Creative coppicing – the Bedales way

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By Carter Clothier and Oscar Goldblatt, Block 4

On Wednesday, we, and seven other students got an amazing opportunity to take part in a workshop with The Creative Coppice Company. It was a really fun and productive day and we now have the skills we need to carry out our final BAC project.

Carter

Carter Clothier

For our BAC, Oscar D, Olav and I are making a post and rail fence to surround a new meadow which we will create between the Art & Design building and Outdoor Work. We started the day by learning how to split a piece of chestnut using a hammer and wedges, and we all managed to complete this with ease. We then progressed a little and learnt how to split a much longer bit of chestnut using the same method, but this time we had to split it into four. This was a little trickier and we all ended up with a lot more wasted wood than we would have liked, but nevertheless we all got the hang of it after a few hours.

WP_20170510_14_29_59_Pro cropAfter a well-earned lunch we went back to learn how to finish off the posts and rails. For the posts we had to mark out the location of the mortice and drill 12 holes into the post, this then needed cleaning up with a very sharp chisel. We created six slots for the rail to go into.  This brings me onto the most difficult bit – making the tenons, which is basically a practice of shaping the end of the rail to make it fit into the post. This is usually done with a chainsaw, but in true Bedalian fashion we had to do it the traditional way: using an axe and draw knife.  This slow and painful process consisted of chopping the corners off the quartered bits of chestnut with an axe and then shaving of vast amounts of leftover wood with the draw knife.

This took a long while to get the hang of, but we eventually got it down to about one rail every 25 minutes. By the end we completed around five or six rails. Only 98 more to go…!

Oscar

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Livi, Jamie and I are building a terrace / balcony around the new ODW office as part of our BAC project – the office was refurbished from a grain store by last year’s BAC students.

WP_20170509_10_53_50_Pro cropWe began working on our project by showing Dave, from The Creative Coppice Company, some of our rough sketches and ideas and then we started measuring out some of the sides. Once we had all the sides measured we then calculated that we needed six poles for our design. As a group we started to scrape the bark off the 2 .75m chestnut logs in preparation for marking-out and cutting. Getting set up and trying to ensure all measurements were in the correct orientation on a round pole is very satisfying, yet quite intensive and time-consuming.

However, we feel we picked up enough information to start our projects with confidence. The next step in our project is to dig the holes and position the poles so we can start putting the decking on. We all benefited a lot from this day and I think we would all agree that we would do it again.

The Berlin Painter and His World: Princeton University exhibition

By Alastair Harden, Acting Head of Classics

1On a visit to the British Museum with 6.2 Classical Civilization students in February, after looking at the Parthenon sculptures and the frieze from the Temple of Apollo at Bassae, I brought the class around the Greek Vase galleries. I know these galleries very well, so I confidently strode up to a glass case, ready to wax lyrical on one of the most beautiful pieces on the A-level syllabus: a magnificent volute krater depicting the final duel between Achilles and Hektor. I mentally gathered my notes and got ready to dispense wisdom when – much to my disappointment – the case turned out to be empty. Well, not quite empty: a card read “This vase has been loaned to the Princeton University Art Museum for the exhibition ‘The Berlin Painter and His World’.” This kicked off a very welcome chain of events that led to me trading the Block 3 Parents’ meeting for an aeroplane bound for New Jersey and attending the most important conference and exhibition on Greek Art to be held in a generation.

2I’d heard that Princeton was hosting the first exhibition devoted to a single vase-painter in almost forty years, so I emailed J. Michael Padgett, Princeton’s curator of Classical antiquities, chastising him for ruining my speech about Achilles and Hektor and fondly recalling the afternoon in 2011 when he took me to the store-room under the galleries in the museum at Princeton to examine some fragments for my doctoral dissertation. To my surprise and delight he replied straight away, inviting me to two events: the fizzy ‘gala opening’ of the Berlin Painter exhibition on March 4th, and a star-studded one-day symposium on April 1st. (Well, ‘star-studded’ to Greek Art enthusiasts. Or really to vase-painting enthusiasts. Well, really, to enthusiasts of early Athenian red-figure vase-painting, which thankfully I am.) I expressed my regret that I could go to neither, but after some string-pulling and many apologetic emails to my Block 3 parents I found myself gratefully bound for the symposium.

3‘The Berlin Painter’ is the name given by the Oxford scholar John Davidson Beazley to an otherwise-anonymous painter of the most beautiful painted pottery of the early fifth century B.C.: Beazley grouped together several vases which he judged to have been painted by the same person in a 1911 article entitled ‘The Master of the Berlin Amphora’, and in doing so he effectively initiated the study of Greek vase painting as a major art form. Beazley remained central to the study of Greek vase painting until his death in 1970, and I was working as a researcher at Beazley’s archive in Oxford (www.beazley.ox.ac.uk) when I left academia to come to Bedales.

The Berlin Painter was one of thousands of painters whom Beazley was to identify on stylistic grounds, but to all scholars of Greek art the Berlin Painter has a special place as the first painter to recognize the aesthetic potential of using the shape of the vase and the framing painted floral and geometric patterns to bring the painted scene to life. Before this, painters usually treated the shape of the vase as a blank field to be filled in, and simply divided the vessel into zones or panels, but the Berlin Painter seems to have had a gifted sense of how the complex shapes of the vases can complement the drawing. He (or she, though we presume the painter was male: that’s another discussion…) also observed anatomy in minute detail, and I hope all of my students share my enthusiasm at how the Berlin Painter renders the complex relationship of the serratus anterior muscles to the ribcage in a level of anatomical detail unprecedented in its accuracy, at a time when sculptors were also looking to complex anatomical accuracy to make bronze and stone resemble real living bodies.

4The exhibition in Princeton brings together a representative selection of pieces from museums all over the world, including the ‘name vase’, the ‘Berlin Amphora’ which Beazley discussed in his 1911 article; sadly the exhibition does not include the beautiful fragment which Beazley saw in Winchester College, pictured, but it was awe-inspiring to be in a gallery with so many pieces of such high quality. The symposium featured a brilliantly stimulating group of lectures, including a wonderful talk by Richard Neer about how Beazley’s sexuality and early Brideshead-like days as an Oxford undergraduate in the 1900s influenced his later scholarship, and a typically poetic paper by the renowned French scholar François Lissarrague on the painter’s astonishingly sensitive use of deep black backgrounds for the figural scenes. Mario Iozzo, director of the Museo Archeologico Nazionale in Florence (home of the famous François Vase), revealed that he found what all archaeologists long for: a secret message, barely detectable beneath the black glaze of one vase. His paper will quite literally have every curator of Athenian vases looking again for these tantalizing hidden words, which will occupy scholars for decades: they can only be seen with the naked eye under certain lighting conditions, preferably when the vase is being held in the hand, a nice reminder of the tactility of these objects in an era which is increasingly devoted to digital images and accessing artefacts primarily through the internet.

At the reception following the conference I re-connected with Prof. Lissarrague, who wrote the single most beautiful book on Greek vases (Greek Vases: The Athenians and Their Images) and, much less illustriously, examined my PhD thesis in 2013 (‘Animal-skin garments in archaic Greek art: style and iconography’). I also caught up with several other academics whom I knew through my five years working at the Beazley Archive: I was reminded of the joys of research, and I’ve already since been consulted by a curator at the Metropolitan Museum in New York about an animal skin on an ancient statuette. It has been very rewarding to spend even a brief time among academics and curators, and I plan to re-enter this world by writing a paper this summer on the Berlin Painter’s use of animal-skin garments: this will be one of hundreds of pieces of research inspired and stimulated by the epoch-making conference and exhibition, with its beautiful catalogue, and it was truly a privilege to have attended this monumental event.

On the day of the exhibition’s opening, Michael Padgett gave an excellent introductory lecture on the Berlin Painter which you can see here.

Future RAM Scholar, Luca, on Pre-U recitals

Gemma Klein Photography

By Luca Caruso, 6.2 

On Tuesday 21st March, I travelled up to London to complete what would be the first of three recitals for the performance section of Music Pre-U.

Throughout my two years in The Royal Academy of Music’s Junior Jazz program, I had the pleasure of meeting many musicians whom I now play with regularly, and as a result of these encounters I am fortunate enough to feel confident in calling for their services in musical situations like these. Two of the four musicians who joined me are already undergraduates at the RAM, whilst the other two are still attending the Junior Academy course.

Although this was a performance which was recorded on camera, there was also the opportunity for a live audience to attend. Most of these recitals take place in the Lupton Hall at School, and therefore it is a given that we, as a music class of 8, always go and support one another. Since my performance was held at The Royal Academy of Music, I deemed it appropriate to bring the rest of the class with me!

Their presence, along with my family’s, made the whole mood and atmosphere lighter and less formal. To tell the truth, this performance didn’t feel like an exam. It felt to be a thirty-minute set in which I could play the music I love with a quintet of fantastic musicians, with some of my close friends in attendance.

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In February it was announced that  many of our senior musicians had been awarded places at some of the country’s leading conservatoires.

Luca was awarded the drums scholarship at the Royal Academy of Music, Caleb Curtis cello (Royal Academy of Music), George Butler  voice(Royal Northern College of Music), Antonia Richards voice (Trinity College), and Hope Cramsie guitar (Royal College of Music).

Below: George, Caleb, Antonia, Hope and Luca
George, Caleb, Antonia, Hope and Luca

Google Expeditions: from classroom to…

Google expeditions
By Paul Turner, Head of Geography

Virtual reality is purported to be the next “big thing” in education. Recently, Bedales was extremely lucky to be one of a handful of schools to have the Google Expedition Pioneer Programme visit for a whole day of Google Cardboard VR fun.

Across 18 sessions, 351 students from both Bedales and Dunhurst explored the world, the body and space. The day was an opportunity for staff and students to reflect on their normal classroom practice and question their potential use of VR.

The younger Dunhurst students were especially wowed by the experience. See a short video of the experience here:

…and a timelapse of how it might be integrated into future lessons here:

In praise of… praising

Final feast of the year

By Clare Jarmy, Head of Religious Studies and Philosophy and Head of Academic Enrichment and Oxbridge

One of the main perks of being Head of Academic Enrichment is getting to come along to feasts held by Keith and Moony (see good manners, above) for those students who are working really hard, making excellent progress and showing determination in their work.

They’re really positive events, made even the more special by the fact Moony makes the brownies herself (when the dog doesn’t eat them…). Many schools are good at rewarding academic achievement, but Bedales is really good at praising determination, dedication and academic interest.

It seems to me much more valuable to praise the qualities we want, rather than simply good products. Qualities such as determination and resilience are essential for future learning and careers. In fact, many suggest that ‘grit’ – perseverance – is a better predictor for achievement than IQ  – if we can praise good dispositions, and reinforce those, that seems to be an excellent thing. Moreover, praising the effort over the product avoids students getting fixated on replicating work of exactly the same kind – if my work has been praised, I’ll keep doing that. If my qualities have been praised, I’ll keep working in that way.

This feeds into a growth mindset way of talking to students about academic ability – all learners (including oldies like me!) have progress to make and things to improve. We want to praise students who take this challenge whole-heartedly.

Block 3 experience The Tempest

To support the study of Shakespeare, the English department took all Block 3 to the Royal Shakespeare Theatre matinee performance of The Tempest in Stratford-upon-Avon on Thursday 12 January.

This was a very exciting opportunity as the production has had rave reviews including: ★★★★ ”Simon Russell Beale’s superb Prospero” The Guardian, ★★★★★ “State-of-the-art stagecraft” Financial Times and ★★★★ “The visuals are true to the hype of a breath-taking order” Daily Telegraph. The students also attended a Workshop about The Tempest at The Shakespeare Birthplace Trust in the morning which very effectively introduced them to the main characters, themes and ideas about staging and interpretation. The overwhelming response from the students was that it had indeed been a wonderful experience. Read some of their anonymous responses below…

256px-rsc_theatre_stratford-upon-avon_13f2005Last week, I saw The Tempest, written by Shakespeare, and performed by the Royal Shakespeare Company at Stratford, directed by Gregory Doran. 

The plot of The Tempest was about two people, a father and daughter, banished to an island by Prospero’s brother, who now fills his position as Duke. On the island, Prospero has two slaves, one magical and one monster. With the help of Ariel, his sprite, he traps his brother and the rest of the royals in a storm out at sea not far from the island. When the royal party are swept ashore, Prospero makes them suffer as he once did.

Throughout the performance of The Tempest I enjoyed the character of Ariel, played by Mark Quartley. As Ariel was a sprite, his movement was very quiet and elegant – he really made you believe that he was invisible and magical.

I also enjoyed the performance of Stephano (played by Tony Jayawardena), one of the people from the ship wreck, he was the King’s butler, and throughout the play, played a very drunk character.

One of the parts that truly made the show stand-out from all the other productions of The Tempest and made it exciting to watch, were the effects, the lighting and the stage set. When Ariel first appeared on stage, he was shown as a projection on a cylinder.  One of my favourite special effect moments was a part in the storm when Gonzalo went from being on the ship, to being underwater – they showed that very well…

See what the audiences are saying about The Tempest:

Read a review of The Tempest published in The Stage
View images from the production

…The Tempest was an amazing play about Prospero (Simon Russell Beale) who was overthrown from his Dukedom by his brother Antonio (Oscar Pearce).

Prospero managed to survive thanks to Gonzalo (Joseph Mydell) a trustworthy servant who gave him books of magic, food and water.

After the wedding of the King of Naples’ daughter, a storm brings them to an island where Prospero and his daughter Miranda are stranded.

My favourite character was Ariel because he played exactly as you would imagine: light and dainty but could also be cheeky and moody. Ariel’s costume was also how most people would imagine: it was blue and it had parts with glitter and green, his hair was also quite spectacular and it had been slicked back into three spikes. Another character I thought was amazing was Juno, one of the spirits, because she really looked like a goddess and acted like one. Her dress was very big and she moved very elegantly, almost floating.

Prose, poetry and coursework in the English department

By David Anson, Head of English

It is a busy season for the English Department; 6.2s have been beavering away at a very important piece of coursework and the Block 5s are working towards the final hand-in of their coursework folder. Nevertheless, we have found the time for some superb enrichment. On Tuesday 15 November we had the pleasure of welcoming two visiting writers. Our first was acclaimed children’s author Jon Robinson who joined us to be our annual writer in residence. Jon’s Nowhere trilogy is highly acclaimed and has been awarded a number of notable prizes as well as receiving a nomination for the Carnegie Medal in 2014. Jon spent the morning with our colleagues at Dunhurst helping young writers in Block 2 and then in the afternoon Jon worked with 6.1 students who are taking the creative enrichment course – this year run by Jen Moore. Jon’s one-to-ones were extremely valuable and year on year we find this attention generates the most astonishing creative writing – look out for the 2017 ‘Poet’s Stone’ and our creative writing celebration in the Spring term.

In the evening we had the treat of poet, playwright, novelist and critic Glyn Maxwell reading in the Olivier Theatre as part of the Bedales Poetry Series. Glyn has won some significant awards for his work over the years and has extensively edited the work of Derek Walcott who is a particular favorite of mine. It was really quite special to hear both his poetry and prose being read in the theatre. Glyn had supper with some of our Sixth Form English Literature students at 50 Church Road beforehand; something we try to arrange every year. Our students had a rare opportunity to ask some very candid and insightful questions of a writer at the peak of his career.