There’s more than one route into studying in our creative community. From Evening & Saturday Courses, to Foundation and BA courses, to research degrees, you’ll find a path through AUB that suits you. Simply select the course level you’d like to study.
Presented paper on collaboration and teaching excellence and the work of the International Federation of National Teaching Fellows at the Advance HE conference. The paper was based upon Kirsten’s research into teaching excellence and fellowship schemes and her work as co-founder and co-President of the International Federation of National Teaching Fellows that was established in 2016 and has members from UK, Canada, Australia, New Zealand and America.
Presented research paper on student-staff partnership and the Arts University at Bournemouth ‘For the Love of Graphics’ collaborative exhibition that involved Kirsten working with BA(Hons) Graphic Design students on an extra-curricular project
Paper ‘Creative Futures’ co-presented by K. Hardie and G.Hass at The European Conference on Arts and Humanities 9-11 July 2018, Jury’s Inn, Brighton
The Second World War necessitated the transferral of labour and supplies from civilian manufacture to war production. Orders initiated by the government, in an attempt to make economical use of limited resources, severely affected the clothing industry from production to consumption. As a result, many contemporaneous sources and contemporary scholars claim that civilian dress was standardised. Scrutiny of trade journals, government documents, Mass Observation records, extant garments, and sewing patterns demonstrates that though manufacturing methods were standardised and simplified, there continued to be a range of styles in women’s dress.
The Costume Supervisor’s Toolkit explores the responsibilities of a costume supervisor within a theatrical, opera or dance production company. Rebecca Pride provides an insight into all manner of processes, beginning with a de nition of the role, and offers explanations of the timeline from the rst design meetings, leading all the way up to managing ttings and nal rehearsals. This how-to guide outlines best working practices, including building a team and creating a Costume Bible, while also providing helpful resources such as sizing guides, a list of useful addresses, and case studies from renowned theatrical organizations.
Rebecca Pride is Course Leader for the award-winning BA (Hons) Costume and Performance Design course at the Arts University Bournemouth. She spent 15 years prior to her career as an academic working as a costume and set designer in the professional theatre. Her work at the Arts University has included producing numerous costume-led lm projects, including Wimbledon 1936–1937, Storytelling from an Original Point of View, Glass Slippers, La Passarella, Reverie, Vampyr and Moulin Rouge.
In this second volume of Stays and Corsets, Mandy Barrington continues to create historical patterns for a modern body shape. This book contains all new corset patterns with a range of silhouettes that span over 300 years, from the late 16th century to the early 20th century. The corset patterns are generated from an original historical garment and have been designed for a wide range of female figures and sizes. The technique of flat pattern drafting your stays or corset will enable you to change the shape of the wearer to create an authentic historic silhouette.
All calculations have been worked out for the reader and are provided in easy-to-read tables, which avoids extremely difficult, time consuming and inaccurate re-sizing of historical patterns. Some prior knowledge of pattern drafting is helpful; however, each pattern has step-by-step instructions supported by clear diagrams that will take you through each stage of the pattern drafting process. The final result is an accurate period stays or corset pattern for your model.
A challenge for performers working in interactive and participatory performance forms is a need to navigate between the position of the ‘Architect’, designing and structuring an audience’s experience, and that of the ‘Clown’, sustaining a performance state that is present and responsive to the particularities of individual interactions. While design and structure can preoccupy the development of new work, rehearsing for participatory performance proves a challenge when the pivotal ingredient – an unpredictable audience – is absent. How can training support performers to attend to both performance structure and the immediacies of interactive exchange? How can it support them to think critically about the aesthetics, ethics and politics of both? This article reflects on my pedagogical process of working with a group of undergraduates in spring 2017, exploring training approaches to support their devising process as they created a self-directed interactive theatre piece. It offers an ethnographic glimpse into the studio work and students’ responses, as we investigated approaches to developing the performer as ‘Architect-Clown’. Drawing on 10 years’ experience as a performer-deviser in this field, I sought the tack between these two training zones, applying pedagogic methods that work to develop performance qualities of listening, presence and improvisation, alongside methods aimed at developing a critical and reflexive approach to experience-design. Are the two roles as distinct as is suggested? How might they interact, and what might be gained (or lost) from this cross-training studio approach?
This piece of work is a visual essay. It expresses its knowledge in ‘hybrid’ form meaning that the visual and verbal components are interwoven; the intent is to convey an emotional as well as conceptual narrative. The subject explores the life of an ordinary Dorset Victorian building, depicting it as an anthology of change as shaped by the activities of people. Symbiotic arrangements of text and image aim to connect the reader to these people with the aim of evoking an awareness in us of our own stories and the part they play in the changes to our localities, however ordinary.
Presentation of paper exploring the visual representation of the Jungle Camp and its residents within the UK and French Press.
The paper explores how reportage illustration engages with identity formation of both the subject and author of the work. An updated version of the paper was presented
This paper will aim to locate ways in which students of illustration can thrive by instigating accidents or disrupting the inhibitive characteristics of the technologies that surround us. I intend to seek out contemporary illustrators and investigate how they jump start their own creative process in order to develop a repertoire of strategies that reveal, or disclose, ways in which eureka moments can occur.
As part of the Exploring Interpretation unit, A Woman’s Place is a collaboration between first-year BA (Hons) Costume and Performance Design interpretation students, final-year scenographers and supervisors, and AUB Photography staff. The students made costumes for each other interpreted from designs based on early to mid-1950’s dress, with a nod towards Horrockses, who famously utilised bold floral and stripe prints in their popular cotton dresses.