Thinking through Creation MythsNourish your own creative practice through an exploration of Western and non-Western creation myths. BOOK NOW
accredited options available
This short course is based on the first module of our Poetics of Imagination Master’s qualification. This course is non-accredited, but a 30-credit online module is also available. Please read ‘How it works’ below carefully before booking or enquiring.
Starts 20 September 2021
Tracey Warr, Bram Thomas Arnold, Martin Shaw
Unaccredited: £1,500 (£150 deposit, with the outstanding balance payable at the booking deadline specifed below).
13 September 2021
About this course
This course will take you on an in-depth exploration into Western and non-Western creation myths, examining their role in the development of meaning and sense of place across cultures, through a series of study films and two seminars with Dr Martin Shaw. The course focuses on Inuit, Siberian and other stories including The Red Bead Woman and The Listener. Storytellers have suggested that words were once like magic. We began in an animistic universe where thought took place in speech rather than on paper. Working with tutors, Dr Tracey Warr and Dr Bram Arnold you will focus on stories of creation, place, and nomadism to develop a richer understanding of the power of myth, cultural difference, and how both can nourish your own creative practice.
Over the five weeks we will consider the relationship between these stories and themes such as nature, animals, relationships, death, and material culture (such as Easter Island moai), with workshops enabling you to respond creatively to ancient stories. We’ll focus on cave art and other pertinent, early visual and material examples and their resonances in the work of recent artists, filmmakers, poets and speculative fiction writers.
Who is it for?
This course is for anyone interested in mythology, storytelling, literary and cultural criticism, poetry, spoken word, and looking for inspiration for their own writing or art projects.
How it works: non-accredited short course
Simply book in the usual way: head to the ‘book now‘ section, and you can choose to pay the full fee or an £150 deposit at checkout.
There are no specific entry requirements for the unaccredited course, though it is important to note that this course is taught at postgraduate level.
You will be provided with a PDF Course Reader. Additionally, please take a look at the following before the course begins:
- Hyde, L. (2017) Trickster Makes this World: How disruptive imagination creates culture. Edinburgh: Canongate Books.
- Hoban, R. (2012) Riddley Walker. London: Bloomsbury.
- Kane, S. (1994) Wisdom of the Mythtellers. Peterborough, Ontario: Broadview.
- Le Guin, U.K. (2002) The Dispossessed. London: Gollancz.
- Lewis-Williams, D. & Pearce, D. (2005) Inside the Neolithic Mind. London: Thames & Hudson.
- Shaw, M. (2016). Scatterlings: Getting claimed in the age of amnesia. Ashburton: Cista Mystica Press. www.cistamystica.com
- Shaw, M. (2020) All Those Barbarians. Devon: Cista Mystica Press. www.cistamystica.com
How it works: accredited course (30 credit online module)
You can complete this short course as a 30-credit module (Level 7). The accredited course includes an additional week in which you will complete the course assignment for submission and lecturer feedback.
If you wish to take the course accredited you will need relevant qualifications and/or be able to show equivalent experience in the field. The cost of the accredited qualification is £1,900.
To find out more about this accredited option, please visit the Poetics of Imagination course page and refer to ‘Learning Pathways’. On application, choose ‘Module 1’.
Dr Tracey Warr, Head of Dartington Arts School
Her books on contemporary art include The Midden (Garret, 2018), Remote Performances in Nature and Architecture (Routledge, 2015) and The Artist’s Body (Phaidon, 2000).
She has published numerous catalogue essays and journal articles on a wide range of contemporary artists including Christian Thompson, James Turrell, Hayley Newman and Marcus Coates. Her recent fiction includes the future fiction, The Water Age (Meanda Books, 2018) and historical fiction, The Drowned Court (Impress, 2017). Her future fiction writing has a particular focus on water. She was shortlisted for the Impress Prize for Fiction and is currently working on a biography of three medieval sisters, entitled Three Female Lords, which received an Authors Foundation grant. She was awarded a Literature Wales Writer’s Bursary and a Santander Research Award. She has undertaken art residencies including Modern Art Oxford; MIT, Cambridge, US; Helsinki International Artists’ Programme, Finland; Maison Daura, Saint Cirq Lapopie, France; Outlandia, Glen Nevis, Scotland and Matadero, Madrid, Spain. She has curated many artists’ projects and residencies, including working with Nomeda and Gediminas Urbonas, Marina Abramovic, Helen Chadwick, Cornelia Parker, London Fieldworks and many more.
His work circles mythology and landscape, oral storytelling and poetics.
He co-led with Dr Carla Stang the Myth and Ecology MA at Schumacher College, and was Artistic Director of the Great Mother Conference in Maine for nine years, inheriting the position from Robert Bly.
His areas of interest are Irish myth and folklore, the philosophy of John Moriarty, the Grail legend of Parzival, Siberian folk tales and indigenous culture, contemporary Romanticism, Ethnopoetics, the poetry of Federico Garcia Lorca and Ted Hughes.
His work has ranged from writing the 2019 catalogue for Ai Weiwei, Life Cycle, to a 101 day vigil in a Dartmoor forest, which became the book Wolferland. He has been awarded the Price, Bretherton, Elgood Award for outstanding achievements in the arts, and the Summerfield Scholarship to the British School in Rome. His first book, A Branch from The Lightning Tree, won the Nautilus Book Prize. Amongst others he has been published in The Mississippi Review, Kenyon Review, Poetry International, Orion, Poetry Magazine and the New England Review.
His books are Bardskull (2022); Elk Bone is Bright Owl (2022); A Hut at the Edge of the Village: The Beauty and Trouble of John Moriarty (2021); Smoke Hole (2021); Red Bead Woman (2020); All Those Barbarians (2020); Wolferland (2020); Courting the Wild Twin (2020); Wolf Milk: Chthonic Memory in the Deep Wild (2019); The Night Wages (2019, 2020); The Five Fathoms (Hedgespoken Press, 2018); The Mythteller trilogy: Scatterlings (2016), Snowy Tower (2014), A Branch from the Lightning Tree (2011).
His translations are Poems of Lorca: Courting the Dawn (with Stephan Harding) (Cista Mystica Press, 2019); Cinderbiter: Celtic Poems (with Tony Hoagland) (Graywolf Press, 2020).
His essays include Ai Weiwei: Life Cycle (Marciano Art Foundation, 2019); An Earth That Thinks in Myth: Temenos Academy Review (Temenos Academy, 2019); Ted Hughes: Etiquette of the Uncanny (The Ted Hughes Society Journal, 2018); Small Gods: Oikosophia, From the Intelligence of the Heart to Ecophilosophy (Associazione Culturale Mimesis, 2017).
Bram Thomas Arnold
His research interests include autoethnography, ecological arts practice, conservation and conversations around re/wilding, regenerative agriculture and the politics of being and selfhood in the Anthropocene. He is currently developing a number of projects on the Lizard in Cornwall at the intersection of contemporary arts research and re/wilding, conservation and the politics of land in collaboration with Professor Caitlin DeSilvey at the University of Exeter. He has undertaken post-doctoral research as a National Productivity Investment Fellow at Falmouth University in collaboration with the National Trust. Published papers include writing for the New Statesman, Digital Creativity Journal and the Living Maps Review.
As an artist he has developed a practice of Romantic Conceptualism that does not restrict itself to traditional boundaries, mediums or modes of practice, but rather develops a responsive way of being and making that is composed of and by its present context. He has exhibited internationally in exhibitions from New York to St. Petersburg.
Exhibitions include: This is The Future, Chiltern Sculpture Trail; British Art Show 6, Newcastle; Deptford X Festival, London; Conflux Festival of Psychogeography, New York; Artisterium, Tbilisi, Georgia; Performance Writing 12, Arnolfini, Bristol; Sideways: a festival of walking, Belgium; Remote Performances, Outlandia/Resonance FM, Scotland; Venice Biennale; HIDE, Secret Garden Party, Cambridge; Hermitage, Newlyn Gallery and Unbounded, Eden Project.
*If you choose to pay a deposit, you will be contacted to pay the outstanding balance once the Booking Deadline (see above) has elapsed.
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