- A course focused on literary study, with an emphasis on oral literary traditions and narrative field trips
- You’ll have opportunities to engage in creative practice (creative writing or another creative practice) alongside and in dialogue with your literary studies
- Students have access to bookable studios and workshops at Dartington
MA: 1 year FT, 2 years PT.
Other routes are available, including online options – see ‘Learning Pathways’
September. (Our master’s courses start at various points in the calendar year – find out why.)
full Term dates
2021-22 Academic Year
Autumn Term: Monday 13 September – Friday 17 December 2021
Winter Term: Monday 10 January – Friday 1 April 2022
Spring Term: Monday 25 April – Friday 1 July 2022
Dissertation Deadline: mid-August 2022
14–17 September 2021: Welcome Week
20 September–1 October 2021: Module 1
8–19 November 2021: Module 2
7–18 February 2022: Module 3
21 March –1 April 2022: Module 4
An online version of this course is available – see ‘learning pathways’, below.
next application deadline
We are accepting late applications on a rolling basis now that our 2021 application deadline has passed. Please submit your application as soon as possible to be considered.
Our degree programmes are designed to suit the complexities of modern life, allowing you to live where you live and work where you work, whilst studying the subject you are passionate about as a member of our wide-reaching learning community.
Some qualifications are offered part-time – these are indicated below.
MAster's (ft/pt; 180 credits)
A full-time (1 year) or part-time programme (2 years, UK students only) with 4 x 30 credit modules and 1 x 60 credit dissertation or major project module. The taught (30 credit) modules are six weeks’ long. Teaching at Dartington is concentrated into two-week periods for each of the first four modules, with supported e-learning and independent learning inbetween.
PLEASE NOTE: We are not accepting new part-time applications for a September 2021 start as we have a large number of part-time students already pursuing the course. We expect to reopen part-time applications for September 2022.
Postgraduate Diploma (ft/pt; 120 credits)
A full-time (1 year) or part-time programme (2 years, UK students only) with 4 x 30 credit modules. Students taking the full-time option will study all four modules during the first two terms. For full details on part-time pathways, please contact us.
Postgraduate Certificate (60 credits)
A full-time programme with 2 x 30 credit modules. Students will study both modules during term one.
First module only (30 credits)
Modules from this course can be studied on a standalone basis, with 30 credits allocated per module.
To apply for the accredited single module option, apply in the usual way, selecting the ‘single module’ option during the application process.
All options for this course are offered on a low-residency model, and are also available online-only. Please ensure you select the online-only option during your application as required.
The course is centred around oral telling but opens to a broader spectrum of the arts, examining the work of ancient to contemporary storytellers, writers and artists.
From physically tracking folktales across the wilds of Dartmoor to three day tellings of myths that form much of the crucible of modernity, we will explore the reality that when humans imagine, they tend to imagine in story. What is trying to be told right now?
programme structure & modules
This MA programme consist of 5 modules (4 taught and 1 dissertation module). The first 2 weeks of each taught module are timetabled teaching periods, where you can live on site (or nearby) and participate in the learning community. So there are 4 two-week periods, spread across 7 months.
The remaining 4 months are the dissertation or major project period. You may choose to return home for the duration of this final module, and will no longer be sponsored by us for your Tier 4 visa.
Outside of the two-week periods, international students (only) may request accommodation and full board onsite at Dartington for terms 1 and 2: this would require you to participate in the learning community activities. Alternatively you can opt to live nearby or anywhere in the UK and travel to and from Dartington when required.
We have a limited number of residential places available for international students. Apply as early as possible and select the accommodation option on the application form.
Module One: Oral Thought (30 credits)
This module explores Western and non-Western creation myths. 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. Focusing on stories of creation, place, and nomadism, attention is paid to the roles of mischief and desire in the making of culture and understanding of region. Students explore how place is formed.
We are looking at ‘enrichment’ opportunities for students for later in the academic year so that you don’t miss out due to online delivery (for examples, extended studio/library time/additional fieldtrips).
Module Two: Negotiating Fables (30 credits)
This module considers the arrival of literacy and tracks a divide between the ambitions of state and shaman. It explores how cultures reveal their attitudes to the unknown, the exiled, and the Otherly through the stories they tell. It contemplates the monsters invented by particular cultures, and what happens when the gods start to carry appearances rather like our own.
Module Three: Glorious Distortions (30 credits)
This module considers the historical move to an internalised position. In a hunter-gatherer culture we dwelt within psyche, but by the 12th century, psyche frequently dwelt within us. We trace this move and consider the influence of Islamic thought on the Arthurian Grail romances, and cultural cross-pollination in the courtly schools of Eleanor of Aquitaine. We consider how these influences have shaped us today.
Module Four: Contemporary Romanticism (30 credits)
Romanticism is underpinned by a love of myth, nature, and individuation. Harold Bloom has insisted that the historical Romantic movement was an internalising of the quest motifs of ancient mythologies. This module poses the questions: is there a place for romanticism in contemporary culture, and if so, what does it look like. It asks if it is still credible to fetishise the lone hero or if it is time for something else.
Module Five: Dissertation/Major Project (60 credits)
This module enables students to pursue a creative practice-led research project, or an academic essay interrogating the further evolution of poetics of imagination theory and practice, or a combination of both (50/50). The outcome might be presented in the public domain in an end of year event (reading, performance etc.) or a publication.
Qualification(s) required for entry to the MA
BA (Honours) Degree: A first degree in a humanities subject. Where the first degree is not humanities-related, a portfolio of work in support of the application or experience that is equivalent.
Other non-standard awards or experience: A willingness to engage with the field of Poetics of Imagination. Candidates will be considered with prior credited learning and prior experiences subject to interview. *
Interview requirements: All applicants are required to attend an interview, either at the School or online.
*For further information please contact our admissions team at email@example.com.
Martin is currently Reader in Poetics of Imagination at Dartington Art School and Programme Lead for the MA of the same name.
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).
dr Tracey Warr
Tracey is Head of Dartington Arts School and Head of Research. She is a fiction and non-fiction writer and also works with text in the vicinity of art.
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.
Emma Bush is Associate Lecturer for our Poetics of Imagination and Reimaginging Performance Practice courses. She works in the field of art and ecology, making performance, site-specific walks, writing and workshops.
She studied BA Theatre and MA Art and Ecology at Dartington College of Arts. Emma is also a Doctoral Teaching Assistant at the University of Plymouth where she is working on a PhD.
Bram Thomas Arnold
Dr Bram Thomas Arnold is an artist who started with walking and kept going into performance, drawing, installation, writing and academia. He is Associate Lecturer for our Poetics of Imagination programme.
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.
Information to follow soon.
latest news & blogs
Schumacher College and Dartington School of Arts are increasing financial support for students from less well-off backgrounds who want to study at the colleges.
Edgewise is a student blog featuring new work from the Poetics of Imagination MA. Affiliated to Dartington, Edgewise is run independently by the students.
Dr Bram Arnold, Associate Lecturer at Dartington Arts School, blogs after his recent experience teaching on the new Poetics of Imagination MA course.