This is an open call to all doers, makers and thinkers – all artists, curators and designers – all practitioners from across the disciplines – looking to further develop and extend their practice in the performance-related field.
This twelve-month learning, research and art-making master, based in Reykjavík, Iceland, runs as three semesters back-to-back – from August to August – with an option to extend your engagement with the programme for up to twelve-months further through a specially EU-funded post-graduation training scheme.
The programme organises around a learning, research and art-making culture of rigorous listening, care, precision, ambitious group exchange and learning, as well as a high level of one-on-one focus.
Practitioners enrol on the programme with a project – or a focus – which is then nurtured, developed and realised with us over the course of the programme.
Those enrolled are provided with:
– On-going studio visits
– Residencies
– Regular sharing and feedback situations
– All facilitated by leading practitioners from Iceland and all over the world
– Intensive peer-to-peer exchange
– Continuous mentoring
– Ongoing workshops, labs and symposiums
– Weekly experimental voice- and body-based practice-sharing sessions
– Writing seminars
Course Structure
Year One
The first twelve months are spread over three semesters and functions as a full-time residency programme.
August to December
The semester is organised into blocks and is variable cycle to cycle, but centrally organises around the following:
The semester is organised into blocks and is variable cycle to cycle, but centrally organises around the following:
Independent Practice and Mentoring I (30%)
Each enrolled practitioner begins to engage with their project (or focus). A block of five weeks will begin with a residency in the Icelandic countryside, studio access will be provided, studio visits and mentoring, all culminating in sharings and peer-to-peer feedback sessions.
Each enrolled practitioner begins to engage with their project (or focus). A block of five weeks will begin with a residency in the Icelandic countryside, studio access will be provided, studio visits and mentoring, all culminating in sharings and peer-to-peer feedback sessions.
Sparks I (25%)
Workshops, labs and symposiums from international and national practitioners from across disciplines.
Workshops, labs and symposiums from international and national practitioners from across disciplines.
Art in Dialogue I (25%)
Here the focus is on further developing each practitioner’s relationship to writing and speaking about their own work; how each practitioner reflects, contextualises and produces discourse around their work; what kinds of discursive exchanges do they want to have through and around their work.
Here the focus is on further developing each practitioner’s relationship to writing and speaking about their own work; how each practitioner reflects, contextualises and produces discourse around their work; what kinds of discursive exchanges do they want to have through and around their work.
Morning Classes (20%)
Here the focus is on regular morning sessions, where different practitioners are invited in from Iceland and abroad to facilitate experimental body- and voice-based classes. These classes are not thought of as a training, so much as a collective space of sweating and thinking with the body together.
Here the focus is on regular morning sessions, where different practitioners are invited in from Iceland and abroad to facilitate experimental body- and voice-based classes. These classes are not thought of as a training, so much as a collective space of sweating and thinking with the body together.
Additionally
In addition there are series of optional theoretical and practical long and short courses which can be taken that operate across departments and support each enrolled practitioner to add to their own curriculum in ways that are most responsive to their needs and objectives.
In addition there are series of optional theoretical and practical long and short courses which can be taken that operate across departments and support each enrolled practitioner to add to their own curriculum in ways that are most responsive to their needs and objectives.
January to May
This period follows on with the second editions of each module started in the first semester, but this time with increased depth and specificity to the enrolled practitioners own work. This semester also comes with the option of participating in a series of optional theoretical and practical long and short courses which can be taken that operate across departments and support each enrolled practitioner to add to their own curriculum in ways that are most responsive to their needs and objectives.
This period follows on with the second editions of each module started in the first semester, but this time with increased depth and specificity to the enrolled practitioners own work. This semester also comes with the option of participating in a series of optional theoretical and practical long and short courses which can be taken that operate across departments and support each enrolled practitioner to add to their own curriculum in ways that are most responsive to their needs and objectives.
Furthermore – this semester comes with the option to enrol in light, sound, video, print-making, wood and metal workshops.
June to August
This semester is focussed entirely on the graduation project. Each practitioner has diverse and extensive studio access – throughout the period. Significant mentoring, studio visits and peer-to-peer exchange. Access to a light and sound technician, wood and metal workshop with support to work there, as well as project management, marketing and communication support.
This semester is focussed entirely on the graduation project. Each practitioner has diverse and extensive studio access – throughout the period. Significant mentoring, studio visits and peer-to-peer exchange. Access to a light and sound technician, wood and metal workshop with support to work there, as well as project management, marketing and communication support.
Additionally, the morning classes continue throughout this period.
Year Two- optional
The option of the second twelve months are self-organised with the support of the programme.
There are no tuition fees for this second period.
There are no tuition fees for this second period.
Upon graduating from the first year, those that desire to continue to learn, research and practice for a further twelve months can apply via the Performing Arts MA programme, for a monthly subsidy, funded by the EU Erasmus Traineeship scheme (currently between 700 and 800 euros per month).
This option, available to our graduates, allows practitioners to work with an institution, artist or practitioner of their choice – anywhere in Europe – for
anything between three and twelve months. It is also possible to work with several different partners over the twelve month period.
anything between three and twelve months. It is also possible to work with several different partners over the twelve month period.
This second year can provide a professional springboard, propelling graduates further towards their artistic and professional objectives, with ongoing access to the programme in the form of support, networking and reflection.