dar t ing tonlife after

the newsletter of the dartingtoncollege of arts association

issue 29winter/spring ’07

conten ts

ed i to r ia l

making the vision a reality

- the re-creation of the roundhouse 3

is arts management the field for you? 5

graduation & awards ceremony 2006 6/7

is the college moving 9

obituary - michael lane 10

cartoon 11where are they now?

news in brief 12

e j.woodcock@dartington.ac.uk

By now you will probably have heard ofthe proposed plans for the relocation ofDartington College of Arts. The Principal,Professor Andrew Brewerton, takes theopportunity to communicate to you thereasons which have led to this decision.

Marcus Davey took his first steps in theworld of arts management immediatelyafter graduating, first with Dartington Arts,then the Dartington International SummerSchool. He later journeyed east, to takeup the post of Artistic Director of theNorfolk and Norwich Festival, beforeheading for London, where he is nowChief Executive of the Roundhouse. Hetells the story of the year leading up to itsofficial re-opening.

Amber Stevens, a more recent graduate,decided, like Marcus, to aim at once for acareer in arts management. Two years on,she has recently taken up the post ofMarketing Manager of the Pearl Foundation,designed to further social inclusion andparticipation of the Chinese community inBritain. She describes her pathway fromgraduation to her present job.

With the death of Michael Lane,Dartington lost someone who had helpedto lay the foundations of the presentmusic courses. Philip White pays tributeto him. In January, Jack Dobbs, formerHead of Music, lost his wife Ruth in atragic accident. Ruth was very much apart of Dartington and will be sadlymissed.

Finally, we offer our congratulations, and awarm welcome, to the newest members ofthe Dartington College of Arts Association,the graduates of 2006, and wish them allthe best for the future.

Happy reading,

Jo Woodcock

To obtain further copies orfor more information about

the Association pleasecontact the Editor.

issue number 2 9

winter/spring 2007

newsletter Dartington College of Arts

Association

this newsletter is produced at:Dartington College of Arts,

Totnes, Devon TQ9 6EJt 01803 862224 f 01803 861666

editor Jo Woodcock

design Sue Snell, Scriveners

print Nick Walker Print

cover picture:Andrew Westerside, MA Devised

Theatre, in his degree performance,part of OutThere, the platform of MA

work in September 2006. photo : Kate Mount

The views expressed in articles arethose of the individual

authors and do not necessarilyreflect those of

Dartington College of Arts or the DCA Association.

I quite often imagine that instead of lookingout of my office onto railway tracks andstorage yards that my vision is lost inDartington views. The Roundhouse is in theheart of Camden, just up from Camden Townand surrounded by roads, railway, offices,shops and houses. It is a truly remarkableurban landscape, filled with zillions of peopleof all ages and backgrounds. The local schoolhas over 100 languages spoken as firstlanguages and over 30% of its pupils arerefugees or asylum seekers. I can’t think ofany more diverse area in the world. We arealso at a boundary between the rich and thepoor, between Primrose Hill (many, many richpeople) and Chalk Farm ward (which is in thebottom 2% of deprivation in Europe).

We re-opened the Roundhouse on 1 June2006 following a two-year, £30m rebuild.The Roundhouse was fairly infamous duringthe late 1960s, 70s and early 80s as acutting edge cultural centre, where Pink Floydgave their first major gig, the Doors gave theironly London performances and Peter Brookfounded his theatre company. It was built asan engine-maintenance shed in 1846, andonly became an arts centre in 1966, but by1983 it was redundant. Seeing it lying emptyfor fifteen years, most local people felt thatthe Roundhouse would never again see anaudience but, thanks to a local businessman(a toy maker), the Roundhouse was savedwith a new vision, in fact a double vision. Hewanted the road level spaces to be a creative

Marcus Davey left

Dartington College of

Arts in 1989 but

remained on the Estate,

very shortly becoming

Director of Dartington

Arts. Soon he was also

the Administrator of

Dartington International

Summer School as well

as Director of Concerts

for Exeter University. In

1995 he went on to

become the Artistic

Director and Chief

Executive of Norfolk and

Norwich Festival.

During his four years in

Norwich he created a

new Dance Festival, a

wide ranging arts

education programme,

an inter-festival

orchestral series, and

commissioned more

than 60 new works in

music, dance and the

visual arts. In 1999 he

became Chief Executive

at the Roundhouse,

which was officially re-

opened in June 2006.

Marcus describes where

the vision originated

and how it was finally

realized.

3

making the vision a reality

the re-creation ofthe roundhouse

Culmination of the BEAT percussion project at the Roundhouse

4

centre for young people and to bring the mainarea back to life as a performance space. Thatwas ten years ago. I started here in earlyAugust 1999, with a mission to build theorganisation, oversee the fundraising andmanage the capital and revenue projects. I hadno idea how long it would take but I think it isfair to say it has taken longer than I thought. So seven years on, and the last year has gotto be one of the most extraordinary I haveever seen. In October 2005 I became a Dadfor the first time, without doubt the mostemotional moment of my life, and the yearthat has followed has been what I can onlydescribe as an awakening. At 5 o’clock onthe 1 June, the day of the official opening ofthe Roundhouse, we still did not have alicence. We also did not have the districtsurveyor sign-off, nor the architect’scertificate for Practical Completion. Withoutthese documents we would not be able toopen. The builders were still working away,laying floors, and arranging lights. But wewere expecting 900 people to arrive shortlyfor the opening show. With minutes to spareeverything fell into place and, with tears inour eyes, we opened the doors at 5.30 to aslightly bemused audience. A few days laterwe had our funders’ launch, followed the nextday by our press launch. The show wasFuerzabruta, the new show from the creatorsof the mad Argentinean team De La Guarda.One hundred shows later, 90,000 people hadcome through the doors. On 24 July we launched the RoundhouseStudios, our Creative Centre for young people.When I was a student at Dartington, weundertook a one-term placement in Bristol aspart of our Music in Society course. Withfriends Dru and Leigh I worked in schools,arts centres and pubs (I am sure we did somework in pubs…!). This was nineteen yearsago but, unless my memory serves me badly,we talked about a dream, about having avalley where we would run a centre for youngpeople to work in music and the arts. I oftenthink about that and feel so chuffed to be in abuilding, perhaps not quite the size of avalley, running something so special for youngpeople. The Roundhouse Studios hasrecording studios, a radio station(www.roundhouseradio.org.uk), a TV studio,practice and midi suite rooms, performancespaces, new media suites and much more.Linked to the Main Space it is a uniquemodel for how young people, and particularlythose who have been excluded, can learnnew skills – artistic, creative, social andtechnical – and start a journey back into themainstream of life.As I write this, I am sitting in my Roundhouseoffice and we are halfway through the BBC

Electric Proms, nearly five months afteropening. The Electric Proms was an idea Ihad back in the summer of 1999, when Isaw an advert on television for the classicalmusic proms. I thought it would be amazingto have a contemporary music festival in theoriginal round venue in London. The Festivalidea was to involve young people creatively atits very heart and to present really amazinggigs in our main space. I went to the BBCwith the idea, but although they loved it, theRoundhouse was not to be ready for a furtherseven years. But it is happening. It is beingbroadcast on all major BBC channels, and atits heart is an Under 18’s Electric Proms,which is wonderful. I have just watched thedress rehearsal for James Brown, his 19piece band, the London Gospel Choir and theSugarbabes. Yesterday we had Damon Albarnand tomorrow the Guillemots. It has been well worth the two years ofbuilding works, two years of nightmares,challenges and very little good news. But wehave ended up with a model of what a 21stcentury ar ts organisation can be. TheRoundhouse is a centre for young people witha world-class performance space, a centrewhere events and programmes cross-subsidise and cross-support each other and Istill can’t believe that I am being allowed towork here.

Do come and visit if you can.

Marcus DaveyOctober 2006

above: Marcus having justdelivered his speech onopening night

below right top: MarcusDavey with someRoundhouse Ambassadors onopening night: Terry Gilliam,Helen Mirren and EddieIzzard

below right bottom:Marcus with his wife, Tatty,on opening night

How did you go about getting a job in artsmanagement?In my final term I started applying for artsmanagement jobs, through trade magazineslike Arts Professional and Arts Industry. TheArts Management course also kept meinformed of all kinds of opportunities in theindustry. One of my tutors, Alan Boldon,suggested that I should subscribe to ‘ArtsJobs’ through the Arts Council website. It wasthrough ‘Arts Jobs’ that I found my first job atArtlandish, a community arts group based inLincolnshire. I spent a great deal of time on my applicationto Artlandish, trying to match the ‘essentials’to something I had done for my degree, orduring voluntary work. The presentationrequired for the interview, ‘How would youget a business sponsor to support one ofArtlandish’s projects?’ was nerve wrackingbut when I was offered the job I felt they hadseen something of what I was capable of, so Ifelt more confident in the role.

Do you find yourself using skills you learnt atDartington? What are they and how have youapplied them?Yes, all the time. Having decided I wanted towork in Arts Marketing specifically, I was ableto tailor all my projects towards that. For myContextual Enquiry Project (CEP) I spent threemonths at the Sibelius Academy in Helsinki,on the Arts Management MA programme. Icompleted two courses, in marketing andaudience development, and spent a week atthe Arts Council of Finland. I use what Ilearnt from these particular experiences allthe time to promote our services. My main CEP project was working for MusicExport Finland as an assistant, which gaveme hands-on experience writ ing pressreleases and liaising with busy musicians andmanagers internationally. I have often had torepresent both Ar tlandish and theorganisation in which I am currentlyemployed at national conferences.

5

Amber Stevens

decided long before

graduating in 2004

that her career,

starting immediately,

would be in arts

management. She felt

that, after three years

of study and financial

investment, she just

wanted to get out

there and ‘make

things happen’. She

offers a nuts and bolts

guide to others looking

for their first job in the

industry.

is arts management the field for you?

Arts Council Diversity Director Tony Panayiotou presenting Sarah Champion from the Chinese Arts Centre with the CreativeExcellence Award for their national tour of China Live

continued on page 8

6

graduation & awardsceremony2006

l to r: Jeremy Holloway, Tom Nolan, Nell Harrison

l to r: Ellie Clavell Bate, Maisie Hunt, Margaret Vassie

l to r: Alison, Claire-Marie and Brian Ley

l to r: Sophie Bruton, Helen Jones

Claire-Marie Ley graduated in 2006, forty-two yearsafter her mother, Alison, had completed her time atDartington. They took the opportunity to reflect onthe similarity of their experiences.Thirty seven pages of notes, scribbled in a schoolexercise book, are the summation of my written workwhen I was a music student at Dartington from 1962to 1964.I am not revealing this because I, or Claire-Marie (mydaughter), think that such an achievement is in anyway superior or inferior to the work undertaken bytoday’s students. It is revealed because we bothrecognise that whilst the requirement for the writtenword has totally changed over the passage of time, themost important lessons we learned have remained thesame.These lessons Dartington teaches well and havenothing to do with our written output, but rather whatwe learnt about valuing ourselves and about our beliefin ourselves, about making our creative lives work,about being given the freedom to experiment and toexpress ourselves, about learning to understandanother’s perspective, about tolerance, about care,about respect, about dealing with failure and success.No, this is not airy-fairy Dartington speak, becausethese lessons, once experienced, lead to successfullives and careers. I have almost retired from a fulfilingand exciting life spent in music education and Claire-Marie feels that she has been launched from theenviable Dartington spring board which will enable herto be true to herself in all she chooses to do.

Alison (née Secrett) and Claire-Marie Ley.

7

l to r: Sylvia Rimat, Amy Jones, Rachel Cornish

Sam Cullen

l to r: Rowena Davis, Caroline Keane, Victoria Curtis, Julian Munday

Tim Etchells Gavin Bryars Lea Anderson

Willow de la Roche

Jin Xing

Honorary Doctorates of theUniversity of Plymouth wereawarded to Tim Etchells, GavinBryars, Jin Xing and Lea Anderson.

Gavin Bryars' composition 'Incipit VitaNova' (1989) was performed by YulaAndrews (soprano), Griselda Sanderson (violin),Christopher Pressler (viola) and JanePirie (cello).

Processional and recessional musicwas specially commissioned for theceremony, composed by Joe Hughes(2005 graduate) and performed bythe Dartington College of Ar tsensemble.

8

The Arts Management and Cultural Policycourses at Dartington made me feel confidentdiscussing and debating, skills which haveproved really important at national events.Dar tington was also really great fornetworking. Guest lecturers from arts venuesand organisations could pass on theirexperience of managing artists and events aswell as providing contacts. Talking to thesepeople after the session also proved useful.It's a ridiculously competitive profession,ambition goes a long way, and besides theywouldn't have come all the way to the bottomof the country if they hadn't had some interestin the magic of Dartington. It’s a name whichalways arouses interest amongst othersworking in the arts.

Would any other skills have been useful?A short course in graphics or photographywould have been very useful. These are skillsI've needed to develop since I graduated,along with database management andaudience research skills, but if I'm completelyhonest I probably wouldn't have shown muchinterest at the time. It's really hard to getcreative people thinking about those kinds ofthings when all they want to do is put ongreat arts events.

What does your job involve?My job at Artlandish was to devise andimplement the marketing plan for theorganisation. This meant overseeing allmarketing activities, identifying ways of makingeach event more successful and established, aswell as attracting new audiences. My roleinvolved working with the press anddistributing promotional material to the righttarget groups to raise attendance and interestabout the organisation in the region. I also managed the Creative IndustriesProgramme which provided artists withregular networking opportunities, includingworkshops with the Arts Council, Arts &Business, and Inland Revenue, to give themmore information about how they coulddevelop and what was on offer. My current job is Marketing Manager for ThePearl Foundation, which is designed to furthersocial inclusion and participation of theChinese community in Britain, both culturallyand economically. We produce ChinatownThe Magazine, the main media outlet for allthings Chinese in the UK, as well as a wholerange of events, not all of which are arts-based, though there's always a creative edge.We manage The Pearl Awards, an annualceremony celebrating Chinese achievements,as well as The Pearl Cuisine Week. At themoment we are also working on a musicshowcase in Manchester and a Chinesefashion show in London. Most of our eventsinclude performers and musicians. My role

involves liaising with them, programming andfinding the right performers for the right eventas well as generally raising the profile of themagazine and the organisation. Working for amedia organisation has given me theopportunity to hone my business skills as wellas seeing things from a press perspective,which has helped with my general marketingskills. All our events are quite high profile andinvolve liaising with national media, so it isreally important to be organised and to meetdeadlines.

Can you describe a typical day?For most people working in the creative sectorthere's no such thing as a typical day.Generally the day will involve progressingwith the events currently taking place,collecting features for the magazine andlooking for new funding opportunities in orderto take on more projects. There's always adiverse range of events on at any one time soit’s important to be able to alternate quicklybetween, for example, a one-night musicshowcase at a nightclub in Manchester, and acuisine week in London. Different events havedifferent aims and outcomes. I usually spenda certain amount of time during the week ofeach event communicating with everyoneworking on that particular event. Day to daymy tasks vary: one day I might on a trainingcourse, the next I might be looking for avenue for a project, or submitting a fundingbid, i t al l depends what needs to beprioritised nearer the time.

Which part of your job gives you the mostsatisfaction?Live events give me the most satisfaction,because I love seeing a project come together.When we put on a fantastic event whichattracts a large audience, and people tell youhow much they've enjoyed themselves, youknow you've done something right. For someof the audience it will have been a whole newexperience, something which only happenedbecause it was marketed in the right way.Often people don’t attend events and artsactivities because of lack of communicationand awareness, which is where goodmarketing comes in. After events I've beeninvolved in with The Pearl Foundation peoplego away with a genuine interest in authenticChinese culture and usually end upsubscribing to the magazine, staying involvedwith us, or coming to other events. Becausethe organisation is unique, it sells itself.

Finally, we would love to hear from anyChinese artists, performers, or writers atDartington.

Artlandish: www.artlandish.org/home.htmThe Pearl foundation:www.thepearlfoundation.org.uk

Chinese Live Art practitionersand performance artists

9

the move

You will no doubt be aware of recent mediaexposure regarding the future of the College,and I thought you might appreciate an updateas to where things currently stand.

Since my appointment as Principal inSeptember 2004, and indeed prior to that,the College has been addressing a range ofaccumulated issues that had been long yearsin the making, especially with regard to ourresidential and teaching accommodation.

The College has invested in excess of £5m incapital upgrade and new build of its studiofacilities, resulting in first class learningenvironments at Lower Close and Aller Park(Hexagon and Gymnasium buildings) ofwhich we can be justly proud. In achievingthis, the College spent its reserves, borrowedas much as was sensible, and was awardedpoor estates funding by the Higher EducationFunding Council for England (HEFCE).

In March 2006 an independent report on ourlonger-term business sustainability as a smallspecial ist col lege was completed withindependent external advice, and supportedby HEFCE. The plan was predicated upon ourdistinctive, and distinguished, academicpurpose and vision, and showed that theCollege was indeed viable in its historicallocation subject to certain conditions. Someof these conditions applied to the College,others to The Dartington Hall Trust, fromwhich - almost uniquely in the HigherEducation sector - we lease all our premises,and which has provided our studentresidential accommodation mostly at Foxhole.A major condition required the College/Trustpartnership to provide a solution to theresidences problem - a problem both ofquality and capacity that is affecting ourability to recruit and retain students, and thatcan only be resolved by a major capitalproject. Beyond this, there remain additionalcapital requirements to complete the upgradeof our learning environment. The totalinvestment required to resolve this estateslegacy amounts to c £20m.

Over the past two years, we have workedunstintingly with The Trust to find a solution

to the major residences issue. Despite theirinit ial confidence, The Trust last yearconcluded that it did not have the financialresources to fund this development, or tounderwrite the financial risk, and we havefailed to interest a third party developer onterms that The Trust and College can afford.

We cannot therefore meet fundamentalconditions established last March for ourlong-term sustainability on The DartingtonHall Estate and, in such circumstances, wehave since last September had to face theunthinkable prospect of re-locating theCollege in order to ensure its survival.

We have done so in the face of what I hopeyou would agree would be a stil l moreunacceptable alternative - namely a lingeringthough certain prospect of demise.

That is the urgent and difficult context for ourcurrent discussions with University CollegeFalmouth, the University of Plymouth andother parties, in which I would like here toacknowledge the commitment and support ofHEFCE and the South West RegionalDevelopment Agency.

I should emphasise that we are not yet in aposition to predict with certainty the outcomeof these discussions. In any event, a movewould not be achievable before September2009 at the very earliest. 2010 might seema more realistic timescale.

I am very grateful for the many letters ofsupport and affirmation that the College hasreceived, from far and wide, in the bright (ifnot always illuminating) glare of the mediaand political spotlights on Dartington, and Ithank particularly those alumni who haveraised their pens and their voices on ourbehalf.

As soon as we have clarity on realisticoptions for the future of the College, I shall bein touch with you again.

Professor Andrew BrewertonPrincipal

a message to all

alumni of Dartington

College of Arts from

the Principal

10

Michael Lane, who died in September 2006,was appointed Senior Tutor in charge ofmusic education at Dartington in 1966, laterworking with David Ward on the UK CarnegieResearch and Development Project, ‘Musicfor Slow Learners’, established in 1968. In1979, Michael became Programme Leader ofthe Dip HE course ‘Music in the Community’,introducing his students to the work of suchleading music educationalists as Kodàly inHungary, and the composer Carl Or ff.Michael even took his students to Salzburg,to observe for themselves the work of the CarlOrff Institute.

Michael’s life-long love of opera also provedbeneficial to the College. In 1972 hecommissioned the composer MalcolmWilliamson to write the opera ‘The Red Sea’,in which students and local schoolchildrentook part. Following this came ‘The MagicFlute’ in 1978, ‘Fidelio’ in 1981 and ‘Noye’sFludde’ in 1983, with local schools againparticipating.

To many people Michael was best known asa conductor, particularly of the DartingtonCommunity Choir, which, under hisleadership, developed from a College choirinto a large body of amateur, non-auditionedsingers, confident enough to tackle works ofgreat complexity. The choir continues to gofrom strength to strength.

As a result of Michael’s long professionalcareer, thousands of students have gone outinto the world with a richer appreciation ofmusic and its place in society. Generations ofchildren and adults of all ages have foundpleasure and fulfilment in their lives becauseof his inspiration and the way he enabledthem to realise their potential as musiciansand personalities. He will be greatly missed.

Jo Woodcock

Michael Lane an appreciation by Philip WhiteThe death of Michael Lane will, I am sure,have left many who knew him feeling a verygreat sense of sadness. Although I was a ‘Prep Course’ student atDartington in the mid-70’s and not part of histutorial set, I felt privileged to have workedunder him, not only as a member of the

College Cantata Choir, but earlier, whenattending King Edward VI CommunityCollege, in Totnes. Michael hadcommissioned Malcolm Williamson to write acantata for local schools (The Red Sea) whichwas such fun to learn, not least because ofMichael’s infectious enthusiasm for a goodproject involving young people. Even to thisday, I remember how he waxed lyrical aboutWilliamson being one of the few (then) livingcomposers who could write a good tune. Ican still remember one of the ‘arias’ frommemory – as much a testament to Michael’stake on a ‘good tune’ as well as the fact thathe made you listen and appreciate all thegood things about what you were learning.

This enthusiasm was just as obvious whenworking with the College choir. A stickler fordetail and getting to the heart of the music,Michael was always able to craf t hisperformances by getting the most out of hissingers and players whilst stretching them totheir limits. I learnt a lot about how to dealwith people from those rehearsals and like tothink that I employ some of his techniqueswith my choir to this day.

When he asked me to write a piece for theCommunity Choir some years ago, I wasabsolutely delighted, not only to have beengiven such an opportunity, but also to havebeen remembered by him. This was perhapsone of Michael’s rare gifts: a sense of lastingfriendship with the people whom he had seencome and go. Ironically, I really got to knowMichael after I had left Devon and started mycareer in London. That I didn’t see or keep intouch with him quite as much as I wouldhave liked is a matter of regret, but I shallalways remember the friendly, informativeChristmas correspondence and, of course, thetimes when we would occasionally meet upat his house on a rare visit to Devon.

Michael was a dear man and a consummatemusician. He will be greatly missed by thosewho worked with and for him, but it shouldgladden us to recognise that knowing Michaelwas to have brushed with a man of greathumanity and decency. Such gifts are rare: letus remember him with affection and warmth,and be thankful that he was a part of ourlives.

Philip White

michael lane1918 – 2006

ob i tua r y

wherearetheynow?

If you have spotted a long-lostfriend on this page and wouldlike to get in touch pleasecontact the editor.

cindersmcleod

Anna Wilkins Heeps2005 Performance Writing graduate,On 6 August 2006 Anna completed the ThreePeaks Walk, which means climbing to thesummits of Pen-y-ghent, Whernside andIngleborough within 12 hours. Anna’s walkraised money for the Foundation for the Studyof Infant Deaths (FSID). Anna said afterwards‘The walk was…a tough experience but nomatter how difficult it became it wasn't worsethan losing a child.’ Photo shows Anna (farright) and her team at the top of peak numbertwo.

Marcus Ford Dip HE Art & Social Context 1982Freelance musician. Marcus' new album, Twelve O'Clock Tales, recorded with Niki King,is now available.

Contact: marcusford@clara.co.ukAndrea Wallace GrantBA (Hons) Theatre 1988Screenwriter, film director and producer (withMark Partridge) of short films, of whichPerfect Day is the latest. It has been screenedat film festivals at home and abroad

Brian SaveryBA (Hons) Theatre + Arts Management 1996

After several years as General Manager ofTamasha Theatre company, Brian has recentlybeen appointed Executive Director ofHampstead Theatre. www.hampsteadtheatre.com/

11

Tim FreeBA (Hons) Theatre 1994

Tim is a freelance actorwho regularly performson permanently mooredwarships. Here is Tim(right) as 'Radar PlotRating Bolton', sailingfor Russia in HMSBelfast, Christmas1943.

news in b r i e fcreative businesses inthe south west given aboostA new service, the ‘Creative EnterpriseGateway’, which officially launched in June,provides all companies in the creative sector,including film makers, arts and craftsbusinesses, architects and performers, with afree hotline, web and email access to anetwork of specialist organisations who canhelp them to grow and develop theirbusinesses. It attempts to bring togetherinformation about the variety of programmesthat already exist in the South West, in orderto make it easier for creative practitioners toaccess support. Key partners behind the service include ArtsCouncil England South West, ArtsMatrix Ltd,Culture South West, South West RegionalDevelopment Agency, and Business Link. Jessica Vallentine, Creative Enterprise Gatewayproject officer says: “Our ultimate aim, throughthe Creative Enterprise Gateway, is to helpthose companies that have their origin increativity to build their potential for sustainablewealth and job creation. There is so muchgreat support on offer, we want to make surethat companies are taking advantage of itwhenever appropriate." For more information or to find out if theCreative Enterprise Gateway can help you, call08450770728, visit www.creativesouthwest.info or email creative@businesswest.co.uk

obituaries...peter kennedyPeter Kennedy, who died in June 2006,moved from London to Dartington in the early1970s, together with his wife Beryl, whosurvives him. Peter had previously been one oftwo fieldworkers for the BBC’s Folk Music andDialect Recording Scheme, and wasresponsible for devising the programme As IRoved Out, which ran from 1953 to 1958. In1975, he published his mammoth collection,Folksongs of Britain and Ireland, and isgenerally credited with redefining the directionof the English folk revival. After his move to

Devon, Peter was responsible for establishingthe Dartington Institute of Traditional Arts,which provided a variety of folk music anddance activities, available to the estate andgeneral public as well as the Collegedepartments. He received a lifetimeachievement award at the Celtic festival inOntario in 2003. We offer sincere condolencesto Beryl Kennedy and to all the family.

brian lethbridgeBrian, a 1983 theatre graduate and amember of the Dartington Playgoers Societyfor 41 years, died in November 2006 after along illness. Brian had been both Chairmanand President of the Playgoers and had actedin or directed around 70 of their productions.Brian’s wife Suzanne died in an accident onDartmoor three years ago but he leaves a son,Duncan, and daughter, Marianne, to whom weoffer our deepest sympathies.

death of ruth dobbs Just a few weeks ago we received the sadnews that Ruth Dobbs had died on 1 January,hit by a bus during a visit to London. DuringJack's years as Director of Music he and Ruthhad lived in the Barton Farmhouse with theirfamily. Ruth became a familiar figure to themany students they welcomed there. She willbe sadly missed. Sincere condolences areoffered to Jack and to their children, from all atthe College and from all the ex-students whoremember Jack and Ruth with great affection.

gradsouthwest : Free website for job opportunities for graduatesGradsouthwest.com is a regional website,developed to help students and graduatesseeking employment in the South West.Registering with Gradsouthwest is easy, it onlytakes seconds, and is completely free.24/7 access to jobs and information. Vacancysearches to your exact requirements. Emailalerts as soon as relevant vacancies appear.Online CV facility. To register go to: www.gradsouthwest.com Click on ‘students and graduates log in here’on the homepage and follow the simple step-by-step instructions.

future dates for your diary

Matthew Marshall - GuitarPlaying solo guitar music fromaround the world.1.10pm Thursday 1st March,Studio 3, DCAprogramme:Jongo - Paulo Bellinati (Brazil)In the Woods - Toru Takemitsu(Japan)Lucid - Michael Hogan (NewZealand)Homage to de Falla - MarekPasieczny (Poland)Usher Waltz, after Edgar AllenPoe - Nikita Koshkin (Russia)

ExhibitionPublic Pages Exhibition of visual textual works at Portland Place Building,University of Plymouth and online 30th March to 13th April 2007 curator: Dr Mark Leahy,Dartington College of Arts

Reading: Lyn Hejinian & Barrett WattenSaturday 31st March 2007 6.30pm Studio 3 Dartington College of Arts ticketing for non-conferencedelegates through DartingtonArts ticket price: £5 / £3.50 part of Poetry and PublicLanguage 2007poetry and poetics conference at School of English, Universityof Plymouth, 30 March to 1st April 2007

M&DE @ Dartingtona residential interdisciplinaryperformance laboratory forprofessional artists 15 - 22 April 2007 full details from:www.musicanddanceexchange.org.uk/index.htm or contact:Lara Riley, Project Co-Ordinator t: 01803 867078 e: l.riley@dartingtonarts.org.uk

South West Soundthe annual music convention for the South-West of England with seminars, presentations,workshops, live music and much more 25 - 28 April 2007 full details from:01803 847074 or visit:www.southwestsound.org.uk/