We will also examine how this has shaped acoustic architecture-Blesser and Salter.

Film and sound art: This class examines (briefly) the changes in cinematic sound since the invention of sound for film, working from the text of Michel Chion's Film, A Sound Art.

Soundscape studies and the art of listening: This class will examine the work of acoustic ecologist Murray Schafer, it will explore sound mapping, sound ecologies and noise. The class will be theory and practice based.

The soundscape of the stage: This class explores sound for theatre, including sound design, performance and the stage.

Assessment Proportions

Practical: 60%

Essay: 40%

LICA340: Advanced Design Interactions

  • Terms Taught: Michaelmas Term only.
  • US Credits: 4 semester credits.
  • ECTS Credits: 8 ECTS.
  • Pre-requisites: Prior to LICA340, the student must have successfully completed: LICA240: Design Interactions

Course Description

This course provides advanced theoretical perspectives for design interactions. It builds upon the general framework for designing interactive products and systems introduced in the second year Design Interactions module. It extends the knowledge and understanding of the theory and practice of design interactions in specialised design areas such as Urban, Sustainable, Games, Futures, Service, Collaborative Tools, Virtual Environments, Facilitation, Citizen-led Design.

Educational Aims

This module aims to:

  • Extend students' specialist knowledge and understanding of the key issues regarding design interactions.
  • Develop students' knowledge and understanding in the theory and practice of design interactions for specific contexts.
  • Further develop students' evaluation of methodologies of digital/physical design in relation to the generation and representation of design ideas.
  • Develop students' skills in team working and collaborative working.
  • Enhance students’ problem solving skills in specific context.
  • Extend students' critical and theoretical analysis, reflection and synthesis competencies to a given body of knowledge.
  • Develop students' capacities to express their ideas using combined audio and visual media

Outline Syllabus

The syllabus will consider the design of interaction by examining it in relation to more specialised areas of design such as: Urban, Sustainable, Emotive, Games, Futures, Service, Collaborative Tools, Virtual Environments, Facilitation, Citizen-led Design. It is envisaged that the module syllabus will incorporate five of these themes each year which will allow both the most up-to-date research to be in the module content.

Indicative examples:

  • Game Design might consider core concepts such as: defining games and play, play and culture, the magic circle, meaningful play.
  • Design Futures may explore the conceptualisation of the design interactions over extended time horizons through the application of user scenarios, design fictions, personas.

Assessment Proportions

  • 75% Essay (s)
  • 25% Presentation (Assessed)

LICA341: Design Research Consultancy Project

  • Terms Taught: Full Year Course
  • US Credits: 12 semester credits.
  • ECTS Credits: 24 ECTS.
  • Pre-requisites: Prior to LICA341, the student must have successfully completed: LICA241: Design Thinking or  LICA241b: Design Thinking  

Course Description

The course will provide an understanding of the strategic role of design research in real world contexts. Students will develop skills in the application of design research to address contemporary challenges faced by organisations and society. An understanding of the value of design research will be developed through a group based project with a client.

Educational Aims

This module aims to enables students:

  • To demonstrate abilities on problem definition:

•     Understanding the context and company’s needs.

•     Researching issues related with the problem through data collection techniques

•     Analysing the problem using design methods.

  • To communicate the realities and complexities of design research problems and the research necessary for their solution:

•     Arguing with evidences through oral presentation and report writing skills

  • To demonstrate proactivity and creativity in their approach:

•     Working independently in small groups on their own initiative.

•     Discovering gaps for intervention and the creation of value.

•     Articulating the value of design research to local and/or non profit making organisations

  • To demonstrate well developed interpersonal skills

  • To display analytical, evaluative and reflective competencies

Outline Syllabus

Indicative content will include:

Students working in teams to undertake a design research consultancy project that addresses a real world need of an organisation with a UK base. The exact nature of the project is to be determined in consultation with your supervisor but there needs to be sufficient depth and breadth to the project to justify the scale of the project.

Examples of projects may include (provided for illustration only):

  • Design Audits

  • New Product Development Strategy

  • Development of Design Guidelines

  • Brand (Re)Positioning Strategy

The module learning mechanisms are:

  • Group tutorials, lectures and workshops

Assessment Proportions

  • Essays 25%
  • Groupwork 25%
  • Presentation 20%
  • Report 25%
  • Proposal 5%

LICA342: Innovation and Design

  • Terms Taught: Lent Term only.
  • US Credits: 4 semester credits.
  • ECTS Credits: 8 ECTS.
  • Pre-requisites: Prior to LICA342, the student must have successfully completed: LICA241: Design Thinking or LICA241b: Design Thinking

Course Description

The course will explore the complex relationship between innovation and design with a particular emphasis on the need for successful design to engage with networks of innovation that include a broad range of stakeholders.

Educational Aims

This module aims to:

  • Develop an understanding of innovation as a discipline
  • Identify and evaluate some of the different modes of innovation
  • Explore practically the relationship between innovation and design
  • Develop design concepts that employ ‘innovation’ thinking
  • Develop critical and evaluative skills
  • Continue development of communication skills (written and presentation)
  • Develop an understanding of research methods
  • Detail the scope of innovation as a discipline
  • Articulate the different modes of innovation
  • Demonstrate through theory and design activity the interplay between innovation and design
  • Describe the networks of innovation in which a particular design operates

Outline Syllabus

Indicative content will include:

  • A consideration of the notion of innovation as a ‘system of thought’, comparing this to craft, art and invention approaches to creativity.
  • Designing with innovation in mind
  • Design, innovation and invention
  • Innovation as an emerging discipline
  • Measuring, categorisation and the evaluating innovation
  • Evaluation of innovative design concepts

The module learning mechanisms are:

  • one-to-one tutorials,
  • lectures,
  • seminars.

Assessment Proportions

  • 20% Group Presentation (Assessed)
  • 80% Individual Report

LICA372: Sound as Practice

  • Terms Taught: Michaelmas Term only
  • US Credits: 4 US Semester Credits
  • ECTS Credits: 8 ECTS credits
  • Pre-requisites: A course equivalent to LICA274 (Introduction to Sound) or permission from the tutor

Course Description

This course is for students who wish to start to specialise in sound as part of their core creative practice. The course will include discussions (seminar style sessions), practical assignments and sound workshops. The students will start to develop self directed projects, while the practical parts of the course will offer students opportunities to develop technical skills and apply theoretical principles to real-life or practical contexts.  This module aims to develop skills from LICA274 'Introduction to Sound' to enable the students to engage with subject experts, developing attributes and perspectives that will equip them for life and work in an increasingly multi-disciplinary society. 

All students will specialise in a chosen area such as recording, sound design, composition, performance, sound art etc., and will produce over the term, a portfolio of sound works.  LICA's unique approach to interdisciplinarity and practice as research means that the students will have opportunities to collaborate with students in the departments of theatre and film, as well as fine art.

The module aims to enable students to relate their work to the general body of knowledge within the area of sound studies. They will develop an informed awareness of the production processes needed to work as sound practitioners in various fields. They will also examine key theories, theorists and practitioners in a range of sound related fields, including acoustic ecology, soundscape studies, the senses and society and sound within sociology, media and communications

Educational Aims

On successful completion of this module students will be able to:

  • situate their practice in the broad field of sonic arts and design - such as instrument building, sound design for installation, performance, visual media
  • critically engage with theories of sound and the increasing emergence of sound within a variety of fields including ecology, sociology, media and communications theory and sound art research,
  • produce work within the context of the history, practices and concerns of the sonic arts and of the major theoretical, philosophical and aesthetic issues in the media arts.
  • develop skills in the use of industry standard audio technology and facilities, expanding their potential as creative practitioners.
  • and produce sound works for broadcast media, installation and online spaces.
  • explore hybrid creative arts practices for example, using sound across different disciplines from theatre to film and fine art.
  • develop theoretical and conceptual projects that consider sound outside of a musical context.
  • explore a variety of audio techniques, expanding their potential as creative practitioners.

Outline Syllabus

This module takes a practice-based approach to the study of sound, with every second week involving a discussion on sound art and/or a group performance/design installation presentation, and every other week a practical session which will include listening/editing/recording/performing/building workshops.

We also aim to have visiting guest lecturers over the course of the term. 

The discussions weeks (five two hour sessions) will involve a continued examination of the themes covered in LICA274 (introduction to Sound). However, the approach will be more focused, with an emphasis on practice, with the students examining the different methods and concepts to be considered for the production of works of sound for different fields - sounds for image based works (projections, films, video pieces, dance/performance), sound for fine art (installation, exhibition, video art or transmission art, i.e. radio and web based work). 

Topics covered in the workshops will typically include:

  • The history of sound art as practice and multi-disciplinary approaches in sound art: acoustic ecology-phonography-sound and society, cultural studies and media studies
  • Aurality and audition in the performance space: architecture acoustics, perception and the body.
  • Phenomenology and the senses: an interrogation of Don Ihde, Edmund Husserl, John Lutterbie and Schafer.
  • Computational sound practice with a focus on mobile technologies and field recording.

The practice part of the syllabus will take place every other week over two hours and may typically include:

  • Contact microphone building and live installation
  • Acoustic ecology-sound mapping-the soundscape
  • Sound and space-using different spaces and speakers to work with space
  • Live performance using mobile technologies
  • Perception and spatialisation workshop

The students will create two works of sound over the 10 weeks, the first for sound in installation/design for performance/film/dance etc., presented in a digital format, which will be followed by individual presentations of these pieces in week 6.

The second piece is for live radio broadcast and is open in style, but may be a radio play, abstract sound piece, monologue, story etc. The students will participate in creating a live arts show on Bailrigg FM presenting these sound pieces.

Assessment Proportions

  • Coursework:  100%

LICA386: Contemporary Dance and the Visual Arts

  • Terms Taught: Michaelmas term only
  • US Credits: 4 US Semester credits
  • ECTS Credits: 8 ECTS credits

Course Description

The module has two purposes.  Firstly, it explores cutting-edge as well as tried and tested methods of improvising or choreographing movement from the practice and study of drawing, and, reciprocally, approaches to drawing that emerge from the experience of movement and the analysis of motion.  This is assessed through either a staff-supervised, student-led group choreographic project with documentation or, alternatively, a portfolio of drawings presented at the end of the module.

Secondly, the module involves scrutiny of exemplary twentieth and twenty-first century works in which choreographers have collaborated with visual artists.  These include dance works that have been explicitly created from painting; visual art works that have been derived from the study of motion; and multimedia works, including gallery-based live art events and installations, which interlace live or digitized choreographic and visual material.  This part of the module is assessed through an essay that students complete over the Michaelmas (Christmas) vacation.

Each taught session consists of a lecture and seminar followed by practical compositional exercises in movement and drawing.  In between sessions, students complete set reading, viewing and unassessed practical tasks.  By the end of the module, students will have expanded their experience and understanding of the possibilities of movement and drawing; gained an understanding of new approaches to visual and dance composition; and developed methods, skills and techniques in making work that will enrich, if not directly affect, their final degree shows. 

Educational Aims

On successful completion of this module students will have:

  • an embodied understanding of cutting-edge as well as tried-and-tested methods of improvising or choreographing movement from the practice and study of drawing
  • an embodied understanding of cutting-edge as well as tried-and-tested approaches to drawing that emerge from the experience of movement and the analysis of motion.
  • gained an ability to analyse artistic works in which dance artists have collaborated with visual artists.
  • historical and theoretical perspectives of how choreography intersects with painting, sculpture and digital art.

Outline Syllabus

The module is in two parts.  In the first four weeks, students undertake practical training and compositional exercises in a number of practices and techniques that explore the reciprocity between moving and drawing.  This provides the basis for a creative project that runs in the second half of the module and leads to either a portfolio of drawings or a dance performance. 

Running in parallel with this creative project is a series of lectures on works for the stage, screen or gallery that either translate painting into dance, or else combine choreography with sculpture or digital art.  These lectures explore four themes: figuration, translation, juxtaposition, and illumination.

The following list of sessions and topics is indicative but may subsequently vary from year to year:

PART I: MOVING AND DRAWING: MAKING PROCESSES

  • Week 1.  Authentic Movement: from dancing to drawing 1.  Seminar and workshop on the active imagination and how drawing is produced from dancing and structured discussion in the Dance Movement Therapy of Janet Adler.  Also discussion and practical exploration of how to draw with prosthetic devices and the body itself as exemplified by the practices of Rebecca Horn, Yves Klein, Katrina Brown and Rosanna Irvine.
  • Week 2.  Perceptual Frames: from dancing to drawing 2.  Seminar and workshop on creating movement scores through the spatial practices and architectural drawing and graphic writing techniques of Trisha Brown, Nancy Stark Smith, Rosemary Butcher, Anne Teresa de Keersmaeker, Ed Frith and Caroline Salem..
  • Week 3.  Choreutics: from drawing to dancing 1.  Seminar and workshop on how movement is analysed and designed through geometric drawing in the work of Rudolf Laban.
  • Week 4.  Improvisation Technologies: from drawing to dancing 2.  Seminar and workshop on how to improvise and choreograph from the multiple linear and curvilinear concepts of William Forsythe.

PART 2: CHOREOGRAPHY AS SCENOGRAPHY: KEY WORKS

  • Week 5: Figuration.  Lecture on human figure and scenic form in Vsevolod Meyerhold's Tarelkin's Death, Oscar Schlemmer's Bauhaus dances, Alwin Nikolais Tensile Involvement.  Supervised work towards practical assessments.
  • Week 6: Translation.  Lecture on painting as score in Lea Andersons The Featherstonehaughs Draw on the Sketch Books of Egon Schiele and Herman Diephuis Daprs J C.  Supervised work towards practical assessments.
  • Week 7: Juxtaposition.  Lecture on bodies and ready-mades, chance and collage in Atsuko Tanakas Stage Clothes, Allan Kaprow's 18 Happenings in 6 Parts, Judson Dance Theatres improvisations, Jerome Bel's nom donné par l'auteur, and La Ribot's 13 Pieces distinguées.   Supervised work towards practical assessments.
  • Week 8: Illumination.  Dance, light and film in Loie Fullers Serpentine Dance; Edward Gordon Craigs Dido and Aeneas; Lucinda Childs, Sol LeWitt and Philip Glass DANCE; Wayne McGregor, Mark Wallinger and Mark-Anthony Turnage's UNDANCE; Russell Maliphant and Michael Hulls Afterlight, and Rosemary Butchers After Kaprow.  Supervised work towards practical assessments.
  • Week 9: Practical assessment.
  • Week 10: Module debrief and essay preparation.

Assessment Proportions

  • Essay:  50%
  • Practical:  50%