Study Here - Postgraduate and Professional - Courses

Introduction

“Fully conceived, the arts are, in spite of all the counterfeit nonsense that surrounds us, philosophical necessities; no, even more ... they are spiritual forces of which our consumer society is in desperate need.” (Peter Abbs)

What is it?
Are you a creative person working in any sphere of the arts - perhaps as a teacher, or a practitioner in some field?  Are you interested in exploring the theory and practice of community arts work? Or maybe you’re working in a different field and considering a career change. If so, this part-time, practice-based MA programme could be the life-changing catalyst you’re after. We’re teaching this post-graduate degree course in the evenings, at weekends, and in intensive ‘summer/spring/winter schools’ over a two-year period - and we will only recruit to the course every two years, so if you miss your chance in January 2012, you’ll have to wait until 2013/14!

Take a look at the following calendar to see how the year is planned at the moment: 

		Thursday evenings, fortnightly  7.00pm - 9.00pm	Intensive days/weekends	Mostly 1-1 supervised
Year 1	Jan	Principle and Practice 1	The Digital Arts Environment
	Feb
	Mar
	May		Project Management	Individual Study: the Arts Practioner as Reflective Researcher
	June
	July
Year 2	Sept	Principle and Practice 2	Arts Policy, Strategy and Funding
	Oct
	Nov
	Dec		Arts Connections
	Jan
	Feb
	Mar
	Apr
	May

What will I study?

Principle and Practice 1:

 This module introduces the fundamental philosophical and ethical principles underpinning all work in the community arts, and examines the relationship between these principles and the diverse practice in the field. You will study the aesthetic philosophies of writers, artists and practitioners (past and present) ranging from those who have consistently argued for the importance of the arts in society and politics to those who have preferred to promulgate their views through their practice.  These may include such thinkers or ‘doers’ as John Stuart Mill, Peter Abbs, Roger Scruton, Wittgenstein, Paul Valery, Alain de Botton, Leonard Bernstein, Harold Pinter and Dennis Potter.

We believe, however, that philosophy should be inextricably linked to practice, so the other strand of this module is a close look at Case Studies demonstrating the power – and the potential pitfalls – of community arts in action.  Arguably, UCF itself is one large-scale community arts project, but Folkestone and the surrounding area offer a wealth of available case studies of more modest ambition and more measurable scale, and full use will be made of our extensive contacts to introduce you to a great diversity of practitioners and projects upon which to base your work and your evaluation of your own practice.

When taught: Years 1 and 2, Autumn and Spring Terms; Thursday evenings, fortnightly, 7.30-9.30 p.m.

Assessment:

• In Year One, one essay exploring the ethics and philosophy of the arts (4,000 words; 50%);
• In year 2, a written critique of 2/3 community arts projects, demonstrating (i) an understanding of the relationship between principle and practice and (ii) their implications for your own arts practice (4,000 words; 50%).
• Individual participation and engagement (1000 words equivalence; 25%).  

The Digital Arts Environment

The use of digital technology in arts activity in community-oriented contexts is developing fast, and the potential for our work is enormous.   Collaborative forums such as those found at the Digital Performance Institute exemplify the way in which new technologies expand the creative horizons of practitioners to enable them to bring their work to an ever-widening audience.

New software such as Isadora, Quartz Composer, Max/MSP and Jitter can be used as cross-art production tools.  By getting to know them and exploring their use in arts work today, you will be able to develop your own understanding of the artistic digital landscape. There will be an historical perspective – technology has always played a part in the arts – but we’ll look at the huge range of work which employs a technological base. Groups such as the New York-based dance company Troika Ranch and the Australian Chunky Move dance company are at the cutting edge of digital dance; The Wooster Group, Blast Theory and performance artist Stelarc, who explores ideas relating to the human body, cybernetics and performance, offer a more theatrical presentation of digitally-enhanced performance. Examples like these, from a wide cross-section of disciplines, will frame and inform your critical evaluation of your own work in this exciting area.

When taught: Year 1; Autumn Term; intensive days/weekends.

Assessment:

• An essay on an area of digital artistic practice of your choosing (1200 words; 30%);
•  A critical and analytical reflection on the presentation of a practical use of digital technology within an artistic context, with accompanying documentary evidence, including a viva focusing on the development of the student work and its reception by the target audience/participants (2800 words equivalence; 70%).  

Project Management

The module will focus on the role of project and programme management in a contemporary arts context, explaining how particular applications can produce successful project outcomes, and examining the philosophies, principles, structures and methodologies of project management in a community arts context. You will have the opportunity to practice all the elements of project planning – from planning to execution. The module will begin by looking at the ways in which we need to build a ‘Critical Path’ through a project, considering matters such as ‘milestones’ and planning; the management of risk; and the use of operation flow charts. From there the module will proceed to matters of budget management including the importance of cash flow and the two kinds of funding - real and ‘in kind’. Team Management is the next focus of the module: the strategic and operational importance of skills ‘auditing’, securing the right skills, and employing people will be investigated. Finally, the module will consider the ways in which a project needs to hold to its principles: the importance of asking the right questions, balancing practical considerations with the vision, and of evaluating the project will be investigated.

When taught: Year 1, Spring Term; intensive days/weekends.

Assessment:

• Seminar presentation and Viva on a proposed project as agreed in partnership with another student (acting as client) including a digital media presentation that demonstrates budget flowchart, risk analysis, resource planning and skills auditing (1600 words equivalence; 40%);
•  a Reflective Commentary accompanied by DVD or portfolio evidence of a short-term project you have led, on a theme agreed with the Creative Quarter, involving a team of at least 4 people from UCF. The Commentary will include a mapping of the theoretical context alongside an analysis of the process that includes details of both obstacles and measures taken to develop the project (2400 words equivalence; 60%).  

Arts Connections

This module puts principle into practice, as a laboratory experiment for your new-found knowledge and abilities: as a group, you will form a multi-disciplinary, cross-art ‘Collective’ and generate your own Arts Festival! 

You will bring your creativity to the fore, and generate original material for exhibition, performance and engagement with the community in some form. Mentored by your tutor, you will be asked to establish the broad theme and strategy for a series of arts events and activities culminating in an ‘Arts Week’, in collaboration with local practitioners and undergraduates, and then to open up your work to the public.  In the course of this, you will be expected to apply for sponsorship and/or funding from public and private bodies, prepare publicity, deliver workshops and performances, and evaluate the outcomes of the Project.  This is by definition a collaborative rather than an individual endeavour, and your contribution will be assessed by means of a Portfolio in the light of the role(s) you will have defined very clearly for yourself.

When taught: Year 2; October-February; intensive days/weekends, culminating in the Arts Festival in the February half-term.

Assessment:

• A group seminar presentation outlining the plan for the Arts Week in which you will be individually assessed (1,000 words equivalence; 25%);
• A Portfolio which documents and evaluates both the process and the product of the events and activities, with particular reference to your individual contribution (2,000 words equivalence);
•  Individual participation and engagement (1,000 words equivalence; 25%).  

National & International Arts Policy, Strategy and Funding

This module looks at the policy trends which have shaped community arts development up to and including the present day. This historical perspective will have implications for practice, however: you’ll consider fund-raising and development in the light of statutory, foundation and philanthropic giving.  Along the way, you’ll develop research skills, gain an understanding of current funding frameworks, and study the use of a mixed economy profile in the funding of arts activity.

The module will begin with an historical overview of arts funding in Britain over the last two or three decades, considering, for example, the role of the McMaster Report, Arts Council England, the Department for Culture, Media and Sport, the British Council, and the National Lottery. With this perspective in mind, the module will turn its attention to a review of current policy shaping the sector, considering the impact of, for example, the present (2010 onwards) ‘age of austerity’ and governmental rhetoric around ‘The Big Society’; ways in which the arts might position themselves in this context; and the changing face of community arts in our time. Finally, the module will consider fundraising on a local, national and international scale.  The importance of a mixed economy will be discussed; funders of community arts identified; issues of philanthropy and the reasons people give; ways in which funding strategies may be built without compromising integrity; partnership-building towards funding leverage; constituents of successful funding applications; and bid-writing practice, aimed at statutory, foundation, and individual donors.

When taught: Year 2, March-June; intensive days/weekends.

Assessment:

• One essay (1200 words; 30%);

·         Seminar presentation on a funding strategy related to an external arts organization (1200 words equivalence; 30%);

• A funding application, with commentary (1600 words equivalence; 40%).  

Individual Study: the Arts Practitioner as Reflective Researcher

This is the module which can either be closely based on your own professional practice or may represent a significant new area of exploration for you; it’s up to you.  What form your Dissertation takes is also your choice: it could be a traditional essay, or an intensely practical project with accompanying commentary exploring an area of community arts.

Whatever you choose to do, you will end up submitting a large-scale piece of work in some form (including digital if appropriate), analysing practice and using your research to inform your thinking about potential development. After an initial period of tuition on research and practice methodologies, one-to-one tutorials will guide you through your chosen project.

It’s not overstating the case to say that those of us who have undertaken such a piece of work have found it to be a seminal experience – one to which you will refer for the rest of your professional life.

When taught: Taught sessions Year 1 Spring Term; thereafter supervision throughout the remainder of the course.

Assessment:

• A Proposal outlining the intended research activity and offering an abstract of the argument to be developed, research activity to be undertaken, etc., as appropriate (1,200 words; 10%);
• A Dissertation of approximately 10,800 words (with remission of wordage for other documentary evidence, original material for performance, original artistic output, performance activity itself, etc.) (90%).  

Fees

For up-to-date information on the university’s fees please consult the website: http://www.canterbury.ac.uk/StudyHere/FeesAndFinance/Home.aspx; at the time of writing the fee for part-time ‘Home/EU’ students is £1400 per year.

How to Apply

An application form can be downloaded from here.

Copies are also available from:

Student Recruitment (Postgraduate Office)
Canterbury Christ Church University
North Holmes Road
Canterbury CT1 1QU

Telephone: 01227 782900
Fax: 01227 782888
Email: admissions@canterbury.ac.uk

Department of Music Website