MORLEY MAGAZINE - MORLEY MAGAZINE VOLUME 125 No 2 AUTUMN/WINTER 2019-2020
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MORLEY MAGAZINE MORLEY MAGAZINE VOLUME 125 No 2 AUTUMN/WINTER 2019-2020
MORLEY MAGAZINE VOLUME 125 No 2 AUTUMN/WINTER 2019-2020 CONTENTS Merger Matters! Explained by Martin Bamford 1 Hats from Morley millinery students 1 Morley Celebrates Michael Tippett, a Penny Lecture by Oliver Soden 2 How craft got hip, a Penny Lecture by Grant Gibson 3 Engine Room 2019, the art of sound 3 A drop in the polluted ocean. Environmental awareness in the Textiles Department 4 Made 2019 Textiles 5-6 Textiles Foundation show 7 Made 2019 Jewellery 8 Jacqueline Ellen Hall 9 Art Foundation exhibition 10-11 Morley Photography, end of year show 2018-19 12-14 From Life, portraits by sculpture students 15 Advanced Painting Practice students’ exhibition 16-17 HND Ceramics, years one and two 18-19 Catwalk 2019 20 Zsuzsi Roboz scholarship show 20 Visit to a harpsichord workshop by Shelagh Aitken 21 Harald Sohlberg at Dulwich Picture Gallery, celebrated by Morley poets 22 Morley Ramblers holiday in Devon 22 In the Library: review of My Hidden Mother by Catherine Edmunds 23 Student Council news 24 Environmentalists’ club planned 24 ‘Morley Forward’ to raise funds for redevelopment 24 This issue was edited by Janet Vaux, Elaine Andrews, Martin Bamford, Anne Scott and Charles Wilmot-Smith, with assistance from Anne Viney. Cover image Photographs by Morley photography students exhibited in the End of Year Show 2018-19. On the cover, top Reflections (of life) by Dinka Sierra and bottom, The Old Vic by Rose Nicols. On this page (right) Spring Walk, Leeds 2019 by Elizabeth Cuthbertson and (below) Untitled by Jacqueline Auma
1
Merger matters!
Several students have asked about the proposed merger of Morley with Kensington and Chelsea College (KCC). One
person suggested that it seems to be taking longer than the building work, is just as messy and has no end date! The
aim of this piece is to update students on progress and the issues that have been raised at meetings and through the
official consultation process.
On the timetable, although no decision has yet been taken, the proposed merger is now in the final stages.
The statutory consultation was generally favourable so both Colleges feel there is support for the merger. Independent
financial and legal organisations have completed the two-stage due diligence process and the Governors have discussed
the results. There are still issues around funding that need to be formally signed off by the relevant Government
Agencies. If these are finalised in the next couple of weeks, both Governing Bodies are planning to make a final decision
at the December meeting. If agreed the merger will happen on 3 February 2020.
Morley students and representatives raised several questions about the merger through meetings with College
management and in the consultation process. There were three main areas of concern and I thought it would be useful
to share both the questions and answers with a wider audience.
Firstly, people wanted to know how the merger would affect their course and whether they would need to
travel to KCC. College management were adamant that courses at Morley would continue as usual and that no course
would be transferred.
Secondly, people wanted to know why the merger was being proposed and what Morley would gain; some felt
that the College had not made a positive case for the merger. The discussion amongst Governors identified three main
benefits. The merger will make Morley bigger and give us a stronger voice in London, important now that our main
funder is the GLA. There are strong areas in KCC which link well with Morley’s own courses and offer advantages for
both Colleges. Finally, there was also a strong feeling that the merger fitted in with Morley’s history and values and that
it will help to empower individuals and strengthen communities through learning in a part of London that desperately
needs it.
Lastly, people were concerned that the well-publicised problems at KCC may impact on Morley and lead to
financial problems and lower quality learning. The Governing Body did consider these issues and this is why it asked
for funding to support the merger. The £32m announced in July will help to ensure that the College is insulated from
extra financial pressures, can cover the costs of the merger process and will have refurbished premises to offer good
quality learning in North Kensington and Chelsea.
My own view is that whilst there are risks involved in the merger, there is also risk in staying the same. In my
years as Chair of the Student Council, Morley has had to respond to many different initiatives and changes: constantly
declining funding, abrupt reversals in Government policy, London wide reviews of provision and enforced mergers,
new funding regimes and partners and a lack of Government support for non-accredited adult learning. I do think the
merger will help Morley to be stronger and better able to cope with whatever funders and decision makers throw at
us and to show them just what the Morley model has to offer Londoners
.Martin Bamford
Chair, Student Council
Hats
hats
Millinery students showing their
work in the foyer in March – April
2019 included (clockwise from hats
left) Pip Mayo (Mini Fascinator
with Black, White and Lime Green
Trim), Alison Cooper (Repurpose),
Rafael Peinador Perez (Poisonous
Fungus), Coralie Zanon (Mitzi
Cloche Hat), Filipa Cardoso
(Sketch), Mercedes Casado (From
Harare to Bilbao) and Anna
Stefanou Kittson (Falling)
2
PENNY LECTURE
Oliver Soden shows a slide of Tippett Slide of Tippett conducting the South London
(left) with Walter Goehr Orchestra
Morley celebrates Michael Tippett
Writer and broadcaster Oliver Soden introduced his had been directly hit by a German bomb, Tippett gave
important new biography of the composer Michael his first class as Director of Music – in an extension
Tippett in a lively Penny Lecture on 3 May 2019. His talk building, because of damage to the main building.
covered Tippett’s time as Musical Director at Morley Under his leadership, Morley musicians provided
College (1940-1951); his wartime activities including the a leading wartime concert season, which eventually
employment of refugees from Nazi Germany in the Music outgrew the College and took place in the centre of town.
department; and the way that he changed the course of In the middle of the blitz Morley College Choir and the
music. The evening also included music performed by Philharmonic Orchestra performed Tippett’s A Child of
Morley students and tutors. Our Time at the Adelphi Theatre. It was a critical success.
Born in 1905, Tippett had a conventional middle- Tippett considered his Morley College classes
class Edwardian childhood which was overshadowed by were his best contribution to the war effort, in the
the First World War. This influenced his life-long pacifism. employment of refugee musicians and the promotion
He spent six years at the Royal College of Music where he of the European perspective on repertoire, as well as
gave no signs of being a prodigy in musical composition. co-operation, acceptance, togetherness and ‘outsiders
In his late 20s, with little or no reputation as a composer, brought inside’. Some of the most notable of the refugees
he became music director of the South London Orchestra recruited by Tippett were Walter Bergmann who gave
which was made up of musicians who had been put out classes in recorder and Early Music; Walter Goehr who
of work by the arrival of the talkies (live music was no conducted Morley College Choir; and Mátyás Seiber who
longer needed to accompany films). Its rehearsal room taught composition and music theory.
was in Morley College, where Tippett would also hold the Tippett made lasting contributions to the scope
premier of his Symphony in B Flat in 1933. of the classical repertoire and played a key part in the
In December 1940, two months after the College revival of Purcell and Early Music. He discovered the
countertenor Alfred Deller, a leading figure in popularising
the repertoire for the voice.
By 1951 Tippett was earning enough money from
composing to resign as Musical Director.
In response to a question from the audience
Soden rejected the idea that Tippett’s work ‘tailed off’
in later life. He said ‘Part of the reason for writing the
biography was to overturn that entrenched view’. He
pointed in particular to a recent performance of The Ice
Break in a Birmingham warehouse, by Graham Vick and
the Birmingham Opera Company, saying ‘the work now
seems inventive and relevant’.
Charles Wilmot-Smith
Opera School students singing Tippett’s Lullaby.
From left, Anna Fitzgerald, Ella Joy, Hester Dart, Ian Oliver Soden’s Michael Tippett The Biography is published
Shenstone and Director Adam Turner by Weidenfeld & Nicolson
3
Left, Katherine Darton on flute and Christopher Scobie, piano, perform Pastorale
and Burlesque by Matyas Seiber, as part of the musical accompaniment to Oliver
Soden’s talk on Michael Tippett
Scobie also played his own new work, The door is open! Is this the way
to somewhere?
Photographs taken at the Penny Lecture by Charles Wilmot-Smith
PENNY LECTURE
How craft got hip ... and can it stay that way?
Grant Gibson believes that the recent rise in the intellectual and artistic status of craft still needs to be defended.
Gibson is a design journalist, a former editor of Crafts magazine and creator of Material Matters, a podcast series
‘devoted to the world of making.’ He presented his arguments in a Penny Lecture ‘How craft got hip… and can it stay
that way?’ on 10 May 2019 as part of the fifth London Craft Week.
The new intellectual respectability of craft stems partly from a book published in 2010 by the sociologist
Richard Sennett (The Craftsman) who defined craft as doing the job well for the sake of doing it well. Earlier
proponents of craft include the textiles artist Anni Albers, who was recently given a major retrospective exhibition
at the Tate. The argument has since been taken up by practitioners and authors such as furniture-maker Peter Korn,
photographer and broadcaster Rob Penn, archaeologist and broadcaster Alexander Langlands and historian Glenn
Adamson. Politicians, marketers and the media have also joined the cause.
Government funding priority is still given to STEM (science, technology, engineering and mathematics)
subjects. But Gibson was hopeful for the proposed Technical Levels (or T Levels) which will combine classroom
learning and on the job experience and will be equivalent to three A Levels. And he believes that craft, skill and the
innate knowledge of materials are increasingly valued: craft is no longer a dirty word.
Charles Wilmot-Smith
Sound Art: Engine Room 2019
This was the third edition of Engine 2 and created the work’s soundtrack
Room, the biennial competition during his classes. A further five
for newly created works from finalists performed their works on 16
emerging sound artists. With the October.
Morley Gallery closed for building Njordzitrone – electronic duo
works, the exhibition was hosted Andrej Cebski and Davide Baldazzi
by the neighbouring Iklectik Arts from Italy – won first prize for their
Lab, which was celebrating its Fifth audio track BIID Elisea. ‘… a saturated
Anniversary. There were more than and uneven stream of unrelated
160 submissions from over thirty slivers. … the human voice … just
countries around the world. another minute “instance” among the
The competition was judged other sound languages …’ Chrissie Vaughan, Cellular Memory
by sound artists Kate Carr, Morley Stijn Demeulenaere & Jan of Dark Wounds (still from video)
College Sound Art tutor Matthew Locus from Belgium won second
Gardner, Engine Room project leader prize for their black and white video
and curator Camilo Salazar and Murmur. This records dawn chorus
Scanner (Robin Rimbaud); and by on the last remaining scrap of Brussels
artist and Iklectik’s founding curator swampland, ‘ensnared between two
Eduard Solaz. This distinguished panel railroad tracks’.
selected 17 finalists, from Colombia, Third prize was won by
Europe, USA and Vietnam. Various Max Baraitser Smith, from the
practical problems prevented two of Netherlands, with the installation
those selected from exhibiting. Zeno’s paradox. ‘… a small steel ball
On 9 October five of the is dropped onto the [metal] platter.
finalists performed their works live The sound from the impact is slowed
at Iklectik, including Chrissie Vaughan down progressively so that it will last
with her upward-flowing abstract indefinitely.’
patterned animation Cellular Memory John Grieve, Meaning
of Dark Wounds. Vaughan is a Machine 2 (detail)
graduate of Gardner’s Sound Art 1 and Charles Wilmot-Smith
4
A drop in the polluted ocean
It is easy to feel overwhelmed by the scale and implications
of man-made global warming and the accompanying
degradation of the natural environment. Those of us who
work with textiles and fashion must acknowledge the huge
negative impact that the industries have on the health of the
planet, our shared home, and consider what action we can
take to influence the greater scheme of things for the better.
Taking our responsibilities seriously in the Textiles
section at Morley, we start with awareness as a foundation
for change. We believe that small, behavioural changes on
a large scale empowers us to do something positive that
makes a difference.
As part of our student induction process, all learners
receive and sign for a studio code of practice. Top of the list is
a directive to use materials, water and energy economically
and sustainably, to upcycle waste where possible, to choose
ethical and organic alternatives and to minimise consumption
of the new. We also declare a ban on single use plastic.
Waste management is another big concern for us and our
code includes clear instructions on managing chemical waste
and recycling.
Learning Statements are another vehicle through
which we raise awareness. All course outlines and related
statements include elements around sustainable practice as Josie Misick, Oceanic Travesties
learning outcomes.
Together with our technician, we have started to some work to be done to communicate our purpose and our
scrutinise and question our suppliers. Where does their mission!
product originate, how is it manufactured, how far has it When other opportunities arise, we aim to highlight
travelled, is it really necessary to deliver it cushioned in a issues of environmental concern. In our recent Made at
mountain of un-biodegradable polystyrene chips? Morley show Cultural Patterns, inspired by cultures in the
The Textiles classroom, E21, is divided into two Pacific, students commented through their work on the
studios with each having a Sustainability notice board. Great Pacific Garbage Patch, dying coral reefs, rising sea
These disseminate a wide range of information around all levels and the respect for the natural environment in Pacific
things environmental, much is concerned with textiles but Island indigenous cultures.
there is also guidance and information pertaining to the Operating on a micro level in the studio as we do
Anthropocene, biodiversity, disposability, emissions, design may seem like a drop in the polluted ocean, but every drop
for cyclability, ethical production, landfill, microfibres, natural makes a difference. Most importantly, as well as raising
habitats, pollution, oceans, recycling and importantly, some personal awareness and initiating behavioural change, it is
uplifting stories and positive innovations which hopefully through collective pressure on governments and big business
inspire fresh thinking and behavioural change. that we can all, as voters, citizens and consumers, become
The studio supplies organic cotton (provenance environmental activists.
detailed on the Sustainability notice board) and Marian Lynch
unbleached linen by the metre and we make good use of Textiles Programme Manager
donated and second hand fabrics. There is a growing resource
of other environmentally sound cloth such as hemp and
recycled polyesters and relevant information sheets, books,
magazines and articles for tutors and students to access. We
also make a statement, ensuring our cleaning products are
eco-friendly and visible by the washing machine and sinks.
Sustainability is an increasingly important element
of the Textiles curriculum, most obviously through our four
seasonal natural dyeing courses and year long sustainable
textiles course. There is also a sustainable textiles module
embedded in the Textiles Foundation Diploma. These are
all supported by the Morley Dye Garden large flower bed
which is establishing itself slowly in what used to be the old
playgroup sandpit. This contends with interference from
the resident foxes as well as some human intrusion – in the
unseasonably warm weather in February, two tutors were
spotted sitting on chairs oblivious to the fact that they were Christine Stammers, Oceania – Patterns and Forms
in the middle of the dye garden plant bed. There is clearly
5
Made2019 Textiles
Margaret Hatfield, Reborn Jean Martin, Humans Richard Kenyon, Auntie Nora Alison Barrett, Leai se
through Boro Make Waves Goes to Nara tasi e faalogo
Cultural Patterns
The Textiles show featured work by Textiles
students on different level courses. This year the
exhibition emphasised Oceanic themes, to reflect
the Department’s focus on ecological responsibility.
Prizewinners are featured on the next page.
Line Le Fevre, Noren Inspired (detail)
Barbara Billings, Boojie Cowell, Plastic Ocean
Sarah Sikorski, When the River Empties into Floating on the Tangled Sea
the Sea, the Water there Becomes Fresh
Photographs Charles Wilmot-Smith
6
The Sarah Campbell prize at the Made2019
Textiles exhibition went to Cherry Taylor
for Ceremonial Objects, Function Unknown
(shown above, along with photographs of
details).
Jane Beckley won the Technical Skills prize
for Anger of the Gods (left)
Catherine More won the prize for
First Time Exhibitor (below right)
Photographs Charles Wilmot-Smith
7
Textiles Foundation Exhibition
Tamsin Watts, Martine Fiaux Porchet, Julia Little, Another Fine Mess
Go Tell it to the Bees Travel from Insignificance
(detail)
Textiles Foundation is an intense two-
day-a-week course from September to
June. Students on the 2018-19 course
displayed their work at the end of June
in Borough Road Gallery.
Two of the students are
continuing on degree programmes
at UAL Chelsea and London College
of Fashion. Others are exploring the
use of textiles within their practice
as poets, master machine knitters
and political activists, both at Morley
Textiles Advanced and beyond.
Angela McGahan, Home
Jade Trowsdale, Familia Photographs Charles Wilmot-Smith
Clare Maple-Foster, Thames
Fragments (detail)
Lukas Kasevicius
Angie Gentles, Fusion
8
Cultural Patterns in Jewellery Made2019
Work by Morley Jewellery students
from classes covering a range of
levels was on show in the College
from 26 February – 28 March 2019.
Here we show a selection of
pieces, including prizewinners, in a
fabulous variety of materials
Photographs Charles Wilmot-Smith
Rhian Thomas, Incomplete
Map 1 – Necklace (detail)
Silver, hemp rope, silk cord,
Frances Ling, Circus Zebra shell and mudlarked clay
In silver, copper, bristle and string pipe stem. Oceania Project
Overall Show Prize Prize
Fiona Hutchinson, Platinum, 18ct
Gold and Silver Triple Hallmark
Earrings
Shortlisted for Goldsmiths’ Make
Your Mark 2019 Owen Fox
Terry Wallace, Bawden Brooch Pair of Silver Earrings
Brass and copper Prize, first-time exhibitor
Anna Kolosova, Audrey Pereira,
Fire and Life Green Settings
Black lava and corals Silver, aluminium, silk
Jane de Baecke,
Huli Wigman Necklace
Enamelled forged copper, rubber,
jasper, fish vertebrae, turquoise,
coral and etched, oxidised and
forged silver
Clare Bassett Annmarie Turnbull,
Face 1,2,3 Earrings Recollection Earrings
Silver Silver, copper, brass9
Jacqueline Ellen Hall
10 October 1950 – 27 October 2018
Jackie was part of our Morley family of felt makers. She loved coming to the class
and was very talented, her pieces totally original, imaginative and thoughtful.
She took great pleasure and joy in making her works of art, always working with
dedication. Jackie explored a great variety of ideas and subject matter which
always had a certain playfulness about them. She had been a primary school
teacher before she retired and enjoyed sharing her creativity with her three young
grandchildren, Leshay, Joshua and Zachary. We were always excited to see what
Jackie was going to make next. She was never afraid of technical challenges and
her husband Eddie would often be called upon to source bits of wood, wire and
ironmongery to incorporate into her work.
Jackie had a great sense of humour which was also reflected in her work.
She made us laugh and smile at her creations and the different names she gave her
felt creatures.
She touched many people’s lives. When her boat piece – Destiny – was
exhibited at Morley Gallery in 2016, she received the People’s Vote, so moved
were visitors by the poignancy and skill of the work.
The Head of School, Music and Performing Arts, Dr Peter Collyer wrote
at the time: ‘I just wanted to say how deeply moved I was by the refugee boat in
the gallery window, but I had to stop because I was going to get deeply moved
again! I don’t know if it was designed to be so powerful but it certainly had a
profound effect on me. The strength of Art to make us really stop and think about
something. Amazing.’
We all miss Jackie, but feel thankful that we knew her as a much loved
friend and artist.
Mary Spyrou, Textiles Tutor
Regi the Sea Turtle
Fabulous Fish
Destiny10
Bernadette Enright Alice Deptiva
Caroline Miller, What Lies Beneath
Pangaea
Pangaea was a supercontinent formed from separate continental
units in the late Palaeozoic era. After a time as a single land mass,
Pangaea began to break apart to form the modern continents that
we know today. We felt this echoed our experience of converging
on the Art Foundation Course – inspiring and supporting each
other; growing and evolving together – for a brief time, before
separating and taking our different paths.”
A selection of work by students on the Art Foundation course
(UAL Level 3) was exhibited in Borough Road Gallery in the
summer term 2019.
They have secured places to study Fine Art, Drawing and
Sculpture at degree level at Kingston, Camberwell College of Art
(UAL), Chelsea (UAL), London Metropolitan and Westminster.
Art Foundation is validated by the University of the Arts
London (UAL) and has been running at Morley since 2011.
Photographs Charles Wilmot-Smith
Eleanor Street Katherine Rose11
LA SIMU Peter Evans
Moki Milinovich
Carmen van Huisstede
Philippa Adrienne Zoe Rafah12
Kevin Steinlechner Colours of the Dru
Morley Photography
End of Year Show 2018-19
A selection of photographs from the exhibition of work
by students in levels 1, 2 and 3. The exhibition was held
in the Barry Till Gallery from June to September 2019.
See pages 12,13 and 14
Hal Jones Chodha Untitled
Laura Vroomen Rotherhithe Beach (Indexical Sign)13
Rose Nicols Red Beret
Catherine Chetwynd
Wine with a mind of its own
Ieuan Yusuf-George Woman with Flare
Ioanna Papageorgiou Cascading
Nick Johnson Broadband is arriving14
Christopher Scanlon ‘Those were the days’
Tooting Music Hall, now Gala Bingo
Joshua Amartey The Singer
Nina Carrington Sunrise at the Sombre-Oise Canal
... where the poet Wilfred Owen died, taken on the 100th anniversary of his death15
From Life
Sculpture students displayed their work in the Bawden
Cases in June 2019
Photographs Charles Wilmot-Smith
Suzie Edwards, Richard Moon
Amanda Root, Joy
Miranda Barber, Dominic
Don Mead, Aristotle16
Lucy Springall, Dance to Your Own Rhythm
Linda Gold, Waterloo Glimpses II
Advanced Painting Practice
Students in Steve Wright’s Advanced Painting Practice course
exhibited their work in the Barry Till Gallery from 13 May to 6
June 2019.
Raoul Coombes, Caroline thinking
Sandy Crole, The Big Tower Caroline Kennedy, Morning Light in the Coffee Bar17
Sue Catling, Swimming in the
Plastic Shallows
Margaret Hyde, The Estuary
Ildiko Kmeth, Art or Vandalism Jonathan Bayer, Weight for Me18
HND Ceramics
Year One
Natalia Shaw-Fernandez
Ewan Crallan
Valerie Bernardini, Nascence
The second intake of students on Morley’s new HND in
Ceramics completed their first year in July 2019. Their final
coursework included a project for which they were asked Jane Wilson
to explore one of the human senses ‘drawing on contextual
references and innovative practices’. We show a selection of
the work here, which was exhibited in the Holst Room, 10-12
July 2019.
Photographs Charles Wilmot-Smith
Claudette Forbes, What is Taste? (detail)
Fiona Bruce19
Anne Gardner,
above and right
Gill Green,
above Albatross
and right Sea
Year Two Graduates Judith Williams
The first five graduates of the two-year
HND Ceramics course exhibited their
work 10-12 July 2019 in the College
foyer.
All photographs were submitted by
the artists. The two photographs of
Caryl Sawicka’s work are by Valerie
Bernardini.
Caryl Sawicka
Valerie McLean, Curves Rejuvenation20
Catwalk 2019
Student-produced ‘South of the River’ showed the work
of Access to Fashion, HNC and HND students on 4 July
in Emma Cons Hall. Models’ jewellery was the work of
Jewellery Certificate students. Gold Anatomie Prize went
to Kirsty Griffin-Pool. HNC student Alina Grosu won the
Silver Anatomie Prize.
Information on and photographs of this sellout
Gold prizewinner ... and Silver show from Morley’s Marketing Department.
Zsuzsi Roboz
scholarship
show
2019
Loyane Bianchini, Pelham Hall Photogrammetry Loyane Bianchini, Turntable Loom
The two most recent holders of the moved to London in 2017 to study Kirsty graduated from University of
Zsuzsi Roboz Trust Scholarship, Loyane Fine Art at Central St Martins. Brighton in 2018.
Bianchini and Kirsty Howlett, marked She uses photgrammetry Her paintings explore the
the end of their year at Morley with (a process of developing 3D objects relationship between the digital and
an exhibition in September 2019. through a sequence of photographs) physical, beginning as digital sketches
and augmented reality to recreate and imitating the marks made by
Loyane is originally from Brazil, where and manipulate physical objects in image-editing software. She uses
she studied fashion design. She virtual form. found images, often from posters,
combining them in collage-like
compositions.
Super-saturated colours
and overlapping images reflect what
Kirsty describes as ‘the staggering
amount of nonsense information we
expose ourselves to’.
The scholarship commemorates the
artist Zsuzsi Roboz. It provides funds
for promising figurative artists to
study for a year at Morley.
Kirsty Howlett, Still Life Kirsty Howlett, Knock Out Photos Charles Wilmot-Smith21
Visit to a harpsichord workshop
Around a dozen members of the Morley harpsichord
classes plus their tutor, Katarzyna Kowalik, gathered
at Andrew Wooderson’s Early Keyboard instrument
workshop in Bexley on a Saturday afternoon in June
to learn about the skills it takes to build a harpsichord.
Along the way we learned something of the history of
harpsichords, harpsichord building and the revival in the
twentieth century of early music.
We learned that historical harpsichords are more
nuanced than we had been led to believe: the usual
division into Flemish, French, German, Italian, English
and Spanish is too simplistic. Italian instruments, for
example, differ greatly not just in size but in sound and
in construction depending on when and where in Italy
they were built. Those constructed in the north are quite they would have used every day. Even with these old hand
different in tone and touch to those from the south. tools, the Ruckers family turned out an instrument every
Andrew showed us two instruments in the fortnight, in a workshop not much larger than Andrew’s
workshop, one finished, the other in the process of being own.
built. He talked about the quality and origin of the woods He explained how the keyboard is constructed
he uses: the first-grade cypress, for example, with a fine, – one long piece which is then cut into individual keys
straight grain which is used for the base of the instrument: – the role of old and modern glues, how the plans for
the highest quality is needed to make the instrument instruments are acquired and what information he
‘sing’. To demonstrate, he held up a piece of the preferred includes when he makes his own plans, as he had done for
wood between the thumb and forefinger of one hand the Italian instrument he was in the process of building.
and tapped it: the sound resonated clearly. Poplar is used On another bench was a muselar, a kind of virginal,
to keep the case light, oak used on some instruments to which was in the process of being finished. Andrew makes
provide the seat for the tuning pins, the wrest plank. some of his own decorative papers, buys many from a
The Italians, Andrew said, did things differently, specialist provider in Germany, and paints the ‘simple’
with the result that their instruments speak more quickly Flemish decoration (seen in the photo below) in tempera
and brightly. The French, on the other hand, built large in the style of the period.
instruments where the resonance ‘rolls’, giving a long- Everyone who wanted to had a chance to play the
sustained sound. This suited the different styles of music Italian instrument. Naomi Okuda provided tea, coffee and
being written in those countries at the time. biscuits to sustain us, and we chatted until long after the
The wood and other materials come from all over: official finishing time. Andrew talked about the current
some of the wood from Italy; the jacks and wire from the challenges: harpsichord building on historical principles
UK; other materials from China, Germany and France. It simply cannot be streamlined for factory production and
is a challenge, he said, to make sure the specifications is now listed as an endangered skill. The number of full-
are exact so everything fits together when it arrives in his time makers in the UK has dropped to around four, and
workshop. the schools that used to teach the necessary skills have
Andrew is a great raconteur. As I listened to his been closed. We can only hope that support and the right
stories, my eyes wandered around the small, tidy space, apprentices are found to sustain the tradition of modern
packed to the ceiling with wood sheets, beams and planks harpsichord building based on historical principles.
being aged for future use. He has big modern tools, All those who were there would like to thank
bandsaws and the like, that would have been unknown Andrew and Naomi for their hospitality and generosity in
to harpsichord builders such as the Ruckers family during making us so welcome.
the Baroque period. He also has traditional tools, carefully
organised, including planes, chisels and hammers, that Shelagh Aitken
Photographs by Katarzyna Kowalik22
Harald Sohlberg
at Dulwich Picture Gallery
The advanced poetry class, led by Meryl Pugh, visited the Harald Sohlberg
exhibition at Dulwich Picture Gallery, May-June 2019. These poems have also
been featured on the DulwichOnView website.
Picture, Fisherman’s Cottage by Harald Sohlberg, Courtesy Dulwich Picture
Gallery
Harald’s House Summer Night 1899
Peer through the trees, At the end of a northern evening
gaze as far as you can A frightened quietness descends
into an azure white horizon. From God knows where and
Lift your eyes up and back For seconds no raven is brave enough
till the sky is almost true blue, To croak no owl with chutzpah to hoot
now look down onto the black Solemn tuwhits to another owl close by
roof of a white home finished In the thicket of no seeing no hearing
with yellow windows and door. Silence exacting a discipline of nothing
Knock to discover who lives Of course stepping beyond the frame’s rectangle
in this isolated habitation We might see there are oil lamps lit
that appears amid towering trees In whitened houses curtains not yet drawn
with sparse viridian leafage And behind us on a creaky verandah
and midnight green bushes, Drained glasses tell of toasts of ‘skaal’
enticing you to check out To the other as if the heavens would finally close
what Mr Solhberg uncovered Maybe it was so there’d be no tomorrow
as he sat and painted its secret. Knowing wakening was not ours to give
June Webster Michael Baron
Morley Ramblers in
North Devon
In the first week of September, 21 members of Morley
College Ramblers enjoyed our annual holiday. This year
we visited Croyde Bay in North Devon. With its stunning
coastal views, heath and moorland, and river estuaries,
the area provides interesting and varied walking
opportunities.
Our walks were loosely based around the Tarka
Trail. The author Henry Williamson lived all his life in these
parts and is buried at the village of Georgeham where
we lunched on our final day’s walk. His most well known
work, Tarka the Otter describes much of the fauna and
flora to be seen throughout all the seasons. Photo Mary Jane Atkins
We can recommend a visit to the National Trust
property at Arlington Court, near Barnstaple. We also the excellent hotel accommodation and all the resort
recommend the very interesting history and landscape facilities and catering.
of Lundy Island. However, if anyone is tempted, do try Tony Atkins
to go on a calm day if possible. The wind conditions on
our journey out were described as moderate. Quite a few
people wondered what bad might be like! For more information about our programme and to
We stayed at the Unison Hotel Resort in Croyde. contact Morley Ramblers, please visit our website:
There are very good self catering deals, but we enjoyed morleyramblers.co.uk23
IN THE LIBRARY:
Books with a Morley connection.
My Hidden Mother by Catherine Edmunds
brisket and marrow in dill sauce). But history group, two Rotary Clubs and
a mother who would occasionally the Shortlands Ladies Group.
talk about memories ‘so nightmarish Since the book was published
I was nervous of asking questions’. she has also had the satisfaction of
It must have been a very witnessing the dedication of four
painful book to research and to write. stolpersteine (‘stumble stones’) in
Where she can, Catherine compares memory of her family outside the
her own childhood to Jana’s, both building in Paulinyho Street Bratislava,
the similarities and differences. But where she once lived above the car
in the middle section of the book, all showroom. Stolpersteine are small
comparisons have to fall away. hand-engraved stones, the size of a
In 1938 Slovakia became cobble stone, placed in front of the
a German puppet state and Jana’s last freely chosen home of victims of
Jewish family was subject to an the Nazi holocaust. More than 70,000
increasing number of restrictions. stolpersteine have so far been
First the children had to move to installed, across Europe and beyond.
Jewish schools, and then the family This book is itself a sort of
had to leave their apartment for a stolperstein, both memorialising
smaller place, then an even smaller and recording individual histories.
one. And the deportations began. It is based on several testimonies,
Jana Gráfová was born in 1930 in Early in 1944, her parents had including Jana herself, her brother
Bratislava, now the capital of Slovakia, managed to place Jana in a rural Pavel Gráf, and her great friend Gerda
into a comfortable middle class Protestant orphanage, where she hid Kauffman who had been hidden in
family that boasted mathematicians until the end of the war. That is how the same orphanage as Jana.
and musicians as well as reasonably she survived. Janet Vaux
prosperous business men. Her father But she emerged knowing
(an atheist of Jewish descent) ran nothing of the fate of her family. One
the Bratislavan branch of a Czech brother, Pavel, was on the survivors’
engineering firm, making everything list of the Buchenwald concentration My Hidden Mother by Catherine
from railway engines to domestic camp. Her parents, however, had Edmunds is available to borrow in
appliances. In the flat above the show not survived. Her brother Jirka was Morley College Library. It can be
room the children were accustomed not heard of after becoming trapped purchased online from Feedaread.
to a very modern prototype washing in Prague in 1938. Her older sister com for £6.99 plus £3.36 postage
machine that danced across the floor Máňa, who was married to the singer
when in the spin cycle. Otakar Kraus, had left Bratislava in
By the late 1940s Jana was a 1939, but what had become of the
refugee living in London. She learned couple? Jana had no news, until a
English with remarkable ease and family friend heard Otto singing on
got a job with the National Buildings the BBC Overseas Service. He was
Record. And she discovered Morley using an assumed name but the voice
College, where she studied music was unmistakable.
appreciation, history, literature and Jana moved to London to live
Scottish dancing. Fatefully, she also with Máňa and Otto and gradually
joined the Morley College Rambling rebuilt a normal life. Morley College,
Club where she met her future where she met Geoff, played a part
husband Geoff Tanner. in that achievement. But she is also
In between, she had fallen a remarkable survivor. At the age of
into one of the crevasses of history. 89, she remains an active member
This book is written by of the Morley Ramblers (and four
Jana’s daughter Catherine, who other rambling clubs). She is also
grew up in suburban South London committed to bearing witness to the Four stolpersteine commemorating
with a mother much like other almost unbelievable events that befell Jana’s parents Gustav and Kamila and
people’s mothers, though notable her. She was interviewed by Martin her brother Jiri, who all died in the
for her ability to recognise edible Gilbert for his book The Righteous holocaust, and Pavel who survived
mushrooms and for her dumplings and recently has been giving talks Buchenwald concentration camp.
(preferably served with a pot-roasted to groups, including her own U3A Photo: John Tanner24
Student Council ... your Council
Martin Bamford is to continue as Chair of the Student Council while the details of implementing the proposed merger
with KCC are worked out. Although Martin has served for four years, which is usually the limit for holding the Chair,
he has played a vital role in monitoring and explaining the merger on behalf of the student body. The Student Council
meeting of 27 November unanimously agreed that he be asked to continue in the Chair.
In elections to other key Student Council offices, a volunteer has been found to shadow the current Treasurer
Mary Hawkey who is standing down at the beginning of the summer term. But there are some significant vacancies,
including Vice Chair. The Secretary Jo Wickstead, who has served for several years, will also be standing down in the
summer term.
The Council is an active body and members represent the students on a range of College Committees as well
as publishing this magazine. If you care for the College and want to join the discussion on everything from its green
credentials to its expansion policies, please consider putting yourself forward to join the Student Council. See the
inside of the back cover (p25) for a guide.
Janet Vaux
Greener Morley: new environmentalists’ club planned
As part of Morley College’s ongoing commitment to improving their environmental sustainability the College will
be a launching a new club in January 2020. The club will be called ‘The Environmental Sustainability Club’ and the
club’s focus will involve improving sustainability both within the College and the local community. The club will meet
regularly to discuss a range of issues relating to the topic. Members of the club will have the opportunity to plan events
and be involved in a range of College wide initiatives, such as Morley Green Week 2020. If you have any questions, or
are interested in joining the club, please contact Fiona Murray (Programme Manager for Science) at fiona.murray@
morleycollege.ac.uk
Morley Forward: funding redevelopment
includes the student services hub and the new studios
for Morley Radio, the first radio station for any adult
education college in the UK. Major improvement works to
the College art gallery will completed by the summer of
2020.
We are now actively fundraising for the second
phase of the Morley Forward campaign. This £6M
development will transform our performing arts facilities.
This phase of works will provide direct and level access
to Morley’s performance spaces with the construction of
a new access route, the Spine Gallery. The Emma Cons
hall will be completely refurbished, with a new floor,
Joanna Lumley at the launch meeting of Morley Forward retractable seating, new flexible staging, high spec lighting
rig and professional standard AV and sound equipment.
The College has recently embarked on a significant Two further phases will complete the Morley
programme of renewal and redevelopment. Launched Forward vision. Phase three delivers a new and much
in September 2019 with the generous support of our larger Learning Resource Centre for the College and
campaign patron Joanna Lumley, Morley Forward is a repurposes the existing library into a further flexible
carefully phased programme of major capital works to performance and large lecture space. Phase four will
upgrade and renew our historic college. deliver a bold new cross-borough link bridge to join our
The programme of works amounts to a total main teaching buildings with step-free access for the first
capital investment of some £18M, and has been divided time and repurpose the large outdoor inner courtyard
into four key phases, ensuring that the College remains into a new recreational space for students which will also
fully operational throughout the development process. be used for college events in the summer months.
Phase one, fully funded at £3.3M, is finally
nearing completion, after unforeseeable delays. It will Please visit https://www.morleycollege.ac.uk/morley-
create a fully accessible main entrance to the College for forward for the latest campaign details.
the first time. The striking new tower of glass teaching
spaces and the step-free new entrance will be in full use Simon Farley
from early 2020. The new entrance foyer will then be the Fundraising Campaign Director
first point of welcome for all College visitors. The foyerCLASS AND STUDENT REPRESENTATION IN MORLEY:
HOW IT WORKS
Morley has a long history of involving students in the College. Here is a short guide to the ways you can be involved.
Class Representatives
Every class is entitled to elect a Class Representative to represent their interests. Class Representatives in each School
or Programme meet together with the School or Programme manager every term to discuss issues of concern or to
raise problems affecting their class.
The tutor should ask for nominations for the role in the first weeks of the class. The person nominated completes
a registration form and either gives it back to the tutor or places it in the Class Representatives Box at reception. All
Class Representatives are confirmed by Student Services, given guidance on their role and are notified of meeting
dates.
Class Representatives Committee (CRC)
The Class Representatives Committee is drawn from Class Representatives across the college and meets once a term with
the Principal to discuss issues of wider concern. School and programme meetings decide which Class Representatives
will be part of the CRC. The CRC elects a Chair at its first meeting.
Student Council
The Student Council (SC) expresses the student voice on any matter, educational, social or recreational, affecting
students in the College. It provides student representatives for all of the meetings and Committees in the College and
appoints the editor of Morley Magazine.
The SC is made up of students drawn from the CRC, Morley Clubs and students directly elected to the Council
every year. There are places reserved for students from Access, Community Learning and Essential Skills. The SC elects
a Chair who then becomes a Student Governor.
The SC usually meets twice a term.
Meetings
You can find the meeting dates on the student representation page of the College website or on the noticeboard
outside the refectory.
Contact
The Class Representatives Committee and the Student Council can be contacted by a note to the Reception Desk, by
post or by email.
cra@morleycollege.ac.uk
studentcouncil@morleycollege.ac.uk
HOW TO CONTRIBUTE TO MORLEY MAGAZINE
Morley Magazine is written and produced by student volunteers on behalf of the Student Council.
Please contact the Editor at MorleyMagazine@morleycollege.ac.uk or write to Morley Magazine, c/o Morley
College, or leave a message at the Reception Desk. Please include your name, address, email address and phone
number as the Editor may need to get in touch with you.
If you would like to contribute an article and/or photographs, please send separate text (.doc) and photo (.jpg)
files. For publication purposes please ensure you select maximum resolution on photo files.
The final deadline for the next issue (Spring/Summer 2020) is 13 March 2020.
(But please note, many pages are filled before the final deadline, so the sooner you submit the more likely it is
your work will be considered for the next issue.)
If you would like to get involved in the editorial process, contact studentcouncil@morleycollege.ac.uk
Morley Magazine is published twice a year, by the Student Council, Morley College, 61 Westminster Bridge Road,
London SE1 7HT
ISSN 1751-9233MORLEY CLUBS
RAMBLING CLUB
Rambles are on Saturdays throughout the year. Programme on notice board outside Refectory and on
website: www.morleyramblers.co.uk Email info@morleyramblers.co.uk
FOLK DANCE CLUB
The Club is a member of the English Folk Dance and Song Society. The Club meets periodically at
3.30 pm on Thursdays and has a dance following the AGM in October. For further details and dates
contact Sally Phillips (020 8857 1555, sally@amblecote.plus.com) or Kathy Brabstone (020 8658 4205,
brabstone44@talktalk.net)
CERAMIC CIRCLE
Meets in term time on first and third Friday of every month at 7pm, usually for illustrated talks, mainly
about British pottery and porcelain from 18th century to present day. Programme on notice board
outside the Refectory. Weekend seminar on a special theme every year at end of October. Contact
john.beetwell@tiscali.co.uk (01245 263120)
MORLEY MEDIEVAL
Lecture programme complementary to various Morley history courses. Popular expert lecturers on
medieval art and architecture. Visits abroad are being planned. Check bulletin board opposite Room
B13 and Morley website www.morleycollege.ac.uk Membership Secretary Rosemary Clarke rosemary.
clarke@yahoo.co.uk
CHESS CLUB
Meets in term time on Fridays at 6.30 pm. The Club competes in the London League and runs club
competitions. Players from beginner to master strength welcome. Contact Alan Watts (020 7609 2016)
ACCORDION CLUB
Contact anthony.rumsey@uclmail.net or see website www.morleyaccordionclub.co.uk
GUITAR CLUB
Meets monthly on Friday evenings. Contact morleyguitarclub@googlemail.com
Morley College 61 Westminster Bridge Road London SE1 7HTYou can also read
