HCA Blog
Monday, 29 August 2011 22:34
Furthering the BBC's commitment to building partnerships with the arts sector that go beyond broadcast, from sharing expertise to widening public engagement in UK arts, from Autumn 2011 to Autumn 2012, Handmade In Britain will present three, three-part series and a selection of individual hour-long films, focusing on a wide variety of art and design disciplines: ceramics, wood, metalwork, textiles, stained glass and paper.
The programmes will follow the development of each of these media, unveiling stories about the objects that tell us about the social, political and cultural climate of Britain at the time in which they were made. They will also reveal why, throughout the nation's history, makers have created objects that are beautiful as well as functional.
BBC Four Controller Richard Klein said: "BBC Four is the home of in-depth, expert led content and the channel for arts and culture. Handmade In Britain will provide a new perspective and a deeper understanding of the decorative arts. Our partnership with the V&A will celebrate these often overlooked treasures of British culture, giving viewers access to one of the world's finest art and design collections."
Damien Whitmore, V&A Director of Public Affairs and Programming, said: "This is an exciting opportunity to bring the V&A's collections and the stories behind them to a national audience. We are delighted to be collaborating with the BBC on this important partnership."
Handmade In Britain will draw on the collections and expertise of the V&A, one of the world's greatest museums of art and design. V&A objects will be used to tell particular stories, highlight ground-breaking technical innovations and illustrate how the story of artistic development in Britain is one of multiculturalism and globalisation. Contributors to the programmes will include V&A curators as well as collectors such as David Attenborough and contemporary practitioners including Grayson Perry and Edmund de Waal.
The series begins this autumn with a three-part series on ceramics and two single 60-minute programmes on stained glass and Chinese porcelain (1).
To complement the Handmade In Britain season, the V&A will host a series of events and will create online content and an in-gallery mobile experience. Using smart phones, visitors to the Museum will be able to locate and learn more about key objects featured in the programmes that are on display in the V&A's permanent galleries.
My first post of 2011 said "I believe this year will see an explosion of traditional crafts in the media" a couple of weeks ago I was filmed for John Cravens BBC "Britan at Risk" series and today the BBC announce "Handmade in Britain." All great news.
The BBC and V&A today announce Handmade In Britain, a year-long season of programming that will be the most wide-ranging and ambitious exploration of decorative arts ever to be undertaken on British television.
Ceramics, metalwork, stained glass, textiles and woodwork are some of the most beautiful and treasured objects with pride of place in British palaces, churches, stately houses and family homes. Handmade In Britain brings these fascinating, functional and often forgotten works of art to the fore in a major new season of programming which will explore the history of British artistry and craftsmanship.The BBC and V&A today announce Handmade In Britain, a year-long season of programming that will be the most wide-ranging and ambitious exploration of decorative arts ever to be undertaken on British television.
Furthering the BBC's commitment to building partnerships with the arts sector that go beyond broadcast, from sharing expertise to widening public engagement in UK arts, from Autumn 2011 to Autumn 2012, Handmade In Britain will present three, three-part series and a selection of individual hour-long films, focusing on a wide variety of art and design disciplines: ceramics, wood, metalwork, textiles, stained glass and paper.
The programmes will follow the development of each of these media, unveiling stories about the objects that tell us about the social, political and cultural climate of Britain at the time in which they were made. They will also reveal why, throughout the nation's history, makers have created objects that are beautiful as well as functional.
BBC Four Controller Richard Klein said: "BBC Four is the home of in-depth, expert led content and the channel for arts and culture. Handmade In Britain will provide a new perspective and a deeper understanding of the decorative arts. Our partnership with the V&A will celebrate these often overlooked treasures of British culture, giving viewers access to one of the world's finest art and design collections."
Damien Whitmore, V&A Director of Public Affairs and Programming, said: "This is an exciting opportunity to bring the V&A's collections and the stories behind them to a national audience. We are delighted to be collaborating with the BBC on this important partnership."
Handmade In Britain will draw on the collections and expertise of the V&A, one of the world's greatest museums of art and design. V&A objects will be used to tell particular stories, highlight ground-breaking technical innovations and illustrate how the story of artistic development in Britain is one of multiculturalism and globalisation. Contributors to the programmes will include V&A curators as well as collectors such as David Attenborough and contemporary practitioners including Grayson Perry and Edmund de Waal.
The series begins this autumn with a three-part series on ceramics and two single 60-minute programmes on stained glass and Chinese porcelain (1).
To complement the Handmade In Britain season, the V&A will host a series of events and will create online content and an in-gallery mobile experience. Using smart phones, visitors to the Museum will be able to locate and learn more about key objects featured in the programmes that are on display in the V&A's permanent galleries.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/QGHGL9n2RvI/handmade-in-britain-bbc-tv.html
Thursday, 25 August 2011 00:58
Looking for an interesting way to spend the weekend? an unusual gift? or to learn a new skill? Some folk will have seen Sophie Hussain as the tutor on Monty Don's BBC Mastercrafts program last year. Now you have the chance to learn the skill yourself.
Sophie is offering 2 day weekend courses for a maximum of 4 students, a real masterclass. You'll get to run through the whole process of making a glass panel from cutting glass and lead to designing the piece and making it up to take home. You'll work in Sophie's Woolwich studio so also get a glimpse into the real working world of a skilled professional craftsperson. Cost is just £200 plus cost of materials used (normally around £20) Sophie has worked with stained glass for over 20 years gaining much experience at the world renowned Goddard and Gibbs workshop, she is also a great and fun teacher.
There are 2 course dates booked for October 8th 9th and October 29th 30th. To book email Sophie here This e-mail address is being protected from spambots. You need JavaScript enabled to view it or phone 07946 511639
More details here
There are 2 course dates booked for October 8th 9th and October 29th 30th. To book email Sophie here This e-mail address is being protected from spambots. You need JavaScript enabled to view it or phone 07946 511639
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Thursday, 18 August 2011 12:40
HCA trustee Greta Bertram shares her first notes from Japan
I`ve been in Japan for 2 weeks now (with another 4 to go) and have already seen plenty of wonderful Japanese crafts. Although it is hot in August, I have to admit I`m a fan of hot weather so I`m having a great time. I`ve so far been to Yokohama, Tokyo, Nagoya (inlcuding Tokoname for pottery and Arimatsu for shibori `tie-dyeing`) and Kanazawa (gold leaf and kaga-yuzen dyeing). Tomorrow I`m off on a day trip to Wajima, famous for it`s lacquerware. The past few days have been a bit tricky, as many things have been closed for O-Bon - a bit national holiday for honouring the spirits of the ancestors.
Here`s a very brief introduction to some of the things I`ve seen so far. It`s amazing how widely exhibited crafts are, everywhere. I began my crafts exploration with a trip to the Japan Traditional Craft Centre in Ikebukuro, Tokyo. It`s essentially a salesroom/exhibition space - all the objects are exhibited beautifully, and all of them are for sale. I tried to make a list of every type of craft on display, but there were just too many to count and I had to give up! The temporary display changes every two weeks, and there was also space for a crafts-person-in-residence. Unfortunately, photos weren`t allowed.
Traditional Craft Industry is a status designated by the Ministry of Economy, Trade and Industry, and to be designated as such a craft must fulfill the following criteria.
1. The article must be used mainly in everyday life.
2. The article must be primarily manufactured by hand.
3. The article must be manufactured using traditional techniques.
4. The materials should be mainly those which have been traditionally employed.
5. The industry must be of a regional nature.
Japan also has a traditional crafts mark which is administered by each local craft association according to the criteria set by the Ministry. According to the Centre, the mark `guarantees quality and authenticity and they are indeed the pride of the craftspeople`.
I found the 5th criteria really interesting. I would say that Japan has very strong regional identities, with crafts, theatre, food etc. being associated with different places. Every prefecture in Japan has a traditional crafts centre with an exhibition facility (as do many of the craft associations, and these often have resident craftspeople demonstrating their work to visitors). I found a map showing all of the crafts and where in Japan they come from, and the variety is incredible. Today I visited the Ishikawa Traditional Craft Centre in Kanazawa, which displays the 36 crafts of the region (including lacquerware, kutani ceramics, kaga-yuzen dyeing, butsdan-making (Buddhist altars), paper lanterns, umbrellas, candles, lion-masks and kaga-embroidery! Is there anything like this in the UK? I can`t think of anywhere, even in London...
Yuzen dyeing is a bit like batik - a resist is created using rice paste, the design is painted in with colour and then covered with another layer of rice paste before being dyed.]
[Photo Photo IMG_4603 and IMG_4602. Caption: Ishikawa Prefecture is famous for both its lacquerware and its gold leaf. The gold leaf is repeatedly pounded and pounded between sheets of special paper made from a plant that I`ve forgotten the name of until the gold is only 0.0001mm thick (I think). What`s interesting about these bowls is that they`re replicas of the top 100 lacquer bowls in Japan. I was amazed that there`s actually a list of the top bowls!
Another place for displaying traditional crafts is in department stores. The big stores (like Takashimaya, Sogo, Mitsukoshi etc.) often have one floor dedicated to traditional Japanese products (porcelain, kimono, household goods etc.) and another floor which serves as a gallery space. I was lucky enough to visit the Sogo department store in Yokohama when they had several days of craftspeople from around the country demonstrating and selling their work.
A basketmaker at work in Sogo department store. These baskets are made out of Japanese Rose.
[Photo IMG_4423. Caption: Some of the prices were incredible - the little knife at the bottom was no more than about 5cm and costs about 150 pounds.]
While this obi costs about 5600 punds!]
Japanese `traditional` crafts are by no means stuck in the past - this technique was developed by the maker, and involves putting hundreds and hundreds of tiny pieces of opal onto the lacquer and sanding them down until smooth. The amazing thing was how the opal changed from red to green as you moved it in the light.
And it`s not only the techniques that are new - it`s the objects too, like this Iphone case!]
From what I`ve seen so far, traditional crafts really are much more a part of people`s lives in Japan then they are in the UK. Hope to be able to update again soon, with a few more photos.
I`ve been in Japan for 2 weeks now (with another 4 to go) and have already seen plenty of wonderful Japanese crafts. Although it is hot in August, I have to admit I`m a fan of hot weather so I`m having a great time. I`ve so far been to Yokohama, Tokyo, Nagoya (inlcuding Tokoname for pottery and Arimatsu for shibori `tie-dyeing`) and Kanazawa (gold leaf and kaga-yuzen dyeing). Tomorrow I`m off on a day trip to Wajima, famous for it`s lacquerware. The past few days have been a bit tricky, as many things have been closed for O-Bon - a bit national holiday for honouring the spirits of the ancestors.
Here`s a very brief introduction to some of the things I`ve seen so far. It`s amazing how widely exhibited crafts are, everywhere. I began my crafts exploration with a trip to the Japan Traditional Craft Centre in Ikebukuro, Tokyo. It`s essentially a salesroom/exhibition space - all the objects are exhibited beautifully, and all of them are for sale. I tried to make a list of every type of craft on display, but there were just too many to count and I had to give up! The temporary display changes every two weeks, and there was also space for a crafts-person-in-residence. Unfortunately, photos weren`t allowed.
Traditional Craft Industry is a status designated by the Ministry of Economy, Trade and Industry, and to be designated as such a craft must fulfill the following criteria.
1. The article must be used mainly in everyday life.
2. The article must be primarily manufactured by hand.
3. The article must be manufactured using traditional techniques.
4. The materials should be mainly those which have been traditionally employed.
5. The industry must be of a regional nature.
Japan also has a traditional crafts mark which is administered by each local craft association according to the criteria set by the Ministry. According to the Centre, the mark `guarantees quality and authenticity and they are indeed the pride of the craftspeople`.
I found the 5th criteria really interesting. I would say that Japan has very strong regional identities, with crafts, theatre, food etc. being associated with different places. Every prefecture in Japan has a traditional crafts centre with an exhibition facility (as do many of the craft associations, and these often have resident craftspeople demonstrating their work to visitors). I found a map showing all of the crafts and where in Japan they come from, and the variety is incredible. Today I visited the Ishikawa Traditional Craft Centre in Kanazawa, which displays the 36 crafts of the region (including lacquerware, kutani ceramics, kaga-yuzen dyeing, butsdan-making (Buddhist altars), paper lanterns, umbrellas, candles, lion-masks and kaga-embroidery! Is there anything like this in the UK? I can`t think of anywhere, even in London...
Yuzen dyeing is a bit like batik - a resist is created using rice paste, the design is painted in with colour and then covered with another layer of rice paste before being dyed.]
[Photo Photo IMG_4603 and IMG_4602. Caption: Ishikawa Prefecture is famous for both its lacquerware and its gold leaf. The gold leaf is repeatedly pounded and pounded between sheets of special paper made from a plant that I`ve forgotten the name of until the gold is only 0.0001mm thick (I think). What`s interesting about these bowls is that they`re replicas of the top 100 lacquer bowls in Japan. I was amazed that there`s actually a list of the top bowls!
Another place for displaying traditional crafts is in department stores. The big stores (like Takashimaya, Sogo, Mitsukoshi etc.) often have one floor dedicated to traditional Japanese products (porcelain, kimono, household goods etc.) and another floor which serves as a gallery space. I was lucky enough to visit the Sogo department store in Yokohama when they had several days of craftspeople from around the country demonstrating and selling their work.
A basketmaker at work in Sogo department store. These baskets are made out of Japanese Rose.
[Photo IMG_4423. Caption: Some of the prices were incredible - the little knife at the bottom was no more than about 5cm and costs about 150 pounds.]
While this obi costs about 5600 punds!]
From what I`ve seen so far, traditional crafts really are much more a part of people`s lives in Japan then they are in the UK. Hope to be able to update again soon, with a few more photos.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/Py42niv1Vbc/craft-notes-from-japan.html
Thursday, 18 August 2011 10:19
As the London riots were kicking off last week most commentators were going on about lack of respect, broken Britain and the breakdown of moral values, the proposed solution is normally increased discipline by home and state. I was blogging about my take on it, that being that these folk were just doing what we had trained them to do.
In the last week there have been some interesting articles one of my favourites titled The Politics of Desire and Looting and even a facebook group formed to explore how craft can be a stronger and more focussed force for positive social change. They aim to develop a "Makers' Manifesto" to draw attention to positive practical examples and set out the case for craft as a force for empowerment and hope." Grayson Perry's blog was as good as ever on the subject.
Clearly crimes have been committed and justice needs to be served but I feel we also need to do some soul searching as a society. Today the news says youth unemployment reached record levels in the UK with over 20% of 16-24 yr olds out of work, I don't have figures for the chances of a black man in South London getting a job before the age of 24 but suspect his chances in life are rather less than I was privileged to expect.
How do we turn this around? How do we motivate and incentivise folk? This entertaining youtube discusses what motivates us to work and comes up with surprising answers.
Of those looters we saw how many I wonder have ever been offered any opportunity that offered them the chance to achieve Challenge, Mastery and the sense of Making a Contribution? What a waste that we did not offer them that.
Does craft have anything to say about these issues? I believe the root cause of the problem is not lack of discipline but the avarice and lust for goods that we want, rather than need. This is coupled with the lack of meaningful work to achieve those desires.
Having worked alongside craftspeople for 20 years I find many, particularly traditional craftspeople, are also committed environmentalists. We mostly get into craft for lifestyle reasons and it goes along with the whole "Good Life" thing of growing your own veg, shopping at the wholefood co-op, buying locally sourced bread and organic meat etc. I suspect that on average craftspeople earn less and consume less of the earths limited resources than the average Westerner. I think perhaps the best we can do is set an example, to show that it is possible to live a really enjoyable, enviable life on less than £20,000 a year, we need to get that message across in the media and in my own little way I try to do my bit, with the blog etc and I'll be filming today for a BBC programme which hopefully may inspire more folk to choose fulfilling work over chasing money and stuff, to be proud of what they do instead of what they earn, of how they help others instead of how many holidays they have.
I suspect my work will not inspire our rioters as much as one of my heros Danny Macaskill, I have no doubt this young man suffered much prejudice as he hung out on street corners in his hoody with his bike, a friend of mine taught him to ride the unicycle and his teachers thought he was wasting his time playing on bikes, if you appreciate hard earned skill enjoy this.
What do we want these kids to do then? It's no use saying we just don't want them rioting. Most of our industrial creative jobs have gone, I think it is sad that there are not wholesome creative jobs that are valued within society but it could change, being a chef or a prep cook 15 years ago would appear menial, today it is sexy. We need to rediscover those values of the things in life that really make our lives happy and worthwhile, forget the expensive stuff, value freedom, achieve challenge, mastery and the sense of making a contribution.
In the last week there have been some interesting articles one of my favourites titled The Politics of Desire and Looting and even a facebook group formed to explore how craft can be a stronger and more focussed force for positive social change. They aim to develop a "Makers' Manifesto" to draw attention to positive practical examples and set out the case for craft as a force for empowerment and hope." Grayson Perry's blog was as good as ever on the subject.
Clearly crimes have been committed and justice needs to be served but I feel we also need to do some soul searching as a society. Today the news says youth unemployment reached record levels in the UK with over 20% of 16-24 yr olds out of work, I don't have figures for the chances of a black man in South London getting a job before the age of 24 but suspect his chances in life are rather less than I was privileged to expect.
How do we turn this around? How do we motivate and incentivise folk? This entertaining youtube discusses what motivates us to work and comes up with surprising answers.
Of those looters we saw how many I wonder have ever been offered any opportunity that offered them the chance to achieve Challenge, Mastery and the sense of Making a Contribution? What a waste that we did not offer them that.
Does craft have anything to say about these issues? I believe the root cause of the problem is not lack of discipline but the avarice and lust for goods that we want, rather than need. This is coupled with the lack of meaningful work to achieve those desires.
This gives craftspeople a dilema, as a county we consume way too much stuff and send it to landfill, how do we convince people that happiness is not a new pair of trainers, plasma screen or BMW? What is craft going to contribute to that debate? As folk who market work as luxury products to aspiring consumers are we part of the solution or the problem?
Having worked alongside craftspeople for 20 years I find many, particularly traditional craftspeople, are also committed environmentalists. We mostly get into craft for lifestyle reasons and it goes along with the whole "Good Life" thing of growing your own veg, shopping at the wholefood co-op, buying locally sourced bread and organic meat etc. I suspect that on average craftspeople earn less and consume less of the earths limited resources than the average Westerner. I think perhaps the best we can do is set an example, to show that it is possible to live a really enjoyable, enviable life on less than £20,000 a year, we need to get that message across in the media and in my own little way I try to do my bit, with the blog etc and I'll be filming today for a BBC programme which hopefully may inspire more folk to choose fulfilling work over chasing money and stuff, to be proud of what they do instead of what they earn, of how they help others instead of how many holidays they have.
I suspect my work will not inspire our rioters as much as one of my heros Danny Macaskill, I have no doubt this young man suffered much prejudice as he hung out on street corners in his hoody with his bike, a friend of mine taught him to ride the unicycle and his teachers thought he was wasting his time playing on bikes, if you appreciate hard earned skill enjoy this.
What do we want these kids to do then? It's no use saying we just don't want them rioting. Most of our industrial creative jobs have gone, I think it is sad that there are not wholesome creative jobs that are valued within society but it could change, being a chef or a prep cook 15 years ago would appear menial, today it is sexy. We need to rediscover those values of the things in life that really make our lives happy and worthwhile, forget the expensive stuff, value freedom, achieve challenge, mastery and the sense of making a contribution.
Thursday, 11 August 2011 07:32
HCA trustee Greta Bertram is off for 3 weeks traveling in Japan. Greta's first degree was in Japanese and her MA in the intangible heritage of craft, she will be visiting friends in Japan but also doing some traveling and hoping to visit traditional craft workshops. The Japanese have been at the forefront of recognising traditional crafts as part of their heritage for 70 years. The mingei movement was led by Soetsu Yanagi and Shoji Hamada.
This eventually fed into government support, the declaration of "national living treasures" and the formation of The Association for the Promotion of Traditional Craft Industries
this Japan atlas shows the range of traditional crafts practiced in Japan.
Greta is hoping that whilst traveling and staying in youth hostels she may be able to have web access and update us on her trip but if not I am sure we can look forward to sharing pictures when she is back.
August is perhaps not the best time of year to visit Japan, I was there last August working on an exchange project alongside temple carpenters building a traditional tea house. In August it can be incredibly hot and humid. It is however a real insight into how craft could be regarded differently in the UK and HCA are working hard to bring that change about.
This eventually fed into government support, the declaration of "national living treasures" and the formation of The Association for the Promotion of Traditional Craft Industries
this Japan atlas shows the range of traditional crafts practiced in Japan.
Greta is hoping that whilst traveling and staying in youth hostels she may be able to have web access and update us on her trip but if not I am sure we can look forward to sharing pictures when she is back.
August is perhaps not the best time of year to visit Japan, I was there last August working on an exchange project alongside temple carpenters building a traditional tea house. In August it can be incredibly hot and humid. It is however a real insight into how craft could be regarded differently in the UK and HCA are working hard to bring that change about.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/XX2myBUqmlk/craft-tour-of-japan.html
Tuesday, 09 August 2011 20:00
Just wanted to share these gorgeous films. HCA have been working closely with leaders of the UK luxury sector, we share a common belief in the value of craftsmanship and that given good promotion it has a very bright future.
first mens tailoring just got sexy
document case, I think it is the sound of the tools on leather that really get me
no craftsmanship shown in this one except but the filmaking is exquisite
a nice one with wood and leather
and last one on design rather than craftsmanship, I first saw this folding plug a year or two ago and was blown away, great design
first mens tailoring just got sexy
document case, I think it is the sound of the tools on leather that really get me
no craftsmanship shown in this one except but the filmaking is exquisite
a nice one with wood and leather
and last one on design rather than craftsmanship, I first saw this folding plug a year or two ago and was blown away, great design
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/Djs4oGedF1Y/dunhill-craftsmanship-films.html
Thursday, 04 August 2011 10:02
Well I never knew that Tonbridge was famous for the making of cricket balls. This is a craft process involving a lot of hand skill. I had little idea what was inside a cricket ball, a lump of compressed cork, a tightly wound ball of string....this lovely old Pate news clip shows the process
In the 1960's there were 85 folk making balls in Tonbridge alone, but there was already mention of cheaper balls made in Pakistan and India, I love this 1960's article from the Kent messenger especially the union reps title.
I am not sure how many ball manufacturers are left in Tonbridge. nor what proportion are hand stitched as against machine made but I do remember watching a guy from Alfred Reader's stitching balls at Art in Action in 1996. This is a vid from their works
Reader's are clearly still the major brand name in cricket balls I just called them to ask about how their balls were made and was told by a wonderfully frank and honest lady that they are all imported and only "finished" here. Bit naughty when they proudly bear the "Made in England" brand, years ago when I worked on a cutting table in Leicester lingerie firm I was told it was legal to put "Made in England" so long as some manufacturing process had taken place....and sewing in a "Made in England" label counted as a manufacturing process. The old Reader factory was sold off for housing development. The more I learn about how we treat our heritage the more I think it is bonkers. Just look at this travesty, clearly the powers that be decided what was important was to keep the factory frontage with it's nice big sign, so they knocked it down and stuck a horrid modern house on the back. I have no doubt this makes great economic sense and was the way to make the most money out of the particular site.
Here are a few interesting links I found, the ballmakers union which "upped stumps and headed for the pavilion" in 2006 http://www.unionancestors.co.uk/Cricketballmakers.htm
Nice page on Tonbridge ball making http://tonbridgecollectables.com/page5.php
So we will be following up the glorious English game with the ECB and hoping that we don't find the sort of story of child labour that was highlighted with footballs a few years ago. If anyone can find us info on any UK made cricket balls I would be pleased to hear and we will give the makers a good plug.
CRICKET BALLS
<p>Your browser does not support iframes.</p>In the 1960's there were 85 folk making balls in Tonbridge alone, but there was already mention of cheaper balls made in Pakistan and India, I love this 1960's article from the Kent messenger especially the union reps title.
I am not sure how many ball manufacturers are left in Tonbridge. nor what proportion are hand stitched as against machine made but I do remember watching a guy from Alfred Reader's stitching balls at Art in Action in 1996. This is a vid from their works
Reader's are clearly still the major brand name in cricket balls I just called them to ask about how their balls were made and was told by a wonderfully frank and honest lady that they are all imported and only "finished" here. Bit naughty when they proudly bear the "Made in England" brand, years ago when I worked on a cutting table in Leicester lingerie firm I was told it was legal to put "Made in England" so long as some manufacturing process had taken place....and sewing in a "Made in England" label counted as a manufacturing process. The old Reader factory was sold off for housing development. The more I learn about how we treat our heritage the more I think it is bonkers. Just look at this travesty, clearly the powers that be decided what was important was to keep the factory frontage with it's nice big sign, so they knocked it down and stuck a horrid modern house on the back. I have no doubt this makes great economic sense and was the way to make the most money out of the particular site.
Here are a few interesting links I found, the ballmakers union which "upped stumps and headed for the pavilion" in 2006 http://www.unionancestors.co.uk/Cricketballmakers.htm
Nice page on Tonbridge ball making http://tonbridgecollectables.com/page5.php
So we will be following up the glorious English game with the ECB and hoping that we don't find the sort of story of child labour that was highlighted with footballs a few years ago. If anyone can find us info on any UK made cricket balls I would be pleased to hear and we will give the makers a good plug.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/Tx4qMsF0oxE/how-are-cricket-balls-made.html
Sunday, 31 July 2011 12:33
Today I am cutting winter firewood in the Derbyshire hills, tomorrow I'll be at Clarance House, home of HRH The Prince of Wales, Tuesday at Department of Culture Media and Sport DCMS all to support traditional crafts skills.
First meeting at Clarance House is with Emily Cherrington.
Emily is Assistant Private Secretary to The Prince of Wales. The Prince has been a keen supporter of traditional crafts and is president of the Heritage Crafts Association. Emily is our new contact so we need to brief her on the work of HCA and discus ways in which we hope the Prince can support our work in the future, we have some exciting things in the pipeline...watch this space.
Then on Tuesday we meet Helen Williams Head of Heritage at DCMS,
Helen's is a new role created after considerable restructuring at DCMS. We have met before with a previous heritage adviser and Mick Elliot previous director of culture. Advocacy work has to be ongoing, people and roles change and it is people that make a difference so we keep meeting with key people in key roles to let them know early on about the position of traditional crafts in the UK. Woody Allen said "80 percent of success is just showing up' we show up a lot.
We will be pointing out how traditional crafts have not been recognised as arts or heritage so have fallen outside the remits of all support and promotion agencies. This has been a tremendous lost opportunity, with good promotion the traditional crafts can thrive and be a great asset to the UK arts, tourism and heritage, generate income and provide worthwhile jobs.
On all London trips I fit in as many meetings as possible so I'll also be meeting Guy Salter, a long time champion of craftsmanship in the luxury sector. I'll also be visiting a couple of workshops, first a tailor and haberdasher I met at Art in Action Jeremy Morgan
I have a suite I bought at a charity shop, nice Merino wool, sadly Italian not English but it was good quality and was £25 which is about what I can afford for a suit. Jeremy told me for a further £25 he can take the jacket apart and make it fit (it's currently a little loose) so I'll give it a go. I have also never been inside a traditional tailors workshop so hope to take some pics. Another visit which I hope to do if time allows is to a new London tweed weavers workshop London clothworks. And the final meeting is with Catherine Large director of Creative and Cultural skills.
By Tuesday night a few more folk will have a better picture of the state of traditional crafts in the UK and if Woody Allen is right then maybe it will make a difference.
First meeting at Clarance House is with Emily Cherrington.
Emily is Assistant Private Secretary to The Prince of Wales. The Prince has been a keen supporter of traditional crafts and is president of the Heritage Crafts Association. Emily is our new contact so we need to brief her on the work of HCA and discus ways in which we hope the Prince can support our work in the future, we have some exciting things in the pipeline...watch this space.
Then on Tuesday we meet Helen Williams Head of Heritage at DCMS,
Helen's is a new role created after considerable restructuring at DCMS. We have met before with a previous heritage adviser and Mick Elliot previous director of culture. Advocacy work has to be ongoing, people and roles change and it is people that make a difference so we keep meeting with key people in key roles to let them know early on about the position of traditional crafts in the UK. Woody Allen said "80 percent of success is just showing up' we show up a lot.
We will be pointing out how traditional crafts have not been recognised as arts or heritage so have fallen outside the remits of all support and promotion agencies. This has been a tremendous lost opportunity, with good promotion the traditional crafts can thrive and be a great asset to the UK arts, tourism and heritage, generate income and provide worthwhile jobs.
On all London trips I fit in as many meetings as possible so I'll also be meeting Guy Salter, a long time champion of craftsmanship in the luxury sector. I'll also be visiting a couple of workshops, first a tailor and haberdasher I met at Art in Action Jeremy Morgan
I have a suite I bought at a charity shop, nice Merino wool, sadly Italian not English but it was good quality and was £25 which is about what I can afford for a suit. Jeremy told me for a further £25 he can take the jacket apart and make it fit (it's currently a little loose) so I'll give it a go. I have also never been inside a traditional tailors workshop so hope to take some pics. Another visit which I hope to do if time allows is to a new London tweed weavers workshop London clothworks. And the final meeting is with Catherine Large director of Creative and Cultural skills.
By Tuesday night a few more folk will have a better picture of the state of traditional crafts in the UK and if Woody Allen is right then maybe it will make a difference.
Sunday, 31 July 2011 09:28
Richmond dock was built at Appledore on the mouth of the River Torridge in 1856 and was said to have been the largest dry dock in all the Bristol Channel ports at that time. By the early nineteenth century much of the timber for shipbuilding in Britain was being imported from North America, the traditional supply from the Baltic Ports being interrupted by the Napoleonic Wars. Appledore was excellently sited to use the North American trade economically, but the business became more sophisticated when ships were rough built on Prince Edward Island and sailed over to Appledore for finishing. Its exceptional importance in the history of North Devon shipbuilding has been recognised by its designated Grade 2* listed status. That puts it in the most important 5% of all listed buildings.
The dock was built by William Yeo who had 5 large ships that were engaged in the emigration trade. A diary was kept by a passenger emigrating on the Ocean Queen. Sailing from Appledore to Quebec, William Gliddon, says: "About half past four, we got under way with a good breeze, having on board a fine crew of 20, Mr Yeo, the pilot, 22 passengers, a pig, a cat, and a dog. Half past five, safe over the bar, the pilot and the owner took leave amid the cheers of all of board."
Today the dry dock lies unused and as you can imagine property developers have moved in with the intention of putting lots of posh houses here by the sea.
In 2005 a local group called Celebrating Appledore's Shipping Heritage started campaigning to use the dock as a local maritime heritage centre including restoring the dock to working condition and using it for shipbuilding, fitting and repair. The Heritage Crafts Association support this groups vision and have contributed to helping oppose the planning application. The application was turned down in 2010 and we are delighted that the appeal has also just been turned down. This decision means that it would now be virtually impossible to build any residential development on the dock.
What is most pleasing is the wording of the decision written by independent planning inspector Olivia Spencer
"Appledore retains a strong working relationship with the river and the sea. It is clear not just from the written historic evidence but also from the submissions of local residents, many of whom worked or whos families worked at the dock, that it has played a very major part in the economic and social history of Appledore. It lies both physically and culturally at the heart of the community. The working history of the dock thus has considerable significance nationally and locally."
"The form and structure of the dock has value as a rare and interesting object but the dock is a tool, a machine for building and repairing ships. It's operation as a dry dock is thus fundamental to its significance. For this reason and and in view of its role in the working life of the community, I consider development that would prevent or seriously curtail the operation of the dock as a dry dock for the building and repair of of boats would therefore amount to substantial harm to the significance of the listed structure."
What is important about this wording is how well it recognises the living heritage aspects as well as the physicality of the site, this sets a great precedent which we can use in future cases. Often in the UK heritage is managed as if it was dead and people were not part of it. HCA have been involved over the last 2 years in 4 important sites where there are linked physical and living heritage, we now feel to have seen 3 wins and one loss.
Farnham Pottery has now been purchased by the Farnham Pottery Trust thus securing it's use as a community pottery and avoiding the risk of development.
Portland Works in Sheffield successfully opposed planning for conversion to flats and the craftspeople tenants have formed a company to attempt to buy the building and run it is a community venture, you can even buy a share in the building here
Sadly the story at Standard Quay was different. The local council and local English Heritage officer did not recognise the living heritage aspects of the site. The craftspeople have been evicted including Colin Frake one of only two ships blockmakers in the country (he rigged Nelson's flagship Victory)
The story at JW Evans silversmiths was different with the fabric and contents of the building saved but the business of making silverware gone.
We have just heard of a new case, the living looms project which aims to preserve the heritage of carpet making in Kidderminster, lets hope this one reaches a happy ending.
The dock was built by William Yeo who had 5 large ships that were engaged in the emigration trade. A diary was kept by a passenger emigrating on the Ocean Queen. Sailing from Appledore to Quebec, William Gliddon, says: "About half past four, we got under way with a good breeze, having on board a fine crew of 20, Mr Yeo, the pilot, 22 passengers, a pig, a cat, and a dog. Half past five, safe over the bar, the pilot and the owner took leave amid the cheers of all of board." Today the dry dock lies unused and as you can imagine property developers have moved in with the intention of putting lots of posh houses here by the sea.
In 2005 a local group called Celebrating Appledore's Shipping Heritage started campaigning to use the dock as a local maritime heritage centre including restoring the dock to working condition and using it for shipbuilding, fitting and repair. The Heritage Crafts Association support this groups vision and have contributed to helping oppose the planning application. The application was turned down in 2010 and we are delighted that the appeal has also just been turned down. This decision means that it would now be virtually impossible to build any residential development on the dock.
What is most pleasing is the wording of the decision written by independent planning inspector Olivia Spencer
"Appledore retains a strong working relationship with the river and the sea. It is clear not just from the written historic evidence but also from the submissions of local residents, many of whom worked or whos families worked at the dock, that it has played a very major part in the economic and social history of Appledore. It lies both physically and culturally at the heart of the community. The working history of the dock thus has considerable significance nationally and locally."
"The form and structure of the dock has value as a rare and interesting object but the dock is a tool, a machine for building and repairing ships. It's operation as a dry dock is thus fundamental to its significance. For this reason and and in view of its role in the working life of the community, I consider development that would prevent or seriously curtail the operation of the dock as a dry dock for the building and repair of of boats would therefore amount to substantial harm to the significance of the listed structure."
What is important about this wording is how well it recognises the living heritage aspects as well as the physicality of the site, this sets a great precedent which we can use in future cases. Often in the UK heritage is managed as if it was dead and people were not part of it. HCA have been involved over the last 2 years in 4 important sites where there are linked physical and living heritage, we now feel to have seen 3 wins and one loss.
Farnham Pottery has now been purchased by the Farnham Pottery Trust thus securing it's use as a community pottery and avoiding the risk of development.
Portland Works in Sheffield successfully opposed planning for conversion to flats and the craftspeople tenants have formed a company to attempt to buy the building and run it is a community venture, you can even buy a share in the building here
Sadly the story at Standard Quay was different. The local council and local English Heritage officer did not recognise the living heritage aspects of the site. The craftspeople have been evicted including Colin Frake one of only two ships blockmakers in the country (he rigged Nelson's flagship Victory)
The story at JW Evans silversmiths was different with the fabric and contents of the building saved but the business of making silverware gone.
We have just heard of a new case, the living looms project which aims to preserve the heritage of carpet making in Kidderminster, lets hope this one reaches a happy ending.
Wednesday, 27 July 2011 10:18
Last weekend I attended Art in Action a most wonderful show near Oxford. We were offered a free HCA stand after the organisers attended our spring conference at the V&A, we had the usual range of traditional craft items on display with voluntary staff telling visitors the stories behind how they were made. I also did a talk each day in the lecture rooms on the work of the HCA.
I was demonstrating spooncarving and daughter Jojo made everlasting gypsy flowers from willow.
It is a huge show of primarily skill based arts and crafts, so much to see it takes a whole day. Sadly I was so busy on the stand I had little time to look around or take photos but here are a couple fo snaps taken en route for lunch. Gail McGarva with her wonderful Lyme Lerret.
An incredibly detailed carving of a mallard drake. This one is worth clicking to expand the image.
One of the beauties of Art in Action is that most of the artists and craftspeople are given space to set up a workshop and demonstrate their work. You can see anything from artists painting proper portraits, grinding their own pigments to weaving, glassblowing and blacksmithing, the quality is all excellent.
The ethos of the event is lovely too. It centres around giving and service, the volunteers that run the event are kind and helpful and I know no other event where all the stand holders are continually supplied with tea and biscuits served with a smile. This is the campsite with the poshest portaloos and showers I have seen.
We hope to be invited again next year and will ask for space for more traditional craft demonstrators.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/OnqoUhID1uk/art-in-action.html
Tuesday, 19 July 2011 23:26
The Associate Parliamentary Manufacturing Group is being spearheaded by Vince Cable
It has been designed to celebrate the UK’s manufacturing sector by asking MPs to nominate a product made in their constituency – with the ultimate aim of producing an ‘Great Exhibition’ showcasing these products.
It would be really nice if some of those products were craft made items or at least local traditional manufacturing that somehow represented what was good in the MPs constituency. Please let Stoke's MPs choose pots Sheffield's MPs choose cutlery and Walsall saddles.
It is very easy to recommend an item to your MP
First have a look here, put in your postcode to see if your MP has already done it (only 52 of 650 have so far) http://www.policyconnect.org.uk/apmg/made-by-britain
Decide the Made in Britain product or business you want to recommend then drop your MP a line either here http://www.policyconnect.org.uk/apmg/made-by-britain/write-to-your-mp
or if you don't know your MP (not many do) stick your postcode in here up pops your MP and top of the list of options is send a message to your MP, type away and send. Once you send you get an email and you have to click the link to confirm the message goes to your MP. Simple and it could result in your craft business or one you recommend getting some much needed publicity.
It has been designed to celebrate the UK’s manufacturing sector by asking MPs to nominate a product made in their constituency – with the ultimate aim of producing an ‘Great Exhibition’ showcasing these products.
It would be really nice if some of those products were craft made items or at least local traditional manufacturing that somehow represented what was good in the MPs constituency. Please let Stoke's MPs choose pots Sheffield's MPs choose cutlery and Walsall saddles.
It is very easy to recommend an item to your MP
First have a look here, put in your postcode to see if your MP has already done it (only 52 of 650 have so far) http://www.policyconnect.org.uk/apmg/made-by-britain
Decide the Made in Britain product or business you want to recommend then drop your MP a line either here http://www.policyconnect.org.uk/apmg/made-by-britain/write-to-your-mp
or if you don't know your MP (not many do) stick your postcode in here up pops your MP and top of the list of options is send a message to your MP, type away and send. Once you send you get an email and you have to click the link to confirm the message goes to your MP. Simple and it could result in your craft business or one you recommend getting some much needed publicity.
Sunday, 17 July 2011 14:34
When a craft business that has a special part in our history is in danger of closing what should we do? How about buy it and spend large sums of public money on preserving the building, artifacts and accumulated detritus whilst letting the last skilled artisans stop work and walk away?
Two years ago I blogged about JW Evans Silversmiths in Birmingham. It had just been saved for the nation by English Heritage and at the time they said "at the heart of this decision is the desire to safeguard a skilled craft which is seriously under threat."
Well after 2 years JW Evans is now open to the public for pre booked tours, it looks fantastic and well worth a visit but how well do you think they have done at safeguarding a skilled craft? Seems that they have preserved all the fabric but lost the living heritage of the skills that made the place important. I feel we need a new way to look after this part of our heritage, apart from anything else turning businesses into museums is incredibly expensive. We could learn from the Spanish, I visited the knife making town of Taramundi where many small artisan workshops are open to the public on a sort of heritage tourist trail. This means they get lots of business which keeps the heritage truly alive rather than some preserved in aspic snap shot of how it used to be done.
More info and book your tour here 
Two years ago I blogged about JW Evans Silversmiths in Birmingham. It had just been saved for the nation by English Heritage and at the time they said "at the heart of this decision is the desire to safeguard a skilled craft which is seriously under threat."
Well after 2 years JW Evans is now open to the public for pre booked tours, it looks fantastic and well worth a visit but how well do you think they have done at safeguarding a skilled craft? Seems that they have preserved all the fabric but lost the living heritage of the skills that made the place important. I feel we need a new way to look after this part of our heritage, apart from anything else turning businesses into museums is incredibly expensive. We could learn from the Spanish, I visited the knife making town of Taramundi where many small artisan workshops are open to the public on a sort of heritage tourist trail. This means they get lots of business which keeps the heritage truly alive rather than some preserved in aspic snap shot of how it used to be done.
Thursday, 07 July 2011 12:31
Nice vid of Balvenie Masters of Craft.
Wednesday, 06 July 2011 19:21
We are approaching a very important centenary in the art world, the creation of Marcel Duchamp's "fountain", arguably the most important work of art of the 20th century. Was he taking the piss? and why should craftspeople have any interest in it?
The point of fountain was that Duschamp was arguing that aesthetics and skill were not what made art, it was the artists idea that mattered.
Under the guise of an assumed name R Mutt, Duchamp submitted a porcelain urinal as an entry for an open exhibition in New York in 1917. With this work Duchamp metaphorically urinated on the bourgeois art institution and its adoration of what he referred to disparagingly as ‘retinal art’. "Fountain" was "misplaced" for the duration of the exhibition and lost soon afterward yet years later it achieved seminal status. It was not the worlds first ready-made, Duschamp showed "bicycle wheel" in 1913 but it is fountain that became iconic.
So what is the relevance today? Well trace Duschamps ideas forward 100 years and we see a century of art where skill and aesthetics were not seen as important and where ready-mades and installation art were where it was at. That century is coming to an end and personally I feel that the current art world is as self obsessed and out of touch as the one which Duschamp so successfully took the piss out of 100 years ago. Frankly there is only so much navel gazing and exposing to public view the least pleasant aspects of your past that the public want to see and after a while does it have any relevance or serious message?
So who will be the new Duschamp? Who will challenge the current ideas of where artistic merit lies? And where will that merit be found? Personally I fancy we will see a return to or perhaps some new form of appreciation of aesthetics and skill. I think we will again appreciate an artist who can create something of great beauty more than one who presents ready-mades or installations with some art speak justification. Why will this happen? Well in part what we have always admired and valued throughout history has been rarity and today there are not many folk that can grind pigments, mix oils and paint a decent picture, nor carve a stone for a cathedral window, nor make a basket, nor forge a gate hinge, yet conceptual art is taught to tens of thousands of university graduates every year.
Satchi et al have huge vested interest in maintaining the artistic status quo and will rubbish any suggestion that these things have as much merit as Emin's latest but I genuinely feel they have more to say of importance to today's world than most conceptual art. They comment on how we make the stuff of everyday life, on working conditions and waste and sustainability. It will be a few years coming but my prediction is that we are approaching the time when someone who makes humble functional craftwork will be valued as much as someone who makes art installations. And the funny thing is that I reckon if Duschamp was around today he would be rebelling against today's art institution as much as he did in 1917.
The point of fountain was that Duschamp was arguing that aesthetics and skill were not what made art, it was the artists idea that mattered.
Under the guise of an assumed name R Mutt, Duchamp submitted a porcelain urinal as an entry for an open exhibition in New York in 1917. With this work Duchamp metaphorically urinated on the bourgeois art institution and its adoration of what he referred to disparagingly as ‘retinal art’. "Fountain" was "misplaced" for the duration of the exhibition and lost soon afterward yet years later it achieved seminal status. It was not the worlds first ready-made, Duschamp showed "bicycle wheel" in 1913 but it is fountain that became iconic.
So what is the relevance today? Well trace Duschamps ideas forward 100 years and we see a century of art where skill and aesthetics were not seen as important and where ready-mades and installation art were where it was at. That century is coming to an end and personally I feel that the current art world is as self obsessed and out of touch as the one which Duschamp so successfully took the piss out of 100 years ago. Frankly there is only so much navel gazing and exposing to public view the least pleasant aspects of your past that the public want to see and after a while does it have any relevance or serious message?
So who will be the new Duschamp? Who will challenge the current ideas of where artistic merit lies? And where will that merit be found? Personally I fancy we will see a return to or perhaps some new form of appreciation of aesthetics and skill. I think we will again appreciate an artist who can create something of great beauty more than one who presents ready-mades or installations with some art speak justification. Why will this happen? Well in part what we have always admired and valued throughout history has been rarity and today there are not many folk that can grind pigments, mix oils and paint a decent picture, nor carve a stone for a cathedral window, nor make a basket, nor forge a gate hinge, yet conceptual art is taught to tens of thousands of university graduates every year.
Satchi et al have huge vested interest in maintaining the artistic status quo and will rubbish any suggestion that these things have as much merit as Emin's latest but I genuinely feel they have more to say of importance to today's world than most conceptual art. They comment on how we make the stuff of everyday life, on working conditions and waste and sustainability. It will be a few years coming but my prediction is that we are approaching the time when someone who makes humble functional craftwork will be valued as much as someone who makes art installations. And the funny thing is that I reckon if Duschamp was around today he would be rebelling against today's art institution as much as he did in 1917.
Tuesday, 05 July 2011 22:50
Yesterday I was in Westminster again for a meeting with John Hayes the skills minister.
It is difficult to put into words how positive things are for traditional crafts at the moment. After years of being the poor relation to the innovative artistic end of the craft spectrum it seems things are really changing.
The ministers officials are working on a plan with various key points to help and support traditional crafts. First and most important there will be a mapping project which will identify how many traditional craftspeople are out there, which crafts are healthy, which in danger of dying out and which offer good opportunities for growth. This will also look at training provision and entry routes to the crafts, we have a lot of anecdotal evidence that suggests that once established traditional crafts businesses are doing quite nicely with strong consumer demand but it is difficult to get established and get funding for training.
This will be a second strand of the ministers work looking at apprenticeships and the best and most appropriate ways of addressing the issues the research highlights.
A third and equally important strand will be the development of a high profile craft award to truly recognise the contribution of dedicated craftspeople make to our cultural heritage.
This will all take a long time to filter down to show benefits to individual craftspeople in their workshops but it will happen and it will make a difference. Another thing that will make a difference in the shorter term is there seem to be a plethora of TV shows in the pipeline at the moment. Barely a week goes by without the Heritage Crafts Association being contacted for information about potential craftspeople to feature in new series. The pitches vary quite a lot but one we heard about today sounds a real winner and we are hoping it will make it through the commissioning process. Can't share details at this stage but there is no doubt in 6-12 months time there will be a whole lot of craft on your TV.
It is difficult to put into words how positive things are for traditional crafts at the moment. After years of being the poor relation to the innovative artistic end of the craft spectrum it seems things are really changing.
The ministers officials are working on a plan with various key points to help and support traditional crafts. First and most important there will be a mapping project which will identify how many traditional craftspeople are out there, which crafts are healthy, which in danger of dying out and which offer good opportunities for growth. This will also look at training provision and entry routes to the crafts, we have a lot of anecdotal evidence that suggests that once established traditional crafts businesses are doing quite nicely with strong consumer demand but it is difficult to get established and get funding for training.
This will be a second strand of the ministers work looking at apprenticeships and the best and most appropriate ways of addressing the issues the research highlights.
A third and equally important strand will be the development of a high profile craft award to truly recognise the contribution of dedicated craftspeople make to our cultural heritage.
This will all take a long time to filter down to show benefits to individual craftspeople in their workshops but it will happen and it will make a difference. Another thing that will make a difference in the shorter term is there seem to be a plethora of TV shows in the pipeline at the moment. Barely a week goes by without the Heritage Crafts Association being contacted for information about potential craftspeople to feature in new series. The pitches vary quite a lot but one we heard about today sounds a real winner and we are hoping it will make it through the commissioning process. Can't share details at this stage but there is no doubt in 6-12 months time there will be a whole lot of craft on your TV.
Tuesday, 28 June 2011 11:56
Just back from Glastonbury which for foreign readers is the biggest music and arts festival in the world and a rather special event. We had a Heritage Crafts Association area which was the nicest spot on the nicest field on the whole site, forget the horrendous mud images of the TV and papers we were camping in style.
This was the view from my lathe
It was great fun this year to have friends along from the HCA to share the campfire with in the evenings, next door Sophie Hussain was demonstrating stained glass and running workshops where lucky folk got the chance to make their own small glass panel.
And here are a few of Sophie's panels in the evening sun
The media love pictures of mud and when you get 250,000 people in a field and a shower of rain all those feet very rapidly do bring the mud up. Here are the first visitors arriving.
And this phot taken from the same spot 48 hours later looking down the hill, these folk are queing for the loos.
Our field is high on the hill though overlooking the site and gets less footfall than most so even after rain it was not too bad. This was as bad as it got, this is Barn who came and helped me and demonstrated spoon carving.
I have lots of happy memories of time spent sat around the campfire with Guy, Sophie and all our friends and helpers, a week away from the computer in a field sharing song, dance and a good whisky is pretty good therapy.
Last two random pics, there is so much to see and do there and I tend to experience it without the camera.
A turf sofa.
Guy Mallinson another of the tutors from the "Mastercrafts" TV program brought his gorgeous parachute shelter along and was running spatula making workshops.
One of the great things about working at Glastonbury is that you get to go a few days before the public arrive and enjoy the build up before the chaos starts. It is known for music and there must be 100 stages for live music ranging from the huge main stages with 20,000 in the audience to a piano in a tent, or even in a field.
Many go for the big names from U2 to Beyonce but I love wandering and dropping in on little gigs on small stages. Whilst performances may not have the polished professionalism you get real passion and fun. Top score this year was Mumford and Sons playing a tiny campfire gig for about 250 folk in Strummerville a place where the spirit of Joe Strummer lives on.
We were there for 8 days and saw the dawn on 5, this is sunrise over the HCA area, Glastonbury is quite a nocturnal place.
I have lots of happy memories of time spent sat around the campfire with Guy, Sophie and all our friends and helpers, a week away from the computer in a field sharing song, dance and a good whisky is pretty good therapy.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/dBN56kOyvoA/crafts-at-glastonbury-2011.html
Wednesday, 15 June 2011 19:59
I am no expert on pottery in Stoke but was just horrified to learn that Wedgwood has moved production to Jakata, Indonesia.
Here is a short youtube of the Wedgwood factory "Made in England"
and a longer one of a guy demonstrating throwing.
Now listen to BBC Radio Stoke doing a 3 minute feature from the Wedgwood factory in Jakata, "a little bit of Stoke in Indonesia"
Surely people buy Wedgwood as a heritage brand and once you move it to Indonesia don't you loose most of what made it special?
Emma Bridgewater thinks so this is her Stoke factory.
and a last bit of good news HCA president HRH The Prince of Wales has stepped in to save Middleport Pottery one of the last potteries working in stoke. More on the story here.
Here is a short youtube of the Wedgwood factory "Made in England"
and a longer one of a guy demonstrating throwing.
Now listen to BBC Radio Stoke doing a 3 minute feature from the Wedgwood factory in Jakata, "a little bit of Stoke in Indonesia"
Surely people buy Wedgwood as a heritage brand and once you move it to Indonesia don't you loose most of what made it special?
Emma Bridgewater thinks so this is her Stoke factory.
and a last bit of good news HCA president HRH The Prince of Wales has stepped in to save Middleport Pottery one of the last potteries working in stoke. More on the story here.
Friday, 03 June 2011 16:24
Nice clip of the Balvenie Masters of Craft Awards on NTD TV this clip focuses on Stewart Hearn of London Glassworks who won the ceramics and glass category. It was a fun evening and I was delighted to be presenting awards to such talented folk.
Friday, 03 June 2011 08:31
Last night a select group of craftsfolk from around the UK left their workshops and headed to a very posh hotel in London's Mayfair (yes the one with the most expensive houses on the monopoly board and in real life too) We were at the Connaught to celebrate the winners of the Balvenie Masters of Craft Awards, I had the honour of being one of the judges and presenting some of the awards. We had a great judging team but craftsfolk are most likely to know Kevin McCloud off the TV and Nick Hand wonderful crafts photographer.
Well it was a wonderful evening, hosted by warm friendly folk from the Balvenie. The stars of the show though were the craftspeople so lets announce the winners.
Wood winner and overall Balvenie Master of Craft 2011: Christoph Gotting, violin maker
Christoph Gotting spent 20 years renovating the best 17th century instruments made by the like of Stadivari followed by another 20 making new instruments of the best possible quality. Apparently the ground and varnish are play a major part in the difference between a good violin and a great one. Christoph has undertaken 800 meticulously recorded varnish tests to produce instruments that are the probably the closest currently available alternative to an original Strad.
Emily Ruth Davey, shoemaker
Ruth operates a shoemaking business from her workshop on the mid-Wales coast. She says her customers range from dukes to dustbin men, from young to old, yoga teachers, artists, poets, doctors and even the odd film star. Testament to her success is her current search for an apprentice
Glass and ceramics winner: Stuart Hearn, glass blower
Stewart has been blowing glass for 28 years and runs London Glassworks. While his pieces celebrate traditional craft, they also have a strong contemporary aesthetic. Stuart is passionate about passing on skills and provides regular training and workshops
Textiles winner: Iain Finlay McLeod, weaver
Iain is the fourth-generation weaver in his family. On the Isle of Lewis, he and his team of five weavers create high-quality cloth on traditional looms over 70 years old. They sell their cloth to some of the best tailors and fashion houses in Tokyo, London and Beverley Hills
Stone winner: Jacqueline Cullen, jeweller
Jacqueline is a jeweller working with Whitby jet. Specialising in Victorian mourning jewellery, Jacqueline has developed innovative processes and formats that celebrate rather than disguise the inherent flaws of Whitby jet, allowing the natural beauty of the material to speak for itself
Leather winner: Deborah Carre, shoemaker
Deborah is a hand-sewn shoemaker. She is currently building a business that focuses on making bespoke men’s shoes by hand and has a new workshop on the shop floor at Gieves & Hawkes, 1 Savile Row, London
Metal winner: Wayne Victor Meeten, precious metalworker
Wayne is a silversmith, goldsmith and precious metalworker, who aims to push the boundaries of traditional smithing by using 21st century technology. His designs are contemporary with wonderful form, line, texture and structure
After the food and the awards we enjoyed some very fine whisky, my favourite of the evening being the 21 yr old Balvenie portwood, rather out of my budget but delightful to experience. It was quite moving to see how touched Christoph particularly was to receive his award and I hope this helps shine the light on these folks dedication and skills and raises the profile of craftsmanship generally.
Well it was a wonderful evening, hosted by warm friendly folk from the Balvenie. The stars of the show though were the craftspeople so lets announce the winners.
Wood winner and overall Balvenie Master of Craft 2011: Christoph Gotting, violin maker
Christoph Gotting spent 20 years renovating the best 17th century instruments made by the like of Stadivari followed by another 20 making new instruments of the best possible quality. Apparently the ground and varnish are play a major part in the difference between a good violin and a great one. Christoph has undertaken 800 meticulously recorded varnish tests to produce instruments that are the probably the closest currently available alternative to an original Strad.
Emily Ruth Davey, shoemaker
Ruth operates a shoemaking business from her workshop on the mid-Wales coast. She says her customers range from dukes to dustbin men, from young to old, yoga teachers, artists, poets, doctors and even the odd film star. Testament to her success is her current search for an apprentice
Glass and ceramics winner: Stuart Hearn, glass blower
Stewart has been blowing glass for 28 years and runs London Glassworks. While his pieces celebrate traditional craft, they also have a strong contemporary aesthetic. Stuart is passionate about passing on skills and provides regular training and workshops
Textiles winner: Iain Finlay McLeod, weaver
Iain is the fourth-generation weaver in his family. On the Isle of Lewis, he and his team of five weavers create high-quality cloth on traditional looms over 70 years old. They sell their cloth to some of the best tailors and fashion houses in Tokyo, London and Beverley Hills
Stone winner: Jacqueline Cullen, jeweller
Jacqueline is a jeweller working with Whitby jet. Specialising in Victorian mourning jewellery, Jacqueline has developed innovative processes and formats that celebrate rather than disguise the inherent flaws of Whitby jet, allowing the natural beauty of the material to speak for itself
Leather winner: Deborah Carre, shoemaker
Deborah is a hand-sewn shoemaker. She is currently building a business that focuses on making bespoke men’s shoes by hand and has a new workshop on the shop floor at Gieves & Hawkes, 1 Savile Row, London
Metal winner: Wayne Victor Meeten, precious metalworker
Wayne is a silversmith, goldsmith and precious metalworker, who aims to push the boundaries of traditional smithing by using 21st century technology. His designs are contemporary with wonderful form, line, texture and structure
After the food and the awards we enjoyed some very fine whisky, my favourite of the evening being the 21 yr old Balvenie portwood, rather out of my budget but delightful to experience. It was quite moving to see how touched Christoph particularly was to receive his award and I hope this helps shine the light on these folks dedication and skills and raises the profile of craftsmanship generally.
Sunday, 22 May 2011 23:32
Should we the craft community be celebrating the bicentenary of the 1811 Luddite rebelions?
In modern usage in the UK to call someone a Luddite can be a slightly derogatory term used to imply someone is against all change and blindly rejects any complex modern technology in favour of older simpler technology. Some people on the other hand are proud to describe themselves as Luddites and feel that it is about valuing the things that are important in life.
A very brief history of the Luddites; in the late 1700's a host of new inventions threatened to transform the textile industry which up to then had been a skilled hand craft undertaken by self employed artisans. 1764 the spinning jenny, then Arkwright's water frame 1769 installed in the first real factories just down the road from me at Cromford Mill. The mill started employing 200 people mostly women and children the youngest being aged just 7 years old.
At this time weaving was undertaken by highly skilled and respected craftspeople who served a minimum 7 year apprenticeship. 1785 the first power loom appeared, by 1850 there would be 260,000 in operation in England and in 1811 the writing was on the wall.
The change in lifestyle is hard to imagine, the hand loom weavers worked from home with their families around them. The looms tended to be upstairs in front of long windows since before electric light, natural light regulated work. This is Edward Eccles the last handloom weaver in Darwen, Lancs.
The weavers cottages are instantly recognisable today by the rows of upstairs windows.
Would you rather work in the home above as a self employed skilled professional or in the factory below as an unskilled machine minder with low wages and few employment rights?
History is often taught as if this change was a positive development as it helped UK Plc on its road to world domination and produced goods that could be sold for less money. I feel differently but will try to stay dispassionate. From the Luddites point of view it was not about being against all technology it was about working conditions, the replacement of highly skilled work with low skilled and clearly lower wages.
My personal view is that the loss of social status and the difference between doing a job that is valued, which you trained for years to be good at and valued for are as important as the money. It was about power, in the craft model the artisan was empowered, in factory production all power lay with the factory owner. So the Luddites rebelled. Violence against machines was not their first move but the last resort. As early as 1778 the stockingers had attempted but failed to get an act through parliament regulating the "art and mystery of framework knitting". The Luddites were highly organised, they nicknamed their fictional leader Nedd Ludd to protect their anonymity. On 11th March 1811 they broke wide knitting frames at a workshop in the village of Arnold in Nottinghamshire, they claimed the frames made poor products devaluing the craft and the owner was employing workers who had not completed the 7 year apprenticeship required by law.
The actions spread to surrounding villages and across the neighboring counties of Derbyshire, Liecestershire and then into the cotton mills of Manchester. Social historians see this is a crucial turning point in the development of a "working class" who became organised and exercised some power. It can be seen as the first step toward trade unions and workers rights. Framebreaking continued for several years, some concessions were made in terms of wages, rights, and release of prisoners accused of being ringleaders and attacks decreased after 1814.
So how does this relate to our situation today? If I choose to use a technology that demands high skill level rather than capital investment and I value self determination in my work, working for myself from home rather than for someone else as an unskilled machine minder then perhaps I do owe something to Nedd Ludd whoever he was. How remarkably similar this all sounds to the words of William Morris 100 years ago, both the honour of handwork and the social effects of labour management. How similar also to the recent books by Richard Sennett and particularly Mathew Crawford, "The case for working with your hands, or why office work is bad for you and fixing things feels good"
If we do choose to celebrate craft and Luddism though I feel it is very important that we do not blindly reject new technology and we are not perceived as backward looking. The internet has enabled many people to take that step away from working in the office to working from home, new technology can be be a change for good or bad, it is up to us to choose an appropriate technology and look hard at who benefits and who looses out of the different options available. Today is little different in many ways to 1811, we have to choose how we want to work, we spend a significant proportion of our lives and energy in our work, it is important that it should be empowering, life affirming, useful and productive.
Lots of info on Luddites on the web but this is better than most.
In modern usage in the UK to call someone a Luddite can be a slightly derogatory term used to imply someone is against all change and blindly rejects any complex modern technology in favour of older simpler technology. Some people on the other hand are proud to describe themselves as Luddites and feel that it is about valuing the things that are important in life.
A very brief history of the Luddites; in the late 1700's a host of new inventions threatened to transform the textile industry which up to then had been a skilled hand craft undertaken by self employed artisans. 1764 the spinning jenny, then Arkwright's water frame 1769 installed in the first real factories just down the road from me at Cromford Mill. The mill started employing 200 people mostly women and children the youngest being aged just 7 years old.
At this time weaving was undertaken by highly skilled and respected craftspeople who served a minimum 7 year apprenticeship. 1785 the first power loom appeared, by 1850 there would be 260,000 in operation in England and in 1811 the writing was on the wall.
The change in lifestyle is hard to imagine, the hand loom weavers worked from home with their families around them. The looms tended to be upstairs in front of long windows since before electric light, natural light regulated work. This is Edward Eccles the last handloom weaver in Darwen, Lancs.
The weavers cottages are instantly recognisable today by the rows of upstairs windows.
Would you rather work in the home above as a self employed skilled professional or in the factory below as an unskilled machine minder with low wages and few employment rights?
History is often taught as if this change was a positive development as it helped UK Plc on its road to world domination and produced goods that could be sold for less money. I feel differently but will try to stay dispassionate. From the Luddites point of view it was not about being against all technology it was about working conditions, the replacement of highly skilled work with low skilled and clearly lower wages.
My personal view is that the loss of social status and the difference between doing a job that is valued, which you trained for years to be good at and valued for are as important as the money. It was about power, in the craft model the artisan was empowered, in factory production all power lay with the factory owner. So the Luddites rebelled. Violence against machines was not their first move but the last resort. As early as 1778 the stockingers had attempted but failed to get an act through parliament regulating the "art and mystery of framework knitting". The Luddites were highly organised, they nicknamed their fictional leader Nedd Ludd to protect their anonymity. On 11th March 1811 they broke wide knitting frames at a workshop in the village of Arnold in Nottinghamshire, they claimed the frames made poor products devaluing the craft and the owner was employing workers who had not completed the 7 year apprenticeship required by law.
The actions spread to surrounding villages and across the neighboring counties of Derbyshire, Liecestershire and then into the cotton mills of Manchester. Social historians see this is a crucial turning point in the development of a "working class" who became organised and exercised some power. It can be seen as the first step toward trade unions and workers rights. Framebreaking continued for several years, some concessions were made in terms of wages, rights, and release of prisoners accused of being ringleaders and attacks decreased after 1814.
So how does this relate to our situation today? If I choose to use a technology that demands high skill level rather than capital investment and I value self determination in my work, working for myself from home rather than for someone else as an unskilled machine minder then perhaps I do owe something to Nedd Ludd whoever he was. How remarkably similar this all sounds to the words of William Morris 100 years ago, both the honour of handwork and the social effects of labour management. How similar also to the recent books by Richard Sennett and particularly Mathew Crawford, "The case for working with your hands, or why office work is bad for you and fixing things feels good"
If we do choose to celebrate craft and Luddism though I feel it is very important that we do not blindly reject new technology and we are not perceived as backward looking. The internet has enabled many people to take that step away from working in the office to working from home, new technology can be be a change for good or bad, it is up to us to choose an appropriate technology and look hard at who benefits and who looses out of the different options available. Today is little different in many ways to 1811, we have to choose how we want to work, we spend a significant proportion of our lives and energy in our work, it is important that it should be empowering, life affirming, useful and productive.
Lots of info on Luddites on the web but this is better than most.
Tuesday, 17 May 2011 12:33
Last Wednesday 11th May leaders of the UK craft world came together to discuss issues or craft skills training and how to address them, it was an inspiring and positive day. We had over 100 delegates mostly chairs of the various craft organisations from the weavers spinners and dyers, basketmakers and craft potters to blacksmiths and the Royal College of Needlework.
We discussed first sharing good practice, many of these organisations have been working for years often in difficult circumstances trying to ensure that the skills of their craft are passed on. We wanted to hear about what was working and why it worked. There were some great ideas which could be shared from one craft to another.
The second question we again discussed in our round table groups was "What are the issues facing transfer of craft skills?" We wanted to know difficulties folk had faced, what were the problems that needed addressing.
The last and most important session was to discuss what needed to be done to address those issues. After 30 minutes free ranging discussion each table had 10 minutes to pick out 5 key points and write them on flip chart paper. Then each delegate had 6 dots which they could go round the room and put on things they felt most passionately about. We have a lot of number crunching to do but this will eventually give a report which shows clearly a range of issues people felt were important but also a hierarchy so we can get on with addressing the most important first. This was a sheet from one table.
HCA over the last few years have been involved in a lot of consultations and often we leave wondering if anything will ever come out of the time we have given. We were very keen for this not to be a talking shop. The tremendous turn out of leaders of all the associations and the strength of feeling mean that the report will genuinely be the voice of the sector. Who will listen? Well there may be some things HCA can take action on ourselves but we also have a key ally in John Hayes the skills minister who is very keen to hear what the priorities of the sector are and to address them. He was meant to be with us on the day but was called away last minute. He was able to record the speech he had prepared and we showed that on the day, the transcript is here and the film of the speech is now on the HCA homepage here. Equally important the lead official in BIS tasked with carrying out the ministers requests, Jonathan Yewdall, is also passionate about traditional crafts and was with us all day. He not only joined int he conversations to get a real hands on view of the issues under discussion but also took questions after the ministers speech.
We have had a deluge of correspondence following the day and have a lot of work now to get that report out, in the meantime I have a presentation to write for the ITES conference at Lincoln on Thursday and it would be nice to get one day in the workshop this week.
"It was just astounding that so many people came and gave their time, felt so passionately, and contributed so much to the day. I went away feeling that your organisation is full of life and positivity."
"It was a great day and really informative"
"A fascinating series of discussions and a really interesting day!"
At the end of the day we were treated to a tasting of the Balvenie single malt scotch whisky with a very entertaing presentation about the skills and crafts which go into it's production. We started on 12 yr olds and worked our way up the table to my personal favourite a 21 year old sherry cask. It was a lovely informal way to end the day and we were deeply grateful to the Balvenie for sponsoring the whole event.
Another report on the Craft and Design blog here
Thanks to Joel Virgo our volunteer photographer on the day for images, Jan Lasnon of craft and design magazine for two of her images, Beth Tilston for filming (youtube to follow) Patricia and Sally for superb event organisation and the Balvenie for making it all possible.
"It was just astounding that so many people came and gave their time, felt so passionately, and contributed so much to the day. I went away feeling that your organisation is full of life and positivity."
"It was a great day and really informative"
"A fascinating series of discussions and a really interesting day!"
At the end of the day we were treated to a tasting of the Balvenie single malt scotch whisky with a very entertaing presentation about the skills and crafts which go into it's production. We started on 12 yr olds and worked our way up the table to my personal favourite a 21 year old sherry cask. It was a lovely informal way to end the day and we were deeply grateful to the Balvenie for sponsoring the whole event.
Another report on the Craft and Design blog here
Thanks to Joel Virgo our volunteer photographer on the day for images, Jan Lasnon of craft and design magazine for two of her images, Beth Tilston for filming (youtube to follow) Patricia and Sally for superb event organisation and the Balvenie for making it all possible.
Read more: http://feedproxy.google.com/~r/traditionalcraftsblog/~3/USUW1e40rkI/craft-skills-forum.html
Sunday, 15 May 2011 18:12
‘This is a memorial to all the anonymous craftsmen that over the centuries have fashioned the manmade wonders of the world…
The craftsman’s anonymity I find especially resonant in an age of the celebrity artist.’
The craftsman’s anonymity I find especially resonant in an age of the celebrity artist.’
It's not often I look forward to a big London show by a turner prize winning artist but there is a show in October I am excited about already. Generally the works of big name contemporary artists Emin, Lucas, Hirst et al don't do much for me. Though I admired the craftsmanship of Hirst's diamond scull it was the work done by unknown craftsmen in Birmingham's Jewelry quarter that impressed.
So who is this artist and what's the show?
Tomb of the Unknown Craftsman by Grayson Perry is at the British Museum in October and will feature items from the collections there made by unknown craftspeople from centuries past.
"Grayson Perry curates an installation of his new works alongside objects by unknown craftsmen throughout history from the British Museum’s collection. He will explore a range of themes connected with notions of craftsmanship and sacred journeys – from shamanism, magic and holy relics to motorbikes, identity and contemporary culture."
It could be crass if done by another artist but Perry really does have a good understanding of and respect for traditional craftsmanship. This is one of my favourite articles of his on the subject written in 2005. Perry's blog (or should I say the blog of Alan Measles, Grayson's teddy bear/god figure) is always an entertaining read, sometimes controversial, often thought provoking. He has started dropping hints about what will be in the exhibition and my guess is that it is going to be good.
The title brings to mind a book which was a great introduction for me to ideas about beauty and meaning in traditional crafts. The Unknown Craftsman by Soetsu Yanagi
"If we were to select a hundred examples of the most beautiful craft out of the past and present, 99%, no possibly 100%, would be unsigned."
Many of the craftspeople that I admire the most are the unknown tradespeople, the folk that made Hirst's scull, the folk that made the lace for the royal wedding dress, the skilled artisans at Wedgewood and Crown Derby. These folk just get on with the job of making things well, quickly efficiently with skill.
As Perry says this is "especially resonant in an age of the celebrity artist" or actually we are as Warholl suggested we would be, in the age of the celebrity full stop. We live in a time when fame comes from appearance on reality TV shows and anyone can have their 15 minutes of fame if they want it. Few people make anything or can explain to you in simple words what they actuallydo for a job these quiet anonymous craftspeople seem to offer so much more reality.
Saturday, 14 May 2011 17:16
For those that were not at the HCA skills forum at Chelsea College last Wednesday, or for those that were and would like a transcript, this is John Hayes speech. We felt it was enormously positive, at last we have someone in a position to make a difference who really understands and values heritage crafts.
John Hayes Speech at HCA skills forum
Good afternoon everyone. I am delighted to be able to send this personal message to your forum. Previous generations understood the value of craft, and I want you to know, that I know, that it’s value is undiminished. Those that are preoccupied with the soulless ubiquity which is the antithesis of heritage crafts won’t or can’t grasp the hunger for that which is made with care, precision and style.
It is through the union between art and craft that what we use becomes what we value. It’s time to relearn, there is much more to heritage crafts than a sentimental attachment to what was, they are for then and now and they provide markets for more than 10,000 businesses and work for nearly 90,000 people. The time when people are at last coming to realise that practical skills can provide a secure route to success in life, heritage crafts are living models of how such skills can be most effectively acquired.
Of course the heritage crafts do something more important even than that. They remind us of the British people’s latent capacity to acquire and apply skills in ways that made this country a great manufacturing power in the past and can, and will, do so again in the future.
Heritage crafts deserve to be encouraged and there are three basic ways which I want us to start to do that immediately:
First at present we have no clear picture of the sector skills needs including those of crafts which are in danger of dying out. and of where the strongest opportunities for growth and job creation lie. That is no basis on which to either make policies to promote craft or to encourage more young people to enter the sector. So there is an urgent mapping exercise to be undertaken and it will be undertaken.
Second we must make sure that everyone is made aware of the importance of heritage crafts in modern Britain, and the opportunities they offer to young people of talent and ambition. We don’t start from scratch here do we, for example the Balvenie masters of craft awards in which the HCA is collaborating closely will be bestowed at the start of June and will be a great step forward in raising the profile and status of heritage crafts. They have my full support. We should do much more to support and build on initiatives like this, and that’s why I am leading work to develop a new framework for the recognition and celebration of craft. The aim will be to raise the status of craft and make people know that achieving craft skills is as important, perhaps more important, than academic prowess alone. I want also to ensure that guilds and livery companies can help to sustain heritage crafts in the same way that bodies like the law society and the royal college of surgeons help to bind other professions together and protect their interests.
Third, we must ensure that heritage craft skills benefit from the full measures that are already in place, for example the government has protected the budget for informal adult community learning, and there is a great opportunity for heritage crafts here. Informal learning can be the first step towards discovering, or developing a new talent, an aptitude for craft and the start of the journey that leads to a new fulfilling career for some. The next step is often an apprenticeship. Apprenticeships of one sort or another have been the main route into craft since early times, and they remain a proven way to master a skill. The government has committed itself to building more apprenticeships in Britain than ever before. In the CSR and the budget we allocated extra resources to ensuring that apprenticeship opportunities are spread across sectors and across Britain. I want a new generation of apprentices , learning skills, getting and keeping jobs, building Britain’s prosperity. It is clearly in the heritage crafts interest to take advantage of that extra capacity.
You know heritage craft say much about our country. They illustrate just what can be done when people master a competence that has both utility and more than that has beauty. I make no apologies for making the link between craft and style.
I hope that brief summary provides a clear indication of just how seriously I take the issue of heritage crafts. Not just their preservation but the active promotion of craft skills. Craft is like a golden thread that links our past present and future and this is a timely reminder that the diversity and individuality of craft mirror the qualities of the British people themselves. I’m determined that the British people through the acquisition of practical skills should be given every chance to succeed.
John Hayes Minister of State for Further Education, Skills and Lifelong Learning 11/05/2011
The video of the speech is now available at the HCA homepage here
The video of the speech is now available at the HCA homepage here
Thursday, 05 May 2011 19:01
The crafts skills forum next week is now fully booked. We have over 100 delegates representing a huge range of different crafts and associations. We will be discussing how best to ensure skills are passed on and celebrated in the next generation. We hope that there will be a consensus in the room and that the various different crafts can agree a range of key objectives for craft skills training. This will feed into developing government policy as we have the officials working on that policy with us all day. Promises to be an exciting day.
http://www.heritagecrafts.org.uk/events.html
If you missed out we will in due course publish a full report though as with everything HCA does by voluntary input it will take time.
Tuesday, 26 April 2011 14:15
The Heritage Crafts Association have been working with Government to highlight some of the issues facing craftspeople in the UK. The Skills minister John Hayes and his officials have been very receptive.
HCA have now organised a craft skills forum where craftspeople of all different disciplines can come together to discuss issues facing the sector and feed directly into the process of developing new strategy to support and promote the crafts. John Hayes will be speaking on the day as will Jo Reilly of Heritage Lottery Fund. Thanks to generous sponsorship from the Balvenie, the most handcrafted single malt Scotch whisky the whole event is free including lunch and at the end of the day there will be an optional whisky tasting.
If you care about the future of your craft, please consider coming and sharing your views with others. The day will involve lots of facilitated discussion groups so everyone will get the chance to air their feelings and contribute and everything will be noted down to feed into a cohesive voice of the sector. This strong voice is what we have been missing and part of the reason why crafts have been rather overlooked. So whether you are a quilter, blacksmith, potter, or basketmaker we hope you will join us for what promises to be a very important day for the crafts.
Chelsea College of Art and Design, 45 Millbank, London SW1P 4RL
Want to shape the future of traditional craft skills?
With generous support from The Balvenie, the Heritage Crafts Association has organised a Skills Forum on 11 May 2011 at Chelsea College of Art and Design, London. It is free to attend and the afternoon will include:
The HCA are looking for craftspeople, representatives from craft groups, guilds and membership organisations, livery companies, training providers, government bodies and support organisations to participate. We need you to debate, share training experience and set in progress a strategy for ensuring the continuance of traditional craft skills training in the UK.
Book your free ticket here
HCA have now organised a craft skills forum where craftspeople of all different disciplines can come together to discuss issues facing the sector and feed directly into the process of developing new strategy to support and promote the crafts. John Hayes will be speaking on the day as will Jo Reilly of Heritage Lottery Fund. Thanks to generous sponsorship from the Balvenie, the most handcrafted single malt Scotch whisky the whole event is free including lunch and at the end of the day there will be an optional whisky tasting.
If you care about the future of your craft, please consider coming and sharing your views with others. The day will involve lots of facilitated discussion groups so everyone will get the chance to air their feelings and contribute and everything will be noted down to feed into a cohesive voice of the sector. This strong voice is what we have been missing and part of the reason why crafts have been rather overlooked. So whether you are a quilter, blacksmith, potter, or basketmaker we hope you will join us for what promises to be a very important day for the crafts.
HCA Skills Forum
Wednesday 11 May 2011, 11.45am to 6pmChelsea College of Art and Design, 45 Millbank, London SW1P 4RL
Want to shape the future of traditional craft skills?
With generous support from The Balvenie, the Heritage Crafts Association has organised a Skills Forum on 11 May 2011 at Chelsea College of Art and Design, London. It is free to attend and the afternoon will include:
- Keynote speech by Jo Reilly, Heritage Lottery Fund
- Speech on craft skills by John Hayes Minister of State for Further Education, Skills and Lifelong Learning
- Discussions facilitated by Hilary Jennings, Crafts Consultant
- Summary by Robin Wood, Chair, Heritage Crafts Association
- Networking with other industry professionals
- Whisky tasting following the Skills Forum, kindly arranged by The Balvenie, the most handcrafted Single Malt Scotch Whisky
The HCA are looking for craftspeople, representatives from craft groups, guilds and membership organisations, livery companies, training providers, government bodies and support organisations to participate. We need you to debate, share training experience and set in progress a strategy for ensuring the continuance of traditional craft skills training in the UK.
Book your free ticket here
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