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Senior School & Sixth Form Saturday 1 October 2016
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Issue 43. September 2016
What would your specialist subject be on Mastermind? If I was to be
subjected to that ordeal right this minute - frogmarched into that
chair, spotlight on, scary music in my ears, millions watching on
TV - mine would undoubtedly be ‘Brighton & Hove Albion in the
Mullery era, 1976-1981’.
I’ve done a lot of reading in my time, and in nearly 25 years as a
journalist and author I’ve researched more stories than I care to
remember. But truth be told, most of the stuff I’ve read hasn’t stuck
in my head, or at least has got buried so far down that I can’t readily retrieve it, apart from the
bare bones. No; the stuff I really remember well comes from my early teenage years, when my
passion for the Albion bordered on the obsessive.
The theme of this issue is ‘learning stuff’ and my point is this: if you pique somebody’s inquisitiveness
- the way Alan Mullery’s blue-and-white army once piqued mine - then they will learn
things more thoroughly. So one mark of a good teacher is their ability to trigger their students’
curiosity, and thus make them more receptive to remembering what goes into their heads. On
the other side of the coin, show me a person whose curiosity is open to most of the things that
they see around them, and I’ll show you someone who is knowledgeable and well rounded.
My point? Here’s hoping that some of the things you read in VB43 pique your curiosity enough
for you to want to tell your mates about them down the pub (or at the next dinner party you
attend). Enjoy the issue… and let’s hope you learn some interesting stuff.
EDITOR: Alex Leith email@example.com
DEPUTY EDITOR: Steve Ramsey firstname.lastname@example.org
WRITER/ACTING ART DIRECTOR: Rebecca Cunningham email@example.com
PHOTOGRAPHER AT LARGE: Adam Bronkhorst, firstname.lastname@example.org
ADVERTISING: Anya Zervudachi email@example.com, Hilary Maguire firstname.lastname@example.org,
Nick Metcalf email@example.com
PUBLISHER: Lizzie Lower firstname.lastname@example.org
CONTRIBUTORS: Alexandra Loske, Amy Holtz, Andrew Darling, Anita Hall, Ben Bailey, Chloë King, David Jarman, Di Coke,
Emma Chaplin, Holly Fitzgerald, Jay Collins, Jim Stephenson, JJ Waller, Joda, Joe Decie, John Helmer, Julia Zaltzman,
Lizzie Enfield, Martin Skelton and Nione Meakin
Viva Brighton is based at Brighton Junction, 1A Isetta Square, BN1 4GQ
For advertising enquiries call 07596 337 828. Other enquiries call 01273 810 259
Every care has been taken to ensure the accuracy of our content. We cannot be held responsible for any omissions, errors or alterations.
Bits and bobs.
8-23. A pub older than the USA,
George VI’s fridge, Snowdogs, Winston
Churchill’s schooldays, and Joe Decie’s
25-31. Travis Hodges’ photos exploring
how people use technology to ‘selftrack’.
32-33. Musician, café owner and
eccentric-hat maker Jane Bom-Bane.
35-39. Amy Holtz tries be a quiet American,
Lizzie Enfield is summoned to the
Headmaster’s office, and John Helmer
worries about the Dark Side.
On this month.
41-51. Deaf dancer and choreographer
Chisato Minamimura, a holiday-moodbusting
piece of cinéma vérité, and
‘piss-taking bastards’ the Test Tube Babies,
among many other things.
Art & lit.
53-63. Politically charged sci-fi and
Eimear McBride’s coming-of-age novel.
Plus a Towner exhibition looks Towards
Night, while visitors to the Jerwood get
Bitten by Picasso.
Design & shopping.
64-67. How to build public engagement
via Minecraft; and a quirky stationery
The way we work.
69-73. Headteachers reveal their favourite
mnemonics and phrases. Photos
by Adam Bronkhorst.
74-85. A blowout at English’s, Caribbean
chicken, a Hanoverian posh breakfast,
and a revolving-door pop-up.
86-91. Running a state boarding
school, taking good baby photos, and
learning in unconventional ways.
Sport, health and fitness.
93-97. Our publisher becomes a
Fitbitch, while our editor tries making
(part of) a bike frame. Plus lowdowns
on cross-Channel swimming and a
choir for recovering addicts.
98. How some late-60s builders dealt
with a stubborn resident.
THIS MONTH’S COVER ARTIST
This month we are delighted to
see the return of Janine Shute’s
pastel illustration work to our
cover page (have a look at her vintage
cotton-reel design on issue
#102 of our sister magazine Viva
Lewes). From her smallholding
just outside Lewes, she has been
developing her signature pastelon-paper
style, creating photorealistic
drawings of beautifully
Janine’s work always depicts vintage
items, from antique cutlery
to old toys, which are often picked
out from her personal collection.
“I collect all sorts of vintage furniture
and other bits and pieces,”
she says. “When I tried to think
of an object that reminded me of
school, I wanted to find something
really iconic, so I thought about
old school rulers, school chairs,
and vintage milk bottles, which
I’ve drawn before…” In the end,
the tiny pair of size 12 plimsolls
were an eBay find. “They haven’t
changed since I was at school,” says
Janine, “and I think that was the
trick to getting it just right; finding
something vintage that still related
The retro feel and consistency
which runs through Janine’s work
is accentuated by the dark grey
pastel paper she works on. “When
I first started working with pastels
a few years ago I experimented
with different colours,” she says,
“but now I like to stick to the dark
grey because it gives everything
this vintage look. It takes a lot of layers of chalk to cover
it, so you never get a very bright white, the colours always
look slightly aged.” With each layer of drawing and
fixing, the piece develops a fuller texture. “From across
the room it looks like a photograph, but when you’re
up close, you can see all of the pencil lines and strokes.”
Janine’s work is on display in galleries across the country,
including the Fairfax Gallery in Tunbridge Wells and
Byard Art in Cambridge. This month you’ll have more
than one opportunity to see some of her pieces exhibited
nearby; a selection of her haberdashery-themed works
will be on show at Keizer Frames in Lewes as part of
Artwave until September 4th, and she’ll be taking part
in the Chiddingly Artists’ Open Studios on 24th and the
25th, and the 1st and 2nd of October.
BITS AND BOBS
CHARITY BOX #6: SNOWDOGS BY THE SEA
What’s the idea? It’s a public
art trail made up of 45 fibreglass
Snowdogs, which will be
situated across Brighton and
Hove. Last year we put out
a call for local companies to
sponsor their own Snowdog,
and in December we also put
out a call for artists to come
up with a design for a dog. We had about 250 submitted,
and from those, each sponsor chose their
favourite to have put onto their Snowdog.
What’s it for? The project will raise money for
Martlets; when the art trail is finished, the Snowdogs
will be auctioned off and all of the proceeds
will go to the charity.
Why Snowdogs? The company the Martlets Hospice
partnered with, Wild in
Art, have done similar projects
in other cities - like putting
Gromits in Bristol and elephants
in Sheffield - but the
themes of hope and loss in the
story of The Snowman and the
Snowdog seemed to tie in nicely
with the work of the hospice.
How long will the trail be in place? For nine
weeks, from September 24th to November 27th.
Where will the dogs be situated? On concrete
plinths, from Fatboy Slim’s café at Hove Lagoon
right down the seafront to the Marina, then in all
the parks and central areas of town. There’s a map
online at snowdogsbythesea.co.uk
Rebecca Cunningham interviewed Ruth Cobb
How it works and how it can help you.
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BITS AND BOBS
SPREAD THE WORD
Not for us an idle
we’ve spent the
summer on a tour
behind Cold War
enemy lines. Rebecca
snapped her VB 42
Rowena Leithton took her VB to Romania, to Bucharest’s
most famous building, the Palatul Parlamentului.
It’s the second largest administrative building in the
world, and was originally designed to house the apparatus
of the communist state. Today it houses the
Romanian parliament, a conference centre and Romania’s
National Museum of Contemporary Art, as well as
(satisfyingly) the Museum of Communist Totalitarianism.
Even better, it’s located in ‘Sector 5’, a deliciously
Eastern Bloc-sounding address.
as we hitched a
ride with a nameless
traveller on a business
trip to Cuba.
Here we are in front
of a suitably heroic façade. Hasta la victoria siempre,
comrades! Keep spreading the word and send your
snaps to firstname.lastname@example.org
ON THE BUSES #17
WINSTON CHURCHILL (Route 13X)
for two years
in Hove, the
have been a
place. He was
sent to board
at the Misses
Preparatory School in 1884, aged nine, having
had a miserable time at his previous institution,
St George’s, in Ascot, where punishment was
harsh, and, a sickly child, he was often ill. His
doctor, Robson Roose, suggested to his parents
that the fresh sea air of Brighton might do the
child some good. The school, on the corner of
Brunswick Street and Lansdowne Road, was run
by two unmarried sisters, Kate and Charlotte
Thompson, who adminstered a far less draconian
regime. ‘There was an element of kindness
and of sympathy’ Churchill later wrote in his
memoirs. ‘I was allowed to learn things which
interested me: French, History, and lots of Poetry
by heart, and above all Riding and Swimming.’
Roose himself lived in Brighton, and it’s
a good job: in March 1886 the young Churchill
contracted pneumonia, and might well have
died had his doctor not been able to spend a
good deal of time at his young patient’s bedside,
sleeping in the bedroom next door. Churchill
returned to Brighton on several occasions as an
adult: we like to think that when he was making
his ‘we shall fight them on the beaches’ speech,
he was thinking of the stretch of pebbles in Hove
a couple of blocks from his school. AL
Illustration by jonydaga.weebly.com
BITS AND BOBS
JJ WALLER’S BRIGHTON
‘A day after Viva editor Alex informed me that ‘learning stuff’ was to be September’s
theme I made this portrait of Whitehawk FC’s manager Pablo Asensio sitting on artist
Radka Liskova’s striking new work,’ writes JJ Waller, who we commission every month
to snap a theme-related photograph. ‘Job done.’
BITS AND BOBS
DI COKE’S COMPETITION CORNER
N Q K M U N E X T N S
F I Q X A P S J A D P
E O R M E T E I F H A
L N R A H X N E F I N
O E G A D A A T C A I
G O I L R N P L Z S S
Q B B K I E A M D C H
L Z U Y B S J M T N E
K O R E A N H G S K M
I E S E U G U T R O P
G U J A R A T I N Z X
H W V M T C T N B M J
C Q N R N A I S R E P
N A Z T L U M B M N F
E J G I R R P I A W S
R J A H S D B G L R G
F N G G J U B M T L A
This month Cactus Language are offering
one reader the opportunity to study a foreign
language at evening classes in Brighton. The
winner can choose from a 5 or 10-week course
(20 hours in total) in Spanish, French, German,
Italian or Portuguese, starting this October.
To enter, take a look at our wordsearch grid -
hidden in it are a number of languages. Find as
many as you can, and email a list to
email@example.com before 25th
September. The winner will be the entrant who
finds the most languages - in the case of a tie,
there will be a random draw between the highest
scoring entrants to decide. Terms and conditions
can be found at vivabrighton.com/competitions.
Established in 1998, Cactus Language is the UK’s
leading provider of evening language courses,
offering more than 20 languages across 15
locations in the UK. Cactus also offers language
holidays abroad, private and corporate language
training, and TEFL courses worldwide.
For the July challenge we asked readers to send
us a photo of their most creative castle. Our
winning entry was this wonderful fairytale castle
in the clouds, created by five-year-old Laura
Wloszczynska. Laura wins a family day ticket to
England’s Medieval Festival at Herstmonceux
Castle on the August Bank Holiday weekend.
Di Coke is very probably the UK’s foremost ‘comper’,
having won over £250,000-worth of prizes. For winning
tips and creative competitions, check out her blog at
superlucky.me and SuperLucky Secrets book.
Jewellery and Antiques
Tuesday 27 September
10am to 4pm
The Courtlands Hotel
19-27 The Drive
Bonhams specialists will be at The
Courtlands Hotel to offer free and
confidential advice on items you may be
considering selling at auction.
AN EMERALD, SAPPHIRE AND
RUBY GIARDINETTO BANGLE
£6000 - 8000
PECHAKUCHA VOL. 25: ALL TOGETHER
A heads up to all PechaKucha
fans: the 25th edition of
the Brighton PK Night,
themed ‘All Together’,
will take place from
6.30pm on Wednesday
October 12th, in the Nightingale
Room above the Grand
Central pub on Surrey Street (next to
Brighton Station). At the risk of boring
the cognoscenti, PechaKucha is a quick-fire
talk-and-show night where presenters show the
audience 20 images on a screen, and get 20 seconds
to talk over each of those images. It’s an international
phenomenon, which started in Japan, with
talks taking place (at least) quarterly in over 900 cities.
Viva have been helping host
the event - along with main
organiser Woody - since
May 2015. We are proud
that Brighton was recently
chosen as the ‘city
spotlight’ on the PechaKucha
website, where you can also
check out previous presentations online.
We will confirm the full line-up in
this space in VB44; the presenters we select,
from different walks of life, will be talking about
the power of partnership and community. £5 tickets
are already on sale; best be quick as all our previous
shows have sold out in advance.
BITS AND BOBS
PUB: THE VICTORY
“I tell American customers that my
pub is older than their country,”
says Keegan, the 30-something
Scottish manager at the Victory, as
I tuck into my crab cakes and salad
at one of the little tables in front of
the rather magnificent, if in-needof-a-paint,
He’s referring to a sign on the front
of the pub, claiming it dates back
to 1766, and was rebuilt in 1824.
On the latter date it was renamed
The Victory, after Nelson’s flagship
(that day-trip destination of every
schoolkid in the country).
We used to have our offices above
Marwood Café, so the Victory was
something of a regular post-workpint
haunt, but its central location
in Duke Street means I haven’t
been a total stranger in the last year.
And, having done a bit of research,
and found out that the building is
Grade II-listed, I’m looking at it
with new eyes, and realising quite
what a characterful bit of architecture
The description of the place in the
Historic England website (where
you can find out architectural
details of listed buildings) is written
in a manner I find difficult to understand
without looking up much
of the jargon, but once I know what
a gumbrel roof is, I know what to
look for. It even lists in detail the
bar which I mentioned earlier: ‘barback
of 3 bays and 3 shelves with
turned balusters, entablature and scrolled pediment to centre; bar
front possibly of the same date’.
There’s also a description of a feature I swear I’ve never noticed before:
‘good late C19 fireplace in former saloon with bracketed Ionic
columns supporting mantelshelf and overmantel mirror flanked by
pilaster-panels with brackets over’. Nice.
The most distinctive bit of the pub is undoubtedly its façade, fashioned
by Tamplin’s Brewery in 1910, which is described in the same
text in too much detail to go into here. Next time you walk past,
take a good look at the two-tone green tiles, and the ornate window
panes. They don’t make them like that anymore.
Watneys bought out Tamplin’s in the 50s and, being the company
that produced Red Barrel bitter and Party Seven cans, they painted
over this beautiful tiling, stripping the pub of its character. Nowadays,
restored to former glory, it’s got plenty of that, inside and out:
it’s surprisingly full of nooks and crannies for its relatively small size.
Oh and the crab cakes are real tasty, too. Alex Leith
Painting by Jay Collins
Steyning Grammar School
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“The inclusive SGS Boarding community is a model for the world
on how we can live in peace and harmony with each other” Ofsted Outstanding Sept 2015
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visit our website at www.sgs.uk.net or call 01903 817601 to arrange a visit.
BITS AND BOBS
SECRETS OF THE ROYAL PAVILION ESTATE:
HOW THE PRINCE REGENT CHILLED HIS WINE
I am currently choosing objects from
the Royal Pavilion archives to include
in the exhibition Visions of the Royal
Pavilion Estate, which will open at
Brighton Museum in March 2017.
It will show less familiar views and
lost buildings of the estate. One of
these ‘lost’ structures is the ice house,
which is a few feet underground, at
the south-west corner of the grounds
(near to New Road). It is clearly
visible in the ground plan published
by the architect John Nash in 1826 in
The Royal Pavilion at Brighton. It was
probably built in 1822.
In the winter, ice was brought from
nearby ponds and rivers, or even
imported from Norway or North
America. Ice houses were generally
pits or wells lined with brick or
stone, covered with a domed top.
Layers of straw on the floor and
walls provided insulation. In proper
conditions, ice could be stored all
summer, so the supply of ice cream
in the Royal Pavilion was secured,
and George could serve white wine
nicely chilled! Ice houses similar to
our one can be seen at Felbrigg Hall
in Norfolk and by York’s city wall
near Monk Bar. A much larger one
is at Petworth House in West Sussex
and can be visited.
Brighton enjoyed a roaring ice trade
in the 18th and 19th centuries
and a number of ice houses in
the area are recorded, including
one near the Castle Tavern
(now Castle Square) in North
Street, from around 1790. By
1854 there were no fewer than
nine in Brighton, with many
more ice merchants operating
later in the 19th century.
The Royal Pavilion ice house
is still there, but I wouldn’t
recommend digging for it, as
it has been partly concreted
over. It was briefly uncovered
in the 1950s during work in
the Pavilion Gardens. Its oval
layout and domed roof are clearly visible in the photograph above.
A detailed cross section of the structure, drawn in around 1830,
will be included in the exhibition next year.
Alexandra Loske, Curator at the Royal Pavilion
Ice House dug up, 1950s. © Royal Pavilion & Museums, Brighton & Hove
Ice House plans, 1830. © Royal Pavilion & Museums, Brighton & Hove
BITS AND BOBS
MAGAZINE OF THE MONTH: BROWNBOOK
I’ve been dreading this issue ever
since I got the email from Alex,
the editor, telling me that the
theme was ‘learning stuff’. I spent
all of my pre-Magazine Brighton
life focusing on/wrestling with the
whole idea of learning, how it happens,
why it goes wrong and what
we can do about it. Aaaggghh!
What to focus on?
To make the decision more difficult,
most of our mags are about
‘learning stuff’, about knowing something new,
being able to do something better or developing a
deeper understanding about things. They are written
and produced by people who have chosen to
make a magazine around what interests them and
in which they have been immersed for ages. So
which magazine to choose? In the end, it wasn’t
too difficult. This month we have chosen to highlight
BrownBook is published in Dubai. It’s a magazine
about Arabic culture and influence around the
world. Don’t think this makes it stuffy; it’s anything
but. It is lively, provocative, open
and accepting. It’s well designed
and - this matters to more people
than I once thought - it smells
amazing. If you learn nothing else
from it, you’ll deepen your awareness
of the stunning contributions
Arabic culture has made for all of
us. As an antidote to some current
extremism, that seems hugely important
Each issue is themed. This issue’s
theme is the Baklawa, the sticky and delicious sweet
made in different ways around the world with cinnamon,
or pistachios or walnuts or orange blossom
water. By the time you have finished you’ll have
had a culinary and social tour of more places than
you could imagine. But there’s more than the main
theme in each issue. You’ll also learn about Soviet
architecture, Tunisian film-making, published authors
Juman Malouf and Hannan Al-Shaykh, and
If that isn’t learning stuff, I don’t know what is.
Martin Skelton, Magazine Brighton
TOILET GRAFFITO #20
No stranger to a detention ourselves, we were
delighted to find that a kindred spirit had taken a
time-out in this bathroom stall. We hope they took
the opportunity to think about what they had done.
Admittedly not technically within B&H city limits,
we snapped this whilst on our travels over the summer,
but where is it? (If we told you it’s in the home
of bear-pit karaoke, would that be cheating?)
Last month’s answer:
Tracking the trackers
Photographer Travis Hodges
has long had a keen interest
in science and technology.
His major works include
portraits of the faces behind
some of the most popular
Twitter accounts, and
documentation of people
who self-track - use technology
to measure any number of elements of their
day-to-day life, from exercise to happiness. For
this month’s issue, we spoke to him about his most
recent work, with the University of Sussex…
What got you started with this? This series came
as a direct result of my project The Quantified Self,
which explores the phenomenon of self-tracking.
I met a member of staff from Sussex University
at one of the monthly ‘QS’ meet ups, and our
discussion developed into a commission from the
university. I have always had a fascination with the
sciences, the way that something goes from science
fiction to fact and on to become an ‘essential’ part
of our lives.
The portraits of the mathematicians and scientists
are accompanied by still lives of objects.
What was the thinking behind this? I wanted to
create something more than portraits for this series,
but it can be challenging to represent scientific
work in simple terms without dumbing things
down. The still-life images are a representation of
the research that each scientist undertakes, an experiment
of sorts. Some are physical objects which
are key elements of their research, others are conceptualisations
of the theories and ideas they work
with. Pairing the images adds another layer for the
viewer, along with some mystery, which hopefully
makes people want to
look more closely.
Were you surprised by
the sheer number of
experts in their field
in just one department?
It actually was
more surprising to see
how much cutting-edge
work was going on. My experience of academia has
always involved career teachers or retired practitioners
lecturing the next generation. The series
features a select group within just one department
of the university; how much other groundbreaking
work is being undertaken in the nondescript halls
of our universities? Some of the projects depicted
could lead to new understandings of our universe,
and phenomenal new technologies, which could
make the advancements of the last 50 years seem
The stories that accompany the portraits are
fascinating. You must have learnt a lot on the
shoots… I have a keen interest in all things scientific,
and really enjoyed the opportunity to learn
from each person. Having said that, the level that
they are working at is bewildering; I often found
myself just nodding along as they explained the
details of their research! One of the best aspects of
shooting portraits is the opportunity to meet people
you would be unlikely to come into contact with
otherwise, to get a glimpse into their lives and what
motivates them. To quote Einstein “Once you stop
learning, you start dying”.
Travis was interview by Jim Stephenson of The Miniclick
Photography Talks, miniclick.co.uk
Mark Hindmarsh - Professor of Theoretical Physics and Director of Outreach
Ion trap chip assembly
Winfried Hensinger - Professor of Quantum Technologies
to the Downs...
Breeze up to Devil’s Dyke, Stanmer
Park or Ditchling Beacon by bus!
For times, fares, leaflets and walk ideas:
Phone 01273 292480
Or visit traveline.info/se to plan any bus or train journey
䜀 漀 漀 搀 䌀 儀 䌀 䤀 渀 猀 瀀 攀 挀 琀 椀 漀 渀 刀 愀 琀 椀 渀 最
Seb Oliver - Professor of Astrophysics
Evolution of galaxies
Photo by Sebastian Contreras
MYbrighton: Jane Bom-Bane
Musician, café owner
Jane Bom-Bane is a musician, and the owner of
Bom-Banes café in George Street, Kemptown. As
the much-loved café celebrates its tenth birthday
this month, she talks to Viva about Saxon farmers,
conjoined twins and singing chefs.
What brought you to Brighton originally?
I’d had a yen to live here since I visited with my
Two-Tone band The Swinging Cats in the late 70s,
but circumstances seemed to get in the way. Later
on, my then partner Nick Pynn lived here, and
that, coupled with my son leaving home, made it
inevitable and easy.
How does the Bom-Banes of 2006 compare to
today’s incarnation? I’d never run an eatery before,
so the first year of Bom-Bane’s was a steep learning
curve. It wasn’t till the second year that I put the
music part of the plan into action. Now, there are
all sorts of events here - music, talks, puppetry,
films - and I perform both on my own and with the
best musicians in Brighton, including Eliza Skelton
(who’s also our chef) and Kate Daisy Grant, who
helps in the kitchen and café.
Is Brighton a good place to be a musician? For
me, running a café as well as performing, it’s very
exciting. But if you rely solely on music to make
your living, it’s difficult. Most of the great musicians
I know in Brighton also have to have another trade.
What would you change about the city if you
could? I like to see new developments alongside
the old, traditional Brighton but I’d make it easier
for small businesses like mine to thrive and keep the
corporates at arm’s length.
Where do you like to eat besides your place? Figaro’s
all-day breakfast cafe a few doors along from
us, plus Foodilic on North Street and Pavel Indian
restaurant on St James’ St.
When was the last time you swam in the sea?
Two weeks ago. I love swimming in the sea, but will
only go in if it’s calm.
Which historical Brighton figure would you
bring back and why? I would love to see if Boerthelm,
the Saxon in the 400s AD who supposedly
built his farmstead - or ‘tun’ - up on Hanover
Hill, really did exist. I’d talk to him all about how
What do you think is the most overrated thing
about the city? Maybe the beach. Those stones are
a killer on bare feet.
Where is the best view in Brighton? Looking at
the Palace pier, what’s left of the old West Pier and
the white Regency houses across the sparkling sea
when I swim. These moments always remind me
how lucky I am to live here.
What is your favourite local story? It’s a sad but
fascinating story that conjoined twin dancers, Daisy
and Violet Hilton, lived above the Queen’s Arms
here on George Street. Sad because they were badly
treated but fascinating because they performed and
married, and lived until they were 60.
How do you fit into this month’s education
theme? We have a homework club on a Wednesday
at Bom-Bane’s for secondary school kids who
might be struggling. We also have people coming
in to put on short courses here from time to time
- art, photography, cryptic-crossword solving, film,
baking, and so on. And Eliza teaches singing here
sometimes. Nione Meakin
一 攀 眀 䈀 爀 椀 最 栀 琀 漀 渀 戀 漀 甀 琀 椀 焀 甀 攀
一 伀 圀 伀 倀 䔀 一
䤀 渀 琀 攀 爀 挀 栀 愀 渀 最 攀 愀 戀 氀 攀 樀 攀 眀 攀 氀 氀 攀 爀 礀
愀 渀 搀 愀 挀 挀 攀 猀 猀 漀 爀 椀 攀 猀
䴀 漀 搀 攀 爀 渀 ˻ 漀 甀 爀 椀 猀 栀 攀 猀 愀 渀 搀 最 椀 昀 琀 猀
䘀 愀 猀 栀 椀 漀 渀 ᤠ 猀 ǻ 渀 椀 猀 栀 椀 渀 最 琀 漀 甀 挀 栀 攀 猀 昀 漀 爀 圀 漀 洀 攀 渀
䌀 漀 䌀 渀 漀 琀 渀 愀 挀 琀 愀 琀 挀 樀 琀 愀 洀 䨀 䨀 攀 䀀 猀 䨀 䀀 樀 䘀 䨀 樀 氀 䘀 愀 甀 氀 愀 渀 甀 琀 渀 ⸀ 椀 琀 ⸀ 椀 愀 琀 渀 愀 搀 渀 搀 洀 洀 攀 渀 攀 琀 渀 椀 漀 琀 椀 渀
嘀 椀 瘀 愀 䈀 爀 椀 最 栀 琀 漀 渀 昀 漀 爀 愀 氀 愀 甀 渀 挀 栀 攀 瘀 攀 渀 琀 椀 渀 瘀 椀 琀 攀
Notes from North Village
“I have to go to the school,” I tell my husband, “to
pick up the offensive weapon our daughter took
with her this morning.”
He is not listening so my words have little impact.
“What time will you be back?” he asks cheerily, not
worried that our gentle, mild-mannered daughter is
in serious trouble.
The North Village is a lovely leafy area, and the
children go to a lovely leafy school. There has
never been any violence or knife crime. This is the
first incident I have heard of... and my child is the
“You understand I cannot return the offending item
to your daughter,” the head says on the phone.
I feel about eight years old. The head is probably
a few years younger than I am. But he is a figure
of authority. Thirty-something years after last being
summoned to the head’s office, I am not looking
forward to being in one again.
“Of course not,” I say. “I will come and pick it up
I don’t actually have to go to the head’s office to retrieve
the confiscated item but I still get the ‘you’re
a bad parent’ look from the school secretary who
hands it over.
It was a penknife, although, to be precise, it was really
just nail clippers in the guise of a penknife: a
penknife with only three tools - scissors that don’t
cut, nail clippers and a blade so blunt we were allowed
to take it on the airplane with us, after buying
it at the airport in Switzerland.
But the school have a strict ‘No Knife’ policy and,
to them, it’s a knife.
“I can’t think why she brought it in,” the secretary
says handing it over.
“She was cutting her nails and slipped it in her
pocket without thinking,” I say, wondering if she
will shrug and smile at the ridiculousness of it all.
She does not.
“I never went to school without a penknife,” husband
says when I fill him in, adding. “Or matches.
Are they allowed matches at school?”
I very much doubt it, but a few days later I bump
into a scientist friend who was part of the Sussex
University team which won a Nobel Prize for the
discovery of a particular carbon atom. He is carrying
a large rucksack and a couple of bin bags.
“Are you off somewhere?” I ask, querying the stuff.
“I’m doing a workshop in a school this afternoon.”
He does a lot of work aimed at making science more
accessible and interesting to youngsters.
“I’m going to show them how to make fire extinguishers,”
he pats the backpack and indicates the
rubbish. “I’m using this to make fires in the playground,
which they will then have to put out.”
“Excellent,” I say.
“Excellent,” says my husband, later, rubbing his
hands together with such delight that I wondered
if he is trying to show the kids how to make fire,
Illustration by Joda, jonydaga.weebly.com
吀 爀 愀 渀 猀 昀 漀 爀 洀 礀 漀 甀 爀 栀 漀 洀 攀 眀 椀 琀 栀 漀 甀 爀 昀 椀 渀 攀 猀 琀 焀 甀 愀 氀 椀 琀 礀
匀 㨀 䌀 刀 䄀 䘀 吀 洀 愀 搀 攀 ⴀ 琀 漀 ⴀ 洀 攀 愀 猀 甀 爀 攀 椀 渀 琀 攀 爀 椀 漀 爀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀
琀 ⸀ ㈀ 㜀 アパート アパート アパート 㠀 㐀 ㈀
攀 ⸀ 挀 漀 渀 琀 愀 挀 琀 䀀 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀
眀 ⸀ 眀 眀 眀 ⸀ 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀
The truth is, I’m a Minnesotan
“These chillies look good,” I say
to my mother-in-law, Pauline, as
I lean into her greenhouse. My
cousin, who’s over from Minnesota
and abroad for the first time, nods.
We’re in one of those villages on
the other side of the Downs where
people get blacklisted for spending
less than four hours a day curating
their hydrangeas. There’s a
barbeque and complimenting the
chefs - my parents-in-law - seems like a good way to
“And we’ve got cucumbers. And tom-ah-toes.” Both
look green and red respectively - healthy, as far as I
can tell. Which isn’t much.
“What?” My cousin says, wrinkling his nose and peering
at Pauline across the lawn.
I step in here. “He’s messing with you, Pauline.”
“No, I’m not. They’re ta-may-dohs.” He says.
“Absolutely not,” she replies, voice high. “It’s TOM.
T-O-M-AH-toes. And POT - P-O-T-ey-toes.”
“No, it’s ta-MAY-dohs.”
“Buddy, you’ve just expertly illustrated one of the
reasons everyone hates Americans.” I look for my beer.
“Hang on though,” I think aloud, stepping a safer
distance from projectiles and pulling up my advocacy
chair next to the Devil. “Why shouldn’t ‘tomato’ and
‘potato’ rhyme? They both end in ‘ato’. It’s just the
first part that’s different.”
The garden falls silent. I can sense her looking for,
triumphantly locating then brandishing
her trump - because we’re
not the only ones with one of those
to get rid of.
“Because that’s English. You’re in
Now, it’s easy to lose track of
how often someone says this to
me when I’ve lapsed into North
American - writing a ‘z’ somewhere,
or saying ‘pants’, or ‘trash’,
or ‘dude’ or even looking like I might enjoy and
vocally celebrate winning stuff. Being corrected is a
daily occurrence. So I know there’s really no coming
back from this. As an immigrant my keen ears register
a clank - likely the gathering of neighbourhood pitchforks
- so I signal a retreat.
My father-in-law waves his BBQ tongs at me. “When
are you going to write about me again for that thing
“Just as soon as you do something entertaining.” I
say, rubbing my forehead, still trying to locate some
alcohol. He looks at the tongs, as if they might give
him inspiration. When they don’t, he wanders into the
kitchen to find some more props. When he emerges,
he’s got the ketchup and a gleam in his eye.
“I’ve been really trying to hide my Americanness
since I got here,” my 6’ 3’’ cousin confides. He looks
confused. I don’t blame him. All you can do is hope,
that after a considerable amount of time - say twenty
years or so - when someone discovers you’re from
‘that country’, that they’ll think you’re one of the
good ones and just feel sorry for you.
“It’s not possible, man. Just keep your mouth shut and
if you decide to open it, apologise a lot.”
Illustration by Joda, jonydaga.weebly.com
“Do you like school?’”
“Do any of your friends like school?”
“Do you think the teachers like school?”
“Do you think anyone likes school?”
I’m heading into school with Poppy (13). It’s the
Summer holidays, but we’re going in to buy her a
new blazer for the coming Autumn term.
“Why do we all do these things we don’t like
doing? Perhaps I should pack in working and
“Then we wouldn’t have any money.”
“We wouldn’t need blazers and stuff.”
“But we’d still need food.”
In the hall they have a ticketing system like the
one in Clarks. You take a ticket from the red dispenser
when you arrive, and wait in the dining hall
on the uncomfortable chairs until your number
flashes up on the illuminated sign. It’s one of those
institutional experiences like shopping in Argos
or signing on for benefits. We find some
seats, and I look around the hall, which is
“Do you know any of these kids?”
“They’re all Year Sevens,” she says
dismissively. This is bad news. It means
they’re new starters and will be buying
full battledress, including sports kit,
which means we’ll be here for ages.
I look at the number on our ticket and
then on the row of trestle tables at the
front, where uniforms are being dispensed.
“Five people serving, and another 25 tickets
to be served before ours - if they take
five minutes each to be served
that means… twenty-five divided by five—”
“Stop it!” hisses Poppy, outraged.
“It’s called estimation. It’s how some people run
“Just stop it.”
A tow-haired youth wearing a red spotted bandana
round his head waves shyly at Poppy. She smiles
“Who’s that?” I say suspiciously.
“He was in Berlin.”
“You talked to boys on that school trip?” Now I
am the outraged one. “I told you not to speak to
We have already had the talk. Don’t speak to boys.
Boys lie. I know: I was one.
Within 25 minutes, roughly as I estimated, we are
served, and shortly afterwards on the way home
for lunch. Which is when she drops her bombshell.
“I want to redecorate my room.”
Ice floes form in my bloodstream. This is how it
starts. We have seen three children through to
their majority before Poppy and they all, at some
point, go to the dark side. They come back again,
with any luck, but they do go to the dark side.
This usually manifests itself as a change of tastes -
e.g. Harry Potter out, the diaries of Kurt Cobain
in - and the repainting of fingernails and bedroom
walls in more somber tones. Scanning the list of
website domain names I have purchased over the
years, I found I could pinpoint the moment with
chilling accuracy in the case of Poppy’s older sister.
She was keen on building websites back then, and
mere months separated prettyrainbowfairyland.
co.uk from disturbedbeautiful.com.
“So I suppose you’ll be painting your room black,”
I say gloomily.
She thinks for a moment. “White, I thought.”
I breathe again.
Ben Bailey rounds up the Brighton music scene
TOGETHER THE PEOPLE
Sat 3 & Sun 4, Stanmer Park, 12pm, £103/£59
Yeah, yeah, so some old
duffer called Brian Wilson
is on the main stage. And
look, there’s a beardy guy
who reckons he was in
New Order. Even though these are the names that
justify the ticket price, there’s a lot more going on
at TTP than the heritage headliners. Look slightly
lower down the bill and you’ll find distinctive singer
songwriters like Jacko Hooper and Chris T-T
(above); garage rockers and post punks like Atlas
Wynd and Egyptian Blue; and synthpoppers like
Fickle Friends and Episodes. All homegrown, all
worth a watch. Fair play to One Inch Badge for giving
so many local bands the chance to play alongside
the big guns.
Fri 9, Rialto Theatre, 9pm, £8
DJ collective Family
Funktones have spent
15 years spreading their
love of deep funk and
heavy soul around the
city, promoting gigs,
running club nights and hosting a local radio show.
They deserve a nice birthday party - but it’s also a
fundraiser for 1BrightonFM. Alongside a 10-strong
DJ line-up, this night features the 10-piece funk
and soul group, The Impellers, themselves marking
an anniversary this year, their 10th as it happens.
Three years in the making, their latest release,
Disposable Breaks, is getting an airing in full. Veering
into jazz and afrobeat, these twelve tracks leave the
band’s vocals and horns on the sidelines in favour
of celebrating the rhythm section that makes it all
possible. Dancing isn’t optional.
Wed 28, Dome Studio Theatre, 7.30pm, £11
Though the geography is off, it shouldn’t come as a
surprise that the melting pot of Brighton music has
room for some rich Jamaican sounds. Nine-piece
dub outfit The Resonators fill that niche perfectly,
balancing downtempo beats with the uplifting and
unifying vocals of the group’s two fabulous singers,
Faye Houston and Kassia Zermon. Though this is
a rare hometown headline show for The Resonators,
coinciding with the launch of their third album,
Imaginary People, that’s not to say they can’t pull a
crowd. They supported reggae legend Jimmy Cliff
last year and haven’t slowed down since, except
perhaps in terms of tempo (they say the new album
is their heaviest and deepest yet). After a summer of
festivals, the band is off touring for a month, taking
in almost a dozen dates across the UK.
PARTY AT THE RACES
Sat 1 Oct, Brighton Racecourse, 1pm, £25
a bit of a festival
three big events
taking place there
in the next couple
of months. Party at the Races, however, is the only
one to incorporate the venue into the theme, promising
virtual horse riding, jockey jacket fancy dress
and a kind of betting system involving drinks tokens.
While Basement Jaxx take the headline slot, there’s
plenty of interesting local talent heading up the hill
to appear on the live-band stage, hosted by Brighton
Source. The Modern Strangers, Of Empires, Mantras
and Kudu Blue were the first names out of the
box, but there’s more to come.
‘Visual sound’ artist
Chisato Minamimura is a dancer and choreographer
whose deafness informs work she describes as
When I first started working in the UK after
moving from Japan I didn’t know any other deaf
dancers. I couldn’t hear the music, but I was meticulous
in following the other dancers’ movements,
working with visual clues and anything else I could
pick up in the performance space.
I had so many ideas that I wanted to shape from
my deaf perspective that it was a natural progression
for me to move into choreography. I am
interested in sharing my deaf life, but I also want
to show that a deaf person can instigate and direct
work about sound and music, even though it might
seem like a contradiction.
I often describe my pieces as ‘visual sound’. Music
is about the hearing world, but dance has rhythm
and an attention to timing and movement in space.
I spend a lot of time sitting in the front row at
The Royal Opera House because I love seeing the
conductor working with the orchestra. I can’t hear
the music, but I find the movement that directs it
I was lucky to work early on with choreographer
Jonathan Burrows, who encouraged me to
make dance work through scoring visually. This is
an interesting way of communicating your intention
without needing the dancers to hear instructions
or listen to music. Those who download my
free app can see how mathematical scores inform
each piece I make, including Passages of Time, my
new work for this year’s Brighton Digital Festival.
The title of the work is taken from a quote by
composer Peter Maxwell Davies, who described
music as ‘the passage of time through sound.’ This
sits at the heart of my work, and is something I can
relate to absolutely. To me it sums up the science
and mechanics of what constitutes music.
Composer Danny Bright has scored a piece for
the work, drawn from the sounds the dancers make
when they move. Danny took samples from their
rehearsals and composed from these digitally. He is
experimenting with vibration, so the work will have
some loud and strange surprises - be warned! It’s
not solely musical, but it has interesting qualities
I hope my works encourage audiences, both
hearing and deaf, to experience the world differently.
Passages of Time uses digital technology as well
as dance and light to visualise sound and music. I
think deaf viewers will feel a strong connection to it,
but I don’t wish to be exclusive. I sign in the piece,
but there will also be captions for people to read.
Digital is such an interesting field, and I always
enjoy working with digital artists. It allows translation
of one sensory realm into another, and I just
love what it gives me, a whole palette with which to
create new worlds.
Interview by Nione Meakin
Chisato’s digital dance work, Passages of Time, is at
The Spire, Kemptown on September 3rd and 4th as
part of the month-long Brighton Digital Festival, see
Peter & the Test Tube Babies
Peacehaven wild kids
What makes the Peter &
the Test Tubes different
from other punk bands?
Our sense of humour I
guess. It’s the basis of pretty
much all of our songs.
We’ve always been pisstaking
What is Undercover
Festival? Undercover is a
great punk and ska festival
that used to take place in
Bisley in Surrey. This is the
first year it’s in Brighton
and the venue is great, so
I hope it’s a success. I’m
looking forward to watching
The Charred Hearts, a great
band. I enjoy festivals as a
punter as well as playing. Often I will take my
tent to a festival, decline the free hotel room and
rough it with everyone else. Much more fun.
What else are you doing this month? We’re
playing two gigs in one day on a boat going
down the Spree in Berlin. Really looking forward
to that. I’ve also been invited to Prague to the
premiere of a Slovakian film which has used some
of our music. And we’ve recently been signed
to Nuclear Blast Records, so we’re currently
rehearsing songs for a new album next year.
What was the last song you wrote? It was
called Found out My Wife’s on Tinder. Hopefully it
will be on the new album.
What was Brighton like when the band
started? Brighton was a very different place then.
It was far more exciting, and at times even dangerous,
to be a young punk rocker back in those
days. There were some amazing bands around
then, bands that inspired us to start our own. At
that time I lived in Peacehaven, but would hitch
to Brighton every Friday and spend the weekend
going to gigs. I now live
in a caravan close to the
beach in Lancing. Our
guitarist lives in Woodingdean,
lives in Swindon and it’s
only our bassist, H, that
lives in Brighton. It’s way
too expensive now.
You used to write songs
mocking mods and
students. Which people
annoy you most these
days? Wankers who are
obsessed with Facebook. I
understand it’s a necessity
as an advertising forum
and it’s invaluable for
our band, but that’s it. I
have no desire to tell the world what I had for
breakfast, what colour my poo is or to show other
people videos of cats. Wankers, the lot of them.
What are the physical and mental effects of
being in a punk band for 40 years? Physically
my hearing has taken a bit of a hammering.
Financially I am probably a lot worse off than if
I had held down ‘a proper job’ - after all, I live
in a caravan! However, I wouldn’t swap a single
minute of it. I have been paid to travel the world
and I’ve met some fantastic people. We were
there in Berlin when the Wall came down. In fact
I actually have pieces from both sides of the wall
that I dislodged myself that day. We were the first
band to play in Croatia after the war. I ate ecstasy
ice cream when we played in the Shetlands. We
played at the skater Tony Hawk’s private party in
LA. We have been pretty much everywhere and
hopefully that’ll continue.
Ben Bailey interviewed Peter Test Tube
Peter & the Test Tube Babies play the Undercover
Festival, Friday 9th at Brighton Racecourse
First-time director Helen Walsh
“Oh dear,” texts Helen
Walsh, in response to
the news that I’ve just
arrived back from my
honeymoon and I’d
like a Vimeo link to
her film The Violators,
before I interview
her the next morning.
“It might put a bit of
a dampener on your
No matter. I manage
to catch an hour of the film, and I’m immediately
immersed in the travails of its 15-year-old protagonist
Shelly, trying to look after her motherless kid
brother in underclass Birkenhead, a world of casual
prostitution, drug abuse, pawn shops, and relentless
“Is it a film that’s essentially about class?” I ask her,
down the phone, and I seem to have hit home, first
question in. “I’m often asked how or if my gender
has informed my directorial style. On a subconscious
level, yes, it probably has but once I’m behind
the camera, I cease to be a woman, a mother,
a feminist. Class though, is deeply embedded in the
decisions I make, as is sense of place.”
A sense of place. Birkenhead is a tough workingclass
town, dominated by its neighbouring cities,
which shares many similarities with nearby Warrington,
where Helen was brought up in ‘a house
with no books’. “I filmed within a five-mile radius,
on location, in and around the post-industrial
wastelands of Birkenhead. I rehearsed the actors
on the landscape, and the harshness of the environment
was reflected in their faces. We filmed
one scene in Liverpool, but I didn’t end up using
it. Tonally, it stuck
right out. The
change in environment
elicit a different kind
of performance from
We talk about the
the Belgian directors
who have made
an art form of using
setting to great effect
in their human tales of young people making
their way through life as best they can in socially
deprived urban environments. Helen reveals that,
in particular, their 2002 film The Son was a major
influence on the her directorial style while making
The Violators (her first movie; Helen is also an
award-winning novelist). “The Dardennes privilege
truth over everything,” she says.
Her film was made with a small crew, and a tiny
budget, with little time to rehearse or plan set
locations: it’s all filmed in real places using natural
lighting, à la Dogme 95 (give or take the odd
snatch of background music). As a novelist who is
used to controlling her whole show, I ask her, was
it difficult working alongside a cinematographer?
“Of course I had to fight my corner and make sure
that the narrative rather than the cinematography
was the driving force of the film,” she says. “But
Tobin [Jones, her director of photography] understood
the sensibility I was striving for, which is
slightly more European in tone and outlook.” AL
The Violators, Fabrica, 7th, 7.30pm, featuring a
Q&A with Helen Walsh, as part of the Scalarama
Film Festival scalarama.screeningfilm.com
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Back in the festival groove
You’re doing loads
of festivals off the
back of your new album,
Isle of Wight, Glastonbury,
the People in Preston
Park… Think it’s
been ten years since
we did as many as
we’ve done this year;
I don’t know why, we
just stopped being a festival band. But then recently
we started to pop up on the UK festival
scene and we’ve loved it - we’re getting closer
and closer to stadium antics. All of a sudden we’re
playing all these bigger stages, reinventing ourselves
for the festival crowd.
A slight schedule dilemma at Glastonbury
- Turin Brakes playing at the same time as
Adele… She was a support act for us years ago,
at a little show in Camden - 2007, I think. We
hadn’t put two and two together that it was THE
Adele, so we made a joke that if it wasn’t for us,
she never would have got there. But it was completely
fine - Glastonbury is such a big festival
that we absolutely packed out the tent. Adele and
Turin Brakes can survive in the world together at
the same time.
How have your stadium antics played out at
festival gigs? Any flash covers? We kind of
avoid covers; in fact, we were just walking around
the other day saying the big difference between
festivals today and when we first started is that so
many now are like function bands - getting major
spots on the main stage. It’s cool, but it’s creeping
into slots that used to be there for original
artists. Where the hell are festivals going to be
in ten years’ time? You’ve gotta keep being brave
and putting original
artists onstage or
it all starts turning
into ‘X Factor Karaoke
Land’. For us,
it’s about building up
energy between these
songs we do; there’s
lots of jokes and
piss-taking. Our bass
player Ed is a lunatic
onstage, expressing himself wildly. We’ve learned
to loosen up and not take ourselves too seriously.
Your and Gale’s transcendent harmonies are
the hallmark of Turin Brakes’ sound - was
this fate? Or something to do with growing
up together? We went to the same primary
school and were in a cathedral choir. All the
years we’ve spent hanging out with each other,
with the same reference points, the same understanding
- we can probably communicate more
in a single stare than other people could do in
days. It’s an unspoken thing that can only come
through chemistry. With Rob and Ed, it was pure
luck that the chemistry was there. That’s like
striking oil - incredibly rare.
What is floating your musical boat at the moment?
I’ve gone backwards, actually, rediscovering
an album by Elliott Smith called XO - which
I used to listen to years ago; I found it the other
day and haven’t stopped listening to it. The Maccabees,
Laura Marling - I love her. Strong songwriters
always float my boat - from Joni Mitchell
to Kate Bush and everyone in between.
Amy Holtz interviewed Olly Knights
Turin Brakes play Together the People in
Brighton on the 4th and Hastings Pier on the
ON THIS MONTH
1066, lasers, and all that
Image courtesy of Wonderfruit
Laser artist Chris Levine works all over the world.
He’s collaborated with Grace Jones and Kate Moss,
created a holographic portrait of the Queen and a
birthday portrait of the Dalai Lama. Most recently,
he designed a spectacular laser show as part of a
tribute to David Bowie at the Glastonbury Festival.
We tracked down globetrotting Chris to ask him
about this, as well as the ‘immersive sight and
sound installation’ Iy Project: The Nature of Sound
and Light, which he is creating in collaboration
with Edenlab (part of the Eden Project). This will
take place on Hastings’ new pier to kick off the
Hastings Root 1066 Festival, celebrating the 950th
anniversary of the Norman Conquest.
Tell us about your part in the David Bowie
tribute, Philip Glass’s “Heroes” Symphony, at
Glastonbury. Bowie had a huge influence on me
at art school, and I had hoped to do his portrait
this year. I did a holographic design for him years
ago. He was a special being. Philip Glass was the
soundtrack to a period of my life, so it was a huge
honour to be asked to do this project. The response
was pretty phenomenal, and during some of
the silent moments there was a palpable reverence
for the starman.
Have you visited Hastings’ new pier?
Yes I have, and it was a thrill. The pier puts you
face-to-face with the raw power of the sea. When
you consider how little of the ocean has actually
been explored, it holds great mysteries.
Talk us through your planned Hastings installation.
The brief has been fairly open but in that,
trust is a huge challenge. The work we are doing
with the iy project is the antithesis of conflict,
and a celebration of the natural wonder of life on
earth. Meditation is the key, and I’ve found that
by immersing your senses in sound and light, laser
light in particular, one can attain brief moments
between thoughts, and it’s during these moments
that something recalibrates and harmonises us.
What are the pleasures and challenges of the
location? To be exposed to such natural forces of
the wind and sea will add to the natural dimension
of the work. The sound is a crucial aspect of the
work we’re doing, and depending on the weather,
the noise of the wind may well overpower some
of the more subtle layers of the soundscape. I say
soundscape and not music because it is primarily
the energy of sound at certain frequencies that
informs the work.
You’ve done some amazing collaborations.
Does who you work with make a difference to
how you feel about your work? I do get affirmation
that I’m not a cadet lost in space, but [you
know you’re] getting into something very interesting
when real talent is drawn to the work.
Sat 10th, Hastings Pier and Promenade. Doors, 7pm,
show, 8pm. Free but booking required for pier viewing,
Corin Hardy’s home-turf horrorfest
“I was so obsessed with
Morph when I was a
little kid,” says soon-tobe
Corin Hardy, sitting in
the Six Bells, in Chiddingly,
“that I wrote
to the BBC asking if I
could have him when
they’d finished with him.
I was heartbroken when
I found out he didn’t
Corin, who grew up in the village, and has in
recent years moved back, continued as a teenager
to be obsessed with all things stop-motion
animation, as well as fostering an unhealthy
interest in horror movies. He used to spend
long summer holidays making Super-8 slasher
flicks with his friends in the village: “we used up
a lot of tomato sauce.”
He also spent thousands of hours making his
own monsters in a shed in his garden, which set
him in good stead to do “in effect a special effects
course” at Wimbledon Art School. Thence
back to the shed to make his own half-hour
stop-motion movie, Butterfly, shot over five
years within a number of intricately built sets
and home-made puppets. In the meantime he
cut his teeth in the professional world as a pop
video director, for the likes of The Prodigy, Ed
Sheeran, and McFly.
We move to said shed, which is neatly furnished
with paraphernalia from his career, in particular
gruesome masks and models from his first fulllength
feature, the 2015 horror film The Hallow
(starring Joseph Mawle, from Game of Thrones)
as well as awards the film won, including Best
Horror at the 2016 Empire Film Awards (other
winners on the stage
that night included
Matt Damon and Sam
Mendes). The Hallow,
which Corin calls his
‘survival fairytale’, made
its premiere at the
Sundance Festival and
has been a launching
pad for what promises
to be a stellar career: he
has three other films in
the pipeline, including
as director of a $50 million Hollywood remake
of 90s classic The Crow.
None of this seems to have gone to his head:
he’s got a word for everyone in the Six Bells,
most of whom enquire about the wellbeing of
his ear: in a moment reminiscent of scenes in
The Hallow, in which the natural world turns
on a couple after they move to a cabin in the
woods, he has had an accident with the branch
of a tree. Spooky.
This month, as part of the 38th Chiddingly
Festival, Corin is helping other up-and-coming
film-makers, by setting up the Chiddingly
Chillerama, a one-night horror movie festival
taking place in the (souped up for the occasion)
Village Hall. As well as a special screening
of The Hallow (“the Chiddingly premiere”,
he jokingly calls it) he’ll show a number of
hand-picked recently made UK horror shorts.
There will also be models and props from his
film, a Q&A with Corin, and a ‘special guest’
I’m sworn to secrecy about. All in all something
of a celebration of a very home-grown talent:
Morph has a lot to answer for. Alex Leith
Chiddingly Chillerama, part of Chiddingly Festival.
22nd, 7pm, £7, corinhardy.com @corinhardy
Photo by Boo Hunniset / Gunhill Studios
Back shakin’ that ass
It’s been almost twenty
years since Groove
Armada started knocking
out hits like At
The River and I See You
Baby in the late 90s.
In that time they’ve
run clubs and festivals,
toured the world and
played on some huge
stadium stages. This
month the duo are in
Brighton for Boundary
come full circle to return to their house roots.
We caught up with one half of the Armada, Tom
Findlay (pictured left).
What does returning to your roots mean in
practical terms of recording and performing?
Well, we’re writing more remotely these days,
sending music back and forth over the internet.
It’s just us now in the DJ booth, no more musicians,
crew and all that. So I guess you could say
life’s a bit less complicated.
You’ve spoken about moving away from big
stadium sets in favour of nightclubs and parties.
Is Boundary a good compromise between
the two? Brighton is one of our favourite places,
and the line-up for Boundary looks amazing. We
can play these kind of festival sets better than
most, so yeah this is a perfect fit.
What kind of set will you be doing? We don’t
pre-plan too much, we’ll get there and vibe it
out - we’ve got a lot of new music coming out so
expect some exclusives, two new mixes of Superstylin’
and thrills and spills aplenty.
Is there anyone else on the line-up you’re
looking forward to seeing? Seth T always,
Craig David doing his thing. It’s got a vibe.
Is the club scene dying or do we just need to
get out more? I think it’s a really challenging
time for clubbing in
the UK. The Nightlife
(do check it out) says
it all really. From
my own London
perspective, clubs are
shutting left, right
and… Fabric is under
pressure again, the
fire at Studio 338 was
devastating. I think
it’s a massive part of
our cultural heritage
and we need to celebrate and cherish it more.
Do you think festivals have taken on the role
that used to be played by raves? They have, and
clubs too to some extent. The festival scene in the
UK is amazing right now, something to be really
proud of. The fact we all want to get together
all summer, jump around and dance is, I think, a
If someone asked to play at a random rave on
the Downs would you do it? Depends who’s
Twenty years on, how do you feel about those
early hits like At The River? Well it’s odd,
they feel quite removed, like maybe someone
else wrote them. I hear them sometimes out and
about, and it takes me a while to connect to them.
But I’m proud of everything we’ve done really,
apart maybe from the Chicken Madras ad.
Are you doing anything to celebrate the
band’s anniversary? We’re in the planning
phase. We’ll do something, maybe me and Andy
will just go for a romantic meal somewhere and
post it on Instagram.
Interview by Ben Bailey
Groove Armada are playing at Boundary
Brighton on Saturday 17th at Stanmer Park.
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OZKAN-Viva-Brighton-ad-128x94.indd 1 04/05/2016 11:25
A love letter to 90s London
won the Baileys
Women’s Prize for
Fiction in 2014 for
her debut novel, A
Girl is a Half-Formed
Thing, a tale of a
rural Ireland. Her
second book, The
is out now. She
appears at the
Wonder Festival this month.
The Lesser Bohemians is set in mid-1990s
London. For me, it feels like a love letter to
that time and place as much as a study of human
relationships. Was that your intention?
I think you’re right in calling it a love letter.
I hadn’t set out to write about that time, but I
had recently moved back to Ireland and I really
missed living in London. I started to think about
it, particularly the London I’d known when I first
arrived at 17, and I became interested in examining
that time. Everyone has their own London;
that was mine. I felt like it was a very interesting
period where lots of things were about to change.
You moved to London from Ireland in 1993,
aged 17, to study drama. The Lesser Bohemians
tells the story of an 18-year-old Irish girl
who moves to London to attend drama school
in 1994. Are you braced for the assumption
that it’s autobiographical? People made that
assumption about my first book, so I’m prepared
for it and I understand why people draw those
parallels, but it’s very much a work of fiction. But
it’s interesting that that question comes up a lot.
I think often when people feel affected by something,
they want to believe that it’s really true.
That in itself is
the beauty of
fiction is its ability
to speak about
seems to be an
be writing from
a place of experience.
something women deal with a lot more than men;
I think [that assumption] is something a lot of
critics feel more comfortable with when it comes
to women. I think they feel unsafe when women
make great imaginative leaps - in a way that they
don’t with men - because we aren’t supposed to,
traditionally, and if we do, we’re supposed to keep
it to ourselves. I do find it annoying that it comes
up again and again. When was the last time
someone asked [Philip] Roth what exactly was
and what was not true, you know?
Both of your novels tell the stories of young
women teetering on the brink of adulthood.
What is it about that particular framework
for a character that you’re drawn to? Well, A
Girl is a Half-Formed Thing follows a person from
the womb to the age of 20. But I suppose I’m
interested in the moments when we are formed as
people; that time when we start to become what
we will be.
Interview by Moya Crockett
Eimear McBride appears in conversation at the
Charleston Small Wonder Short Story Festival at
5.30pm on Friday 30th. £12 (£10 concessions).
Charleston, Firle, BN8 6LL. For tickets see
Photo © JMA Photography
Beyond the walls of the garden
“Just try to think about weeds
coming up through the cracks,”
says author Naomi Foyle reassuringly,
“and how those weeds can
break through the concrete.” Foyle
and I are sitting in Moe’s Café off
London Road, and the conversation
has moved from her latest
novel The Blood of the Hoopoe, the
third in her Gaia Chronicles quartet,
to the state of the world. She
is reminding me of the weeds, of
grassroots, of hope.
Foyle’s series is a combination of scientific and
fantasy fiction, set in a society restoring itself
after ecological disaster. Not only is she a successful
fiction writer but an award-winning poet
and a political activist too, vocal about human
rights. Both poetry and politics inform her novels;
Foyle’s prose is rich and elegant and the
world she builds is developed from a “desire to
“I suppose the reason I’m attracted to science
fiction is because it presents me with the opportunity
to create a different, in some way, more
politically developed, world,” she continues. Her
work is not a simple mirroring of this world into
a fantastical setting. Her books are populated by,
and celebrate, voices often neglected in popular
narratives. These include powerful women, integral
and dynamic disabled characters, and refugees.
This is where Foyle’s world-building begins,
offering alternative figures from the start:
“I do think that if you know something is clichéd
or stereotyped then you have a responsibility as a
writer to not peddle it, so in that case, all the old
tropes need to go.”
Refusing to merely reflect
back at the reader what she
sees in the world, Foyle says
that her world-building is
founded on critiquing conventional
and “most importantly critiquing
and examining myself; I
don’t want to be someone on
the outside wagging a finger
at other people, telling people
how to live. It is a case of looking
at the facts, what we can all
do to be more aware of how we live and trying to
change it without judgment. You have to judge
the situation, not people.”
This approach to change is evident in the Gaia
chronicles. They are thought-provoking and
rousing, and Foyle encourages the reader to
wake up to the world around them in the way
her characters do. “What I wanted to do with
the books was create this beautiful little world
that nevertheless was founded on injustice, and
to have the characters gradually become aware
of it during the course of the novels. Becoming
aware of the wider picture, of people beyond the
walls of the garden.”
Inspired by “what people do at a local level and
how people get involved in international politics,”
the Gaia Chronicles are ultimately optimistic
and full of hope. Her characters affect
change as they become increasingly conscious of
the realities of their world in a manner similar to
“grassroots movements which are so integral to
any change; we’ve got to talk about and remember
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Bitten by Picasso
Farley Farm House goes east
In 2001 there were two related exhibitions in Edinburgh.
One, at the Scottish National Gallery of
Modern Art, was devoted to Lee Miller’s photography.
The other, at the Dean Gallery, showcased the
work of her husband, the painter and prodigious
art collector Roland Penrose. Loosely inserted in
my catalogue for the shows is a postcard of one of
Lee Miller’s photographs. Taken in 1948, it depicts
a small boy and a cat in a London garden. The cat’s
name was de Valera. The boy is Antony, Roland and
Lee’s son. The back of the card is inscribed: ‘David
- I wish you could have met the cat! Best wishes,
Antony Penrose, 21st October, 2003.’ I bought the
card at Farley Farm House, the Sussex home from
1949 of Lee Miller and Roland Penrose, and it was
inscribed at the end of a marvellous guided tour
that lasted three hours and culminated in a spread
of Sussex wines and cheeses.
Farley Farm House is now open to visitors for
50-minute guided tours, every Sunday from April
to October, but back in 2003 it was by appointment
only for private parties of 12-15. Among my group,
assembled by my friend Chris McConville, were
Joe and Pat Carrington. Joe, an old school chum
of Chris’ in Blackpool, was a Lancashire relation of
the surrealist artist Leonora Carrington. Lunching
in the Lewes Arms before setting off for Chiddingly,
I showed everyone a photo of Leonora in the Edinburgh
catalogue. “Eh, Joe,” Pat exclaimed, “she’s
the spitting image of your Auntie Mabel.” At the
Farm House Antony Penrose had taken the trouble
of unearthing some additional Leonora Carrington
material to show us.
But perhaps the highlight of a memorable day was
the sudden appearance (fortuitous? Stage-managed?
It hardly matters) of Patsy Murray, who had
arrived at the house to look after Antony in 1951
and, fifty-two years later, was still holding everything
together. She’s rather the heroine of Antony’s
latest book; The House of the Surrealists: Lee Miller,
Roland Penrose and their circle at Farley Farm House.
The dedication reads: ‘For Patsy, with love and
thanks. Without you Farleys would not have existed
and my life would have been unbearably bleak.’
Of all the distinguished artists who visited over the
years - Miró, Max Ernst, Man Ray - the most distinguished
of all was Picasso, who stayed in 1950.
He bonded with Antony immediately. Pretend bullfights
ended in Antony biting Picasso. Picasso bit
him back. A stunned silence ensued before Picasso
exclaimed: ‘Pensez. C’est le premier Anglais que
j’ai jamais mordu’ (‘That’s the first Englishman I’ve
ever bitten’). Antony Penrose has written: ‘To get
the best out of Picasso it was best to be an animal
or a small child,’ so perhaps the artist would have
appreciated my postcard.
A show at the Jerwood Gallery in Hastings (until
9th October) is entitled Bitten by Picasso. It comprises
ceramics, etchings and photographs of and by
Picasso, drawn from the extraordinary Farley Farm
House archive. It makes the Jerwood even more
than usually worth visiting. David Jarman
Picasso, Villa la Californie, Cannes, France, 1957, Lee Miller © the artist's estate
Artist & curator of 'Towards Night'
We spoke to Tom Hammick, the Sussex-based and
internationally acclaimed artist, about the upcoming
exhibition Towards Night, which marks his debut
as a curator.
As a romantic, the night is contextually more
interesting to me than the day as a backdrop
for my own work. You can use it as a device to cut
away the pith and excess. As a spotlight, blacking
out areas to focus on small spots of colour. The
show demonstrates the influence that the 19thcentury
Northern Romantic tradition in painting
has had on various artists making work now. As a
figurative painter I feel that a certain sort of metaphorical
painting has been out in the cold for quite
a while since the ascendency of the YBAs. This is
starting to change; partly as a response to the crash
in 2008/9, quiet painting is back in the ascendancy.
This show is a celebration of work that is on the
whole quite subtle and has a unifying metaphysical
The show begins with an introduction to wonderment,
using landscape as a hanger for a positive
response to the world we live in. And then
things get more dystopian and dark as the show
progresses. Landscapes become more edgy, full of
pathos and fear. A response to contemporary angst,
perhaps. There are sections later on that focus on
night journeys, as a metaphor for the end of days,
and the night city, which is as much about revelry
as a sort of post-Edward Hopper isolation. Velvet
curtains shutting the night from Patrick Caulfield,
and a couple in a passionate embrace in a beautiful
Munch woodcut from the V&A. Two people
wrapped up in each other - it’s a sexy, erotic im-
Photo of Tom Hammick by Leigh Simpson
Marc Chagall, The Poet Reclining, 1915. Photo ©Tate, London
2016. Chagall ® - ©ADAGP, Paris and DACS, London 2016
'Waiting for Time' by Tom Hammick
age. Then there’s a room of paintings and prints
about dreams and insomnia. A famous spiral work
by Louise Bourgeois. And finally, in the last room,
there’s a poetic release in the pressure, with pictures
celebrating the moon. Samuel Palmer, Blake and
many other artists feature here.
There are close to 70 pieces in the show, but
it revolves around three or four great works,
which we’re incredibly lucky to have in Eastbourne.
The first is Caspar David Friedrich’s Winter Landscape
which, unbelievably, the National Gallery
have lent us. It’s tiny, a jewel of a painting. But it’s
got such charismatic power. On one level it’s an
extraordinary landscape, and on another, a picture
about the afterlife.
The next is The Poet Reclining by Marc Chagall.
A poet lies in a green field with hillbilly barns behind
him, fir trees and a horse and a pig. But you don’t
really know where he is. It could be that he’s in his
bedroom in Paris, but dreaming about the landscape
of his youth. It’s almost like a thought bubble. The
night opens up a language for the painter. We can
use it to talk about memory, imagination and loss.
Echo Lake by Peter Doig is a painting from a
still from Friday the Thirteenth. In it, a traffic
cop overlooks a lake, his hands on his head like a
modern day version of Munch’s The Scream. It’s a
painting about the angst and despair that we often
feel in modern life. Doig uses the landscape to reflect
on what the figure might be feeling internally.
The Towner have never had such an expensive
show, but it’s important to get these works out of
London. Nicholas Serota spoke recently at the De
La Warr about a ‘string of pearls’, from the Turner
Contemporary in Margate, to the amazing things
happening at Jerwood, The De La Warr Pavilion,
and Towner. Then there’s Pallant House, which
always punches above its weight. We’re incredibly
lucky down here.
Towner wanted to have a show curated by a
painter for a change. Like the experience of seeing
work hung in an artist’s house that makes sense
of two seemingly unrelated pictures. I’ve never curated
a show before and I’ve come to realise how
much work is involved. I’m not getting much sleep!
As told to Lizzie Lower
Towards Night: From Friedrich to Bourgeois: Sixty
Artists Explore the Nocturnal is at Towner Art Gallery
from 24th September until January 2017.
British Painting and
We look forward to welcoming
you to our gallery in Hove.
Sunday/bank holidays 12pm—5pm
For more details visit
A_VivaLewes_Advert_66x94_August2016_v2AW.indd 1 18/08/2016 14:46
Red Sunset Looking Towards Scotch Pines
‘Explosions of light’
A good sunset feels like it’s all around you and
above you, and that’s quite hard to get across on
a 2D surface. What I’m trying to capture in each
of my paintings is a transient moment, that quick
explosion of light just before the sunset disappears.
Most of the sunsets I paint are from outside
my back window in Plumpton, looking out over
the South Downs. We’re really fortunate to have
such incredible light here; the flat light in one direction,
the light bouncing up off the sea, and the
rolling Downs in the middle. It’s a very changing
landscape which we sometimes take for granted -
before I moved to Plumpton I had lived in Brighton
for seven years, and I didn’t even know the Downs
My favourite place to paint is up the road at the
top of Streat Hill. I can drive up there in the car
with my easel very easily, but getting set up at the
top of the hill is like trying to put up a sail in the
wind, with everything blowing around, trying to
hold down the easel with my foot. So most of what
I paint in situ is smaller pieces; for anything bigger
than about 30x60, I work from photographs.
I usually get five or six photographs of a sunset
and work from a mixture of different images,
because I don’t like to copy things exactly. Everybody
sees things differently, so one of the challenges
of being a painter is being able to capture what it
is you see and to be able to achieve a dialogue with
your audience and convince them of your vision.
I visited the Frank Auerbach retrospective at
the Tate earlier this year. I’ve always been a huge
fan of his - he lived just down the road from where I
used to live in London and I had painted a lot of the
same buildings as him - but I was still taken aback
by his work, the way you can see his progression
and thought process. He had a way of using zigzags
to express space and dynamism, which inspired me
to start using more geometric shapes in my work.
About a year ago I exhibited my first illuminated
works, which are painted onto light-reflective
Perspex in oil paint. Each piece is set on a lightbox
with a rail of LEDs inside, which alternate between
15 different colours. Getting each piece to look
right is very much a case of trial and error because
certain pigments, like yellow, are weaker than others,
so it can be harder to achieve the colours I’m
looking for. But the way the light diffuses through
the material, creating this beautiful glow, makes it
worth persevering. As told to Rebecca Cunningham
Grant will be at Brighton Art Fair, 23rd-25th, the
Corn Exchange. brightonartfair.co.uk
at Middle Farm
The National Collection of Cider & Perry
Turn your surplus apples, pears or grapes into
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Iris De La Torre
Frida Kahlo golden heart and
Acrylic, 6cm, £16
Tell me about the brooch. The starting point
for this brooch was Frida Kahlo’s face, and in
particular her eyebrows. My work is very graphic
and stylised, and I use a lot of geometric shapes
and symmetry. I like my collections to be cohesive,
to form a graphic language, and with Frida it was
obvious to me that her long eyebrows look like the
shape of a heart.
Frida Kahlo was known for her self-portraits -
did her work influence your style? I believe that
Frida Kahlo’s self-portraits were based on her own
experiences, in particular her personal pain. I admire
her strength and passion, for being a woman
of her own beliefs, outspoken, artistic and creative.
She was way ahead of her time in a very traditional
and Catholic 1930s Mexico. All of these elements
made me want to make a brooch as a tribute to her
and to my country.
I gather you first fell in love with plastic as a
child with your lilac jelly shoes - how did this
later translate into your jewellery design? I
loved the texture, the colour, the lustre, the flexibility,
even the smell. They smell like bubble gum!
I had the opportunity at university to use Perspex
and was encouraged to find alternative materials
rather than traditional precious metals to translate
my graphic and colourful vision. When I work
with synthetic materials, it reminds me of the love
that I had for those lilac shoes.
What’s your starting point when you sit down
to begin a new design? I was trained at Central
St Martins where I discovered I am an intuitive
and instinctive designer, rather than logical. I am
highly visual, and collect lots of images and objects
from which design ideas form and are developed.
I sketch a lot of different shapes until I find the
one that resonates with me. Once I am happy with
that I develop it on the computer, before making
models to see if it works.
What about composition and colours? I am
limited by the Perspex colour palette for my jewellery
designs, however it constitutes a broad range.
For the ‘Mexico in the UK’ collection I chose
strong, rich precious-metal colours such as gold
What technical difficulties are presented when
working in plastic? I have to rely on laser-cutters
and the standard and accuracy varies quite dramatically.
The gluing when layering Perspex can
be messy so I’ve learnt how to avoid marking the
material by masking each component piece, and
that can take a long time!
Iris will be at MADE Brighton, the Corn Exchange,
Fri 23rd-Sun 25th.
‘Making engagement engaging’
I’m interviewing Megan Leckie and Joseph
Palmer of BlockBuilders at Hotel du Vin when
we are interrupted by a beaming redhead.
“I’m an enthusiastic listener to your conversation,”
she says. “I’m doing research to take back
to the US Dept of Education, but I’m also a
Microsoft Innovative Education Expert… You’re
doing great stuff.”
A delighted Megan and Joe are explaining to
me, and our new friend also, how they work for
developers and councils to build public engagement
with the planning process using Minecraft.
They recently won funding from Innovate UK
to build digital maps and models of cities using
open-source data. “Ideally,” says Joe, “anyone
would be able to download Brighton, for example,
and play it.”
BlockBuilders started just two years ago. When
Joe was at the University of Brighton he took
part in a project called Young Digital Citizenship,
and his housemate Megan, an avid gamer,
saw the fun and quickly got involved.
Megan and Joe led a workshop at Lewes Railway
Land, getting kids to redesign their town using
Minecraft. They took the idea to Brighton
Digital Festival, and soon Megan was giving
talks at TEDx. BlockBuilders now work at the
university-owned Place Maker Space at FIELD
on Lewes Road with Exploring Senses and Community21;
they also travel for projects further
out. Who knows, after our chance meeting, their
next stop could be Washington DC.
As further testament to the positivity Block-
Builders inspires, we’ve already seen the first
real-life actualisation of ideas brought about
through their workshops. The pond and apple
tree by the Linklater Pavilion in Lewes seem a
rather sensible outcome, given the process by
which they arrived. Joe says, however, they make
a point of getting the far-out ideas out of the
If the kids want to knock down the Post Office to
build a rollercoaster, for instance, “you can run
simulations in which the Post Office is gone, the
Fire Station is gone, and they start developing an
understanding of what it takes to build a place in
a short amount of time.”
One of their most exciting Brighton projects is
Valley Gardens - running from the Level to the
seafront. One idea is for an intergenerational
park, including a Minecraft chess set to get
young and old playing together. Another is to
reduce traffic, possibly through the implementation
of a congestion charge.
“Rather than just getting opinions out of people,
we look for visions,” says Joe. “We look for community
insight.” Although many workshops are
aimed at young people, they find this encourages
others to take part: a grandparent perhaps, or a
working parent who would otherwise have no
time to attend planning meetings. “I think engagement
for us is about enabling conversations,”
says Joe; it’s also about giving voice to those who
would not be heard.
Minecraft, it seems, is a perfect tool for removing
inhibitions. “You don’t have to be good at reading,
or writing or speaking,” says Megan,
“…because you’re playing, you’re designing,
your opinions are coming out that way instead…
By the end, the kids all want to stand and talk
for hours about what they have built.” Chloë King
for 9-16 year olds
in the heart of Brighton
Create your own curriculum
Learn what you want to learn
Become who you want to be
SEPTEMBER - JUNE
“It’s a good place to learn, it’s calm,
smaller than a school, more one on one.”
SMLCollege student, Chance
Self Managed Learning College
based at Brighton Youth Centre
64 Edward Street, Brighton, BN2 0JR
Registered charity No. 1110315
Photos by Rebecca Cunningham
What’s tinc? It started off in 2011 as a stationery
shop, now we’ve expanded into more of a lifestyle
store. We do bags and jewellery, towels to bring
to the beach, gadgets and electronics… The first
shop opened in Bath; now there are 21, all in the
UK. We like to be near other fun, quirky shops,
like our spot here in the Lanes, where we’ve been
for three years now.
What do you do? I’m the manager. I’ve worked
here for two years and been in Brighton for four.
The shop has changed so much since I started.
Two years ago we only had the original four tinc
ranges - black, blue, green and pink - and every
colour had its own tribe. The black ones are the
Kronk tribe, greens are the Hugga tribe, blues are
the Tonkin tribe and pinks are the Mallo tribe.
The kids can log into this online world called
‘tincville’ and choose a tribe and play games. Now
we’ve expanded into purple and mixed colours.
Are you into stationery? Yeah! When I was
at school I used to collect erasers - but I never
wanted to use them, obviously, I wanted to keep
them all perfect. I loved going back to school
with everything brand new.
Do you get to try out all the new products?
Yeah, we have a kind of creative blog called
‘tincspiration’, where we all post different ideas.
They’re not always about the products - last
month we did a ‘Bake Off’ and put up pictures of
the cakes we all made - but other times the managers
or our friends think of a fun idea and write
a post on it. We have these great electric erasers,
and a friend who’s an illustrator tried pencilling
in an entire sheet of paper and drawing into it
with the eraser, so creating a rubbed-out image.
Most of us are really creative; I make jewellery
and there’s another guy who’s a graphic designer.
What would be your back-to-school essentials?
A hardtop pencil case, definitely. They have
slots for all your pens and pencils and a pocket at
the back to keep bits of paper. They’re wipeclean,
too, which is great. A lunchbox - they fit
our little snackboxes and bottles inside. And kids
love our rucksacks. We have a new range with
lights on the front, so when you walk around they
Rebecca Cunningham interviewed Carla Thorne
9 East Street, tinc.uk.com
THE WAY WE WORK
Adam Bronkhorst went back to school this month. Five schools, in fact, to
photograph the headteachers. Fortunately he didn’t spend too much time
sitting outside any of their offices...We asked each one for their
favourite mnemonic (or saying).
adambronkhorst.com | 07879 401 333
Mrs Healey, St Bartholomew’s Primary
“Richard Of York Gave Battle In Vain.”
THE WAY WE WORK
Clare Eddison, Dharma Primary School
“Mine is a Maya Angelou quote: ‘My mission in life is not merely to survive, but to thrive; and to do
so with some passion, some compassion, some humour, and some style’.”
THE WAY WE WORK
Mr Deighan, Varndean School
“‘Every Good Boy Deserves Favour’, to remember notes of a stave.”
THE WAY WE WORK
Mr Bradford, Dorothy Stringer
“‘Divorced, beheaded, died, divorced, beheaded, survived.’ Although that’s not quite accurate - the marriages of
Catherine of Aragon and Anne of Cleves ended in annulment, not divorce. Also Anne of Cleves and Katherine
Parr both outlived Henry. But it will do.”
THE WAY WE WORK
Ms Willard, Elm Grove Primary
“Big Elephants Can’t Always Use Small Exits.”
Posh breakfast in Hanover
It’s 9.15am on a Tuesday morning, and I appear to be
the first customer of the day at The Village: the pleasant
blue-haired girl wearing army boots hasn’t yet put the
menus out. She hands me one, and I choose ‘Mushroom Toast’, described as ‘Portobello mushroom, spinach
and pine nuts on sourdough toast’ (£6.50). I live in Queens Park and work just off the London Road, so, if
I take something of a circuitous route, this café-bar is on my way to work, and I’m interested in whether it’s
likely to become a regular stopping-off point.
Inside, it’s Hanover through and through. An assortment of books on the shelf, rugs on the wooden floor,
sixties music playing through the speakers, and the chance - which I turn down - to ‘add Calcot Farm black
pudding’ for an extra £1.50, something I’m not hungry enough to do, sadly.
The Village was until recently a pub, the Horse and Groom, which was bought by property developers with
the idea of turning it into offices. A campaign group fought hard to stop this happening, turned it into an Asset
of Community Value, and the result is this licenced café, which opened in December.
My breakfast, washed down with a flat white, hits the spot, once I’ve added a dose of salt. I eat slowly, reading
a London Review of Books article about Jeremy Corbyn, and smiling to myself when the shuffle function puts
on I Got You, Babe twice in three songs. A great place for a slow brunch, then; next time I’ll build up more of a
hunger and try out the black pudding, too. Alex Leith
Food & Drink directory
The Better Half
The Better Half pub has put
the heart and soul back into
one of the oldest public houses
in the city, just off Hove
seafront. There’s a superb
wine and spirits list and some great ales and ciders
on offer, as well as a hearty and wholesome menu
to enjoy, making the best of local ingredients. The
Better Half is relaxed, friendly and easy-going,
making all feel welcome and comfortable when
1 Hove Place, Hove, 01273 737869, thebetterhalfpub.co.uk
The Set Café
The café is situated next
to the The Set restaurant
and offers laid back
snacks and small plates
in a relaxed atmosphere.
Eating off tables made from the old West Pier and
overlooking Regency Square and the sea makes its
an ideal place to have a quick lunch or night out
with friends. Cocktails and craft beers are on hand
as well as a wine list shared with the restaurant.
33 Regency Square, 01273 855572, thesetrestaurant.com
Terre à Terre
Let’s hope for an Indian
Summer this September!
Don’t let back-toschool
and work get
you down - head to the
Terre à Terre terrace (a
perfect suntrap) or their
airy back room and enjoy their classic Terre à
Tapas with a carafe of organic wine! Open daily
from 12 (11am Sat/Sun) for lunch, afternoon tea
71 East Street, 01273 729051, terreaterre.co.uk
Edendum is a slice
of Italy transported
to Brighton, with
fragrances and freshly cooked recipes that will
give you a chance to discover some lesser known
Italian dishes, a selection of Italian wines and artisan
beers. Looking for a top-quality, generousyet-affordable
lunch or pre-theatre dinner?
Come try our brand new two or three-course set
menu Monday to Friday, 12-6pm.
Photo by Restaurants Brighton
69 East Street, 01273 733800, edendum.co.uk
Tucked away near the
station, the Caxton Arms
is an old-school Brighton
pub. Serving modern British pub food
seven days a week, this hidden gem has been
recently refurbished. Whether you’re visiting
for 2-4-1 wings and the quiz on Tuesdays or
a Sunday roast, you can always expect a warm
welcome at this friendly, relaxed watering
36 North Gardens, 01273 387346
The Westbourne is a rarity, a
truly independent freehouse.
The bar features an everchanging
range of excellent
craft beers and cask ales
from exciting breweries, with
proper cider showcased in
the Cider Shack. There is a secluded garden,
perfect for the summer gin menu, and a serious
Sunday roast offer, all delivered by a friendly,
90 Portland Road, Hove, thewestbournehove.co.uk
Reassuringly expensive fish, in the Lanes
There’s a look in
Rowena’s eye that says
‘don’t even go there,’ so
I change tack.
We’re at English’s, in
the Lanes, Brighton’s
oldest seafood restaurant
(open since 1945),
and it’s the first eat-out
meal we’ve had since
our honeymoon finished
two weeks ago. I’ve just shown her that there’s a
set menu offering two courses for the very reasonable
price of £17.95 each.
“But we could always go à la carte,” I add, and that
It’s 8.30pm on a warm August midweek evening,
we’re sitting at their outside terrace, and it’s
a good job we booked, because they’re turning
people away. We decide to get oysters (£12 for six;
it would be dumb not to) and we agree to share a
seafood platter starter for two (£24.95).
So far, so affordable, seeing as we’ve still got a bit
of honeymoon cash in the coffers. We start looking
at the main course. My eyes naturally go to the
cheaper end of the list. ‘They’ve got fishcakes,’ I’m
thinking, looking at the £14.95 price-tag.
“I fancy the monkfish,” she says and my eyes jump
with some alarm to the figure written after that
listing: £26.95. Something snaps in me. “I’ll go for
the Isle of Gigha halibut, samphire, clam & brown
shrimp fricassee,” I say. It’s £29.95. “That looks
nice,” she says.
Once you decide ‘what the hell’, in a place like
English’s, you can have an enormous amount of
fun. I order a bottle of Verdicchio dei Castelli di
Jesi white wine (£29.95) and, why not, we get some
bread, too (£4.25). Oh,
and French fries (£3.45).
It’s a pity the oysters
arrive at the same time
as the platter, but that
turns out to be my only
gripe. We slurp them
down (best, I find, with
a few drops of Tabasco)
and dig into the platter,
which consists of
smoked salmon, lobster croquettes, scallop ceviche,
chilli squid, grilled bread, various dips and, best of
all, a little jar of potted shrimps.
The biggest ‘wow’ moment of the evening comes
when the mains arrive. We decide to eat half and
swap. The halibut is enormous, and comes with
clams, and a surf ‘n’ turf side of spinach and samphire.
The flesh comes off the bone a treat, and
is sweet, and mild, and moist. The monkfish, of
course, is meatier, and stronger tasting, something
akin to lobster.
We’re on a roll now, and enjoying ourselves so
much that in order to prolong the pleasure, we go
for some affogato (£4.95 each) and, just to help
digest, you understand, a grappa, too (£7.95), half
of which we pour into the ice cream and coffee
mix, creating a three-pronged taste sensation.
Completely sated, we play ‘guess the bill’, knowing
that there’ll be a 12.5% ‘discretionary’ service
charge. “£120?” suggests Rowena. “More like
£150,” I venture. It turns out to be £179, as eyewatering
as the food has been mouth-watering.
“I’ll pay,” I say, knowing that, now we’re married,
it makes no difference. Beans on toast tomorrow,
then. Alex Leith
englishs.co.uk / 01273 327980
Photo by Lisa Devlin, cakefordinner.co.uk
The Caxton Arms is under new management, and chefs Kevin and Jack have
been tasked with giving the pub’s menu a facelift to match. Here’s a dish to enjoy
while soaking up these last few weeks of summer sun...
4 chicken legs
1 large onion
1 scotch bonnet chilli
1 bunch of coriander
5 sprigs of thyme
2 cloves of garlic
1tbsp of cumin seed
1tbsp of coriander seed
½tbsp of fennel seed
1tbsp of ground cinnamon
1tbsp of ground allspice
70ml of soy sauce
300ml of chicken (or vegetable) stock
Preheat the oven to 190°C.
Start off by toasting the cumin seeds, coriander
seeds and fennel seeds in a pan, but be
careful not to blacken them. Then grind the
spices down to a powder - we do it by hand
using a pestle and mortar, but you can use a
small food processor if you’ve got one.
Place the peeled onion, garlic and scotch
bonnet into a food processor and blend to
Combine the paste and the ground spices,
adding the soy sauce, cinnamon and allspice
to make the marinade.
Rub the marinade all over the chicken and
leave for two or three hours at the very least,
but ideally overnight.
Seal the chicken legs in a hot pan with some
olive oil, then pour in the leftover liquid
from the marinade and add the chicken or
Add the fresh thyme and a little of the
coriander, but remember to keep most of it
aside to use as a garnish, and bring the pan
to a gentle simmer.
Take the pan off the heat and cover it over
with tin foil. Place it in the oven for about
Carefully remove the chicken legs, checking
that they are cooked through, and set them
Place the pan with the remaining liquid
back over the heat and reduce it down until
it’s at the desired sauce consistency. When
you’re ready to serve, pour the sauce over
the chicken and garnish with the remaining
Serve with lentils and yam, roasted in jerk
As told to Rebecca Cunningham.
Photo by Lisa Devlin, whose food-photography
website is cakefordinner.co.uk
36 North Gardens, caxtonarms.co.uk
Sussex we deliver
farm to your door
Veg & fruit
Meat & charcuterie
Milk, cheese & yoghurt
Juices & cordials
Oils & vinegar
Sussex beer & wine
Locally packed small batch spices
See detailS on our webSite:
I’m nine months and over fifty hours of
interviews into research on a book about
the Brighton Bomb and its aftermath. Could
anyone with any potentially-relevant memories
please contact me, Steve Ramsey - details
below. Happy to explain more about my background
and the project first.
07575 874 888
Magic roundabout dining
Deciding what to eat at Polygon Pop-up is tricky. I don’t mean choosing from
the menu; I mean choosing what cuisine to eat. It’s a magic roundabout of an
alfresco restaurant located, appropriately enough, on Seven Dials, and the
kitchen changes every night. This particular night it was Kitgum Kitchen (East
African meets Indian home-cooking), but if we’d gone a night later it would have been Sultan’s Delight (Middle
Eastern vegetarian streetfood) and the night after that, Troll’s Pantry (pay-what-you-feel ‘posh doners’),
with a special 64 Degrees menu the week after. See what I mean?
Needless to say, the clientele are the culinarily curious and the bar is duly stocked with carefully curated
drinks; craft cider brewed in whiskey barrels, small-batch spiced gin, beers with more than a hint of the
hedgerow about them.
The food is hot - both in temperature and piquancy - with sour and sophisticated flavours. Crispy Kenyan
potato and Zanzibar lentil fritters (£6.75) for starters, served with a spicy, fresh salsa and a homemade
tamarind sauce (like ketchup for foodies) followed by vegan Gujurati Tapas (£12.75). For omnivores there are
meatballs followed by Nihari (£13.75), an eight-hour slow-cooked beef-shin stew with bone-marrow gravy.
If that sounds tasty to you, you’ll have to track Kitgum Kitchen down via their Facebook page, as something
else will have popped up at Polygon by now. But all things that pop up must come down, and there are only a
few weeks left at Seven Dials before they pop off for the winter. Best go quick. Lizzie Lower
Search for Polygon Pop-up on Facebook or call 07544 822589
Photo by Lizzie Lower
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second only to
January when it
comes to healthy
Hove Food Partnership
are on it with
SugarSmart City, a year-long campaign aiming
to raise awareness of hidden sugars in food. This
month they will take to the streets, inviting
people to take part in one-week challenges such
as ‘Swap the Pop’ [bhfood.org.uk/sugar-smart].
Other BHFP events include their Harvest Hack
with MakerClub at ONCA on Sept 24th, which
aims to get young people thinking about food
sharing and digital solutions to the problem of
In new openings, I enjoyed trialling the new
Bella Italia at Brighton Marina: delicious chilli
bread and enormous pepper grinders. We also
have a new Belgian-inspired BeFries restaurant
on West Street, a new Las Iguanas at Brighton
Marina, and further Planet India and Fatto a
Mano branches in Hove. Giggling Squid have
a new menu with gluten-free, vegetarian options
and Boho Gelato sorbet and KOBA on Western
Road has re-opened as a bar serving Pharmacie
Coffee and cocktails. To come in October:
Smashburger on North St, a new burger concept
combining beef and ‘smashing’.
In events: Butler’s Wine Cellar Portuguese
Wine Festival at St Mary’s Church on 30th Sept
will feature Portuguese bento boxes, copious
wines and expert tasting notes [butlers-winecellar.co.uk].
And the Mange Tout and Troll’s
Pantry Kebab & Cocktails event on 14th Sept
will be classier than a 2am doner. Last but not
least, congratulations to High Weald Dairy:
their delicious Brighton Blue won Gold at the
International Cheese Awards. Chloë King
Illustration by Chloë King
Food for thought
Their new uniforms are
ironed and their schoolbags
packed, but what
can you do to ensure your
children’s brains are ready
for the term ahead? Well,
when it comes to brain
power, it’s all a question
of getting the right fuel
- and that means a few
simple dietary tweaks can
make all the difference.
Make your first stop the fruit and veg aisle, where
blueberries should top your shopping list. Packed
with protective compounds called anthocyanins,
they are thought to protect the brain from oxidative
damage, improving memory and reducing the risk
The same chemicals are also found in other red and
purple fruits and vegetables, so you could also add
beetroot, blackcurrants, redcurrants, raspberries,
strawberries and blackberries to your basket.
Avocados are another food known for their brainnourishing
properties. Rich in healthy monounsaturated
fat (the ‘good’ kind), they promote blood
flow to the brain and lower blood pressure. They
also boast high levels of Vitamin K and folate, which
help to prevent blood clots in the brain, as well as
improving memory and concentration.
Broccoli, spinach, kale and other cruciferous and
green leafy vegetables are equally good for the brain.
Like avocados, broccoli is rich in Vitamin K, and it
is also high in glucosinolates, which slow the breakdown
of acetylcholine, a neurotransmitter necessary
for optimum brain function. It also contains high
levels of the memory-boosting chemical choline.
Away from the fruit and vegetable section, nuts and
seeds pack a powerful nutritional punch. Pumpkin
seeds are a particularly healthy option, containing
zinc, which is necessary
for good memory
and cognitive function.
They are also rich in
magnesium, B vitamins
- all of which are great
for boosting thinking
power - as well as
essential fatty acids.
Linseeds (also known
as flaxseeds) are another good source of omega-3
fats, as are oily fish, such as salmon, trout, sardines
and mackerel. Sprinkle ground seeds into smoothies
or onto soups, cereal and salads for an easy nutritional
Meanwhile, walnuts are the pick of the nuts, boasting
high levels of Vitamin E, which is associated with
a lowered risk of dementia and brain deterioration.
The vital vitamin can also be found in green leafy
vegetables, olives, eggs and wholegrains.
Wholegrain foods, such as oats, brown rice, granary
bread and wholemeal pasta, also work directly to
fuel the brain. Releasing glucose slowly and steadily
into the blood stream, they provide sustainable energy,
aiding concentration and learning. The effect
is enhanced when carbohydrate is combined with
protein, so a brain-boosting pre-school breakfast
might be porridge or wholegrain cereal with milk,
egg on wholemeal toast, or fruit with yoghurt.
Finally, to the delight of fussy eaters everywhere,
dark chocolate has been shown to enhance brain
function. Containing flavonols, it has antioxidant
and anti-inflammatory properties, improving blood
flow to the brain. Do keep it moderate though, and
choose minimally-processed chocolate with at least
70 per cent cocoa. Brain appetit!
Self Managed Learning
College co-founder Ian Cunningham
What is Self Managed
Learning? In a way it does
what it says on the tin: we
help people manage their
own learning. All people and
all situations are different, so
we work with individuals to
plan what it is they want to
do with their life, and they set
their own curriculum. We’ve
run SML programmes with
organisations all over the
world, and 15 years ago we
set up the college for young
people aged 9-16, as an alternative
to schooling. Students attend from 9am to
1pm - but there’s no formal teaching and there are
Are kids as young as nine ready to self-manage?
My argument is that they self-manage anyway.
When they’re sitting in the classroom, they
decide whether they’re going to listen to the
teacher or mess about. If traditional teaching always
worked, 100% of young people would get
A*s at GCSE, but the fact is, it doesn’t always
work. A teacher has around 30 children in the
classroom and they’re aiming lessons at the ‘average’
child - who doesn’t exist.
What makes a child less suited to regular
schooling? To give just one example, summerborn
children are less likely to do well at GCSE,
A-level and go to university. We know this, but
nobody seems to care. We have one boy at the college
who was born on the evening of August 31st
- if he was born just a few hours later, he would
have been the oldest student in the class. Summerborn
children are more likely to be bullied, to be
truants… but that’s just one example. Evidence
shows that learning more
quickly doesn’t mean you
have a higher ability. If you
put together a group of academically
able people all with
high IQs, they will perform
overall more poorly than a
group with mixed abilities
and interests. The danger of
the British school system is
that it’s narrowing down the
skillset of the young people
coming out of it.
What does that mean in
the long-term? Creative
subjects like music or art are being given less and
less time in school, yet the biggest growth in jobs
in places like Brighton is in the creative sector.
People who work in Artificial Intelligence are saying
that AI is going to take away a lot of the jobs
that the education system is preparing people for;
already in law firms you’ve got machines doing
jobs - like checking documents - in seconds, which
would take a human days to do. A lot of the jobs
the government’s promoting are the ones which
are going to be deleted.
How will Self Managed Learning make a difference?
Our interest is in people learning for the
rest of their life. We don’t know what the world
is going to be like in the future - eight years ago
the word ‘app’ didn’t exist in the English language,
now there are two million people worldwide
working in app development. Imposing an outdated
curriculum on young people doesn’t make
sense. I’m not saying we’re the answer, but we are
Baby Picture This
Family photographer Laura Aziz
Don’t just photograph the special moments.
One family I photographed told me, “he probably
will have a meltdown, feel free to photograph it.”
And he did, and I did. Now that he’s three years
older, the mum says it’s ‘sweet’ to look back on
because he never does that now, but when he was
that age it used to happen every day.
Take pictures of normal life. One of my favourite
photos I’ve taken recently was of my kids
sitting together watching TV after they’d had a
bath. It was so ordinary, but so them. Anything
that makes you think ‘this happens all the time’
is worth photographing; getting dressed, playing
with their favourite toys, reading books, bath time.
Those are the moments which sum up what your
life is like at that point in time.
Be in the photographs. A lot of the parents I
meet say at first that they don’t really want to be
in the pictures, but at a very young age children
don’t really exist in their own space without you.
One of the real treasures for me is looking back at
childhood photos where my mum is in the picture
instead of behind the camera.
I shoot nearly everything at home on my
iPhone. I love it - it’s so quick and easy and the
kids don’t even notice me getting it out. If you’re
using your phone to take pictures at home, there
are a few things you can do to take better photos:
Get as much light as possible. Open the curtains,
and try to gently steer the children into the
puddle of light.
Move around. People have a tendency to take
out their phone and snap something from where
they’re already standing. Walk around and try
photographing from a different position. With
kids, try to get down to their level to show a different
perspective, or try standing up on a chair,
Don’t use your zoom - it always lowers the
quality of the image. Something I was taught as a
photography student is ‘your feet are your zoom!’
Use the editing software. Instagram and other
apps have some great tools - don’t be afraid to
use them. There are no mistakes, you can undo
anything instantly and it’s fun!
Go and do your own thing. There are ways of
taking photographs which I think look amazing,
but other people don’t. Everybody’s different -
play around with it and see what you like.
And finally, always print your photos. Every
few months I do a huge batch-print of everything
on my phone and on my camera. For me, having
that box of old family photographs to sit and look
through is such an important thing; I hope that my
kids get to do the same when they’re older.
As told to Rebecca Cunningham
State boarding school
Steyning Grammar’s Tom Leighton
What’s your role? I’m Director of Boarding and
the ‘houseparent’ responsible for the running of
Bolton House, a mixed sixth-form house for 56
students. I also oversee the daily operations of
boarding, as well as marketing and admissions.
How many students do you have boarding? A
hundred and twenty five, in three different houses
- well, four physical houses, but they’re divided
into three names. As well as Bolton House, there’s
Wykeham House, which is the boys’ house for
Years 9-12, and Bennetts House, the girls’ Year
9-12 house. The students stay in shared dorms
up until Year 11 and a few students share rooms
in Year 12, but everyone gets their own en-suite
room in Year 13.
Is there a matron? There is, but she’s not like a
traditional matron. She has a medical background
and extensive experience of working abroad
and in hospitals. The name ‘matron’ is a bit of a
nod to the past, but we try to move away from
being too institutional - we renamed the ‘sick
bay’ The Haven, and we’re ‘houseparents’ rather
than housemasters or mistresses. We also find
that those parents who have boarding experience
themselves can relate to the role of a ‘matron’,
and it gives them peace of mind that she’s available
at all times.
Did you go to boarding school? Yes, I went to
another state boarding school in the Midlands.
How does Steyning differ from that? The
students here have more available channels of
expressing their views, through our student
committees, for example, which give them tangible
ways of shaping their boarding experience.
Another thing we’re really proud of is our enrichment
programme. There’s a weekly timetable
of activities the students can choose from, but
we’re always looking to foster their passions and
facilitate their development. This year we have a
new Year 12 joining us who’s a high-level cyclist, so
we’ve converted a spare room into a cycling room
for him because we can see that he has a lot of
potential. And we run weekend excursions to keep
our boarders busy and engaged, all included in the
Do boarding students get much freedom? They
have allocated homework time, and time for enrichment
activities, and set meal times, but they are
allowed to sign out in their spare time and leave
the school grounds. It’s like living at home, except
there it’s your mum telling you it’s time for dinner
or it’s time to go to bed. There’s always structure,
it’s just that the structure becomes a bit more
evident at boarding school. We find that the daily
routine of boarding life encourages our students to
become independent, resilient and well-prepared
for their future at either university or in the world
Interview by Rebecca Cunningham
Photos by Rebecca Cunningham
for just £1 a week
Our new garden
For a cost of £52 a year, we’ll deliver a
large brown wheelie bin which will be
collected fortnightly and the contents
will be taken for composting.
If you generate lots of garden waste you
can request an extra bin for just £25.
If you don’t generate enough garden
waste for one bin, why not share with
To find out more and sign up, visit
or call us on 01273 292929
Love our city
Schools without Walls
So Sussex’s Caroline Fleming
Schools without Walls
started with outdoor sessions
for adults and families
to encourage people to
explore out and about in
Sussex. We thought it would
be good to offer sessions to a
range of primary schools to
encourage a lot more children
into the Sussex countryside.
We wanted to come up with a format that supports
what they’re learning through the curriculum
in class, so if they’re focusing on the Iron Age or
Stone Age we can design a session that goes into
the local area and looks at settlements in a fun and
In an ideal world every school would be able
to take classes outdoors and do a range of
activities, but they don’t all have access to the
countryside and not all teachers feel comfortable
with it. We were keen to minimise the worries that
teachers have of doing outdoor learning from a
risk point of view. Our different types of sessions
include ancient methods of fire lighting using flint
stones, lots of arts and crafts activities with natural
resources, and building small roundish boats called
coracles that the children can get in and sail themselves.
Not every child is an outdoors type, but
every child does get naturally curious and excited
by being outside. It’s a way of making it interesting,
building their confidence and helping them to work
together as a group.
We started with primary school ages, but in the
last year we’ve tried to do more with secondary
schools as well. We are in the midst of a
project in Brighton with 14-to-18 year olds who
are also young carers, so they might not be actively
engaged with school due to their home lives and
are struggling to get an education,
and therefore need a bit
more support to get out and
about and do these things. We
take them to nearby woods
and do open fire cooking, fire
lighting, pointing out nature,
building - it’s all about working
in teams, coming up with
strategy, putting them outside
their comfort zones, and doing things they would
never otherwise get an opportunity to do.
It’s encouraging to see how some children
who don’t keep up in class and aren’t confident
about getting engaged come into their own
when taking part in an outdoor activity. Teachers
and classmates see that child in a different light.
We often find that the academic classroom pupils
can’t easily transfer the mathematical skills they’ve
learnt to the outdoors problem solving, while the
children who struggle with maths figure it out
because it’s a physical activity.
We’ve had really positive experiences with all
the schools that we’ve worked with. At one particular
school in Eastbourne we worked with each
child individually on designing and adapting their
own playground: it’s a large junior school with
amazing outdoor space, so we worked with Year 3
children on building a greenhouse made out of recycled
plastic bottles that they now grow their own
plants and vegetables in; Year 4 children worked
with a willow artist in designing and weaving
three willow pods that serve as secluded chill-out
houses that they can use to read in; and Year 5 and
6 children built a large geodesic dome that will be
used as an outdoor classroom, and that’s a real skill!
As told to Julia Zaltzman
Brighton & Hove based football coaching establishments
RMA provides top class, elite coaching
at grassroots level to boys & girls of all
abilities aged 5-16 through a range of
different coaching methods, challenges
Choose from Development Centres,
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Follow us on Twitter @RMAcademy5
Rise, shine, repeat
There is, I’ve come to
know, a group of women in
Brighton who will happily
sprint down the beach at
6am, rain and seaspray
blowing in their faces,
before turning on their
heels to sprint back up to
perform 25 press-ups on
wet tarmac. More surprisingly
still, I’ve found that I’m one of them.
Back in May I signed up to a four-day-a-week,
four-week Fitbitch bootcamp, with the aim of
cultivating an exercise habit that would outlast the
camp. Founder Rachael set up the camps as ‘there
was just too much emphasis on how women looked
and not enough on how they felt,’ and it turns out
there’s very little room for vanity as you reel your
way through a Fitbitch session within minutes of
getting out of your bed. It may not be pretty but it
is surprisingly addictive.
Sessions start at 6 or 7am. I would try to explain the
full range of activities I’ve found myself doing, but
no two days were the same. There’s been boxing,
running, HIIT, jump-rope, kettle bells, battle ropes,
TRX and football, not to mention appropriating
playground equipment and railings to build
strength, agility and stamina in-between everincreasing
rounds of burpees, crunches, step-ups,
sprints, plank, sit-ups and tricep dips. You get the
picture. It’s not for sissies.
Groups are small and the intensive instruction
means there’s plenty of attention to technique and
no loitering at the back. Yoga stretching and muscle
rolling optimize recovery and take the sting out
of getting up the next
morning to do it all over
again. Many in the group
are back for their third and
fourth camps, and I too
find myself signing up for
a second Olympics-themed
two-week camp at Queens
Park in July. More fun
ensues, of the jumping,
running, lifting and gymnastic variety.
Of course all this hard works pays off in pounds and
inches lost (in my case, five and a half, and six), and
stamina and strength gained, but most significantly
- and as billed - I just feel so much better. Sure,
I can remember the queasy beginnings when I
thought I might pass out or cough up a lung, but it’s
exhilarating to have really moved so early in the day,
and to have burned a few hundred calories before
breakfast. All that early virtue makes it easier to
keep up the healthy choices throughout the day too
- especially if you follow the complementary eating
plan - and getting up at 5.30am really diminishes
the appeal of a midweek drink.
You might think I was hanging out for a lie-in, but
the opposite is true. Just a few days into the regime
I found myself missing the early morning workouts
on the days off, and in between camps. So much
so that I found myself outside the Prince Regent
swimming pool at 6.30am waiting to be let in. And I
still do. And even that feels like slacking.
Camps start from £120, at Hove Lawns, Queens Park,
Worthing & Lewes. They also offer running courses.
07855 742195 / fitbitchbootcamp.com
Photo by Rachael Woolston
'It's real hare and tortoise stuff'
Photo by Graham Carlow, grahamcarlow.com
As this mag hits
the streets, Dave
Shephard and Phil
Couch could well be
swimming the English
Channel in aid
of Asthma UK. We
caught up with Dave
in his last few weeks
We’ll swim in the
week of the 26th
August, from Dover’s Heritage Coast in the direction
of Wissant, south of Calais. The route is
a rough ‘S’ shape to work with the tides, and can
be anything from 22 to 32 miles. If you don’t time
it right, you can get to within a couple of kilometres
of the French coast and have to give up, as it’s
almost impossible to land against the tide when
you’re that exhausted. It happens all the time.
It could take anywhere between nine and 17
hours depending on the sea conditions. We’re
swimming in a relay where we’ll each swim for
one hour, one dropping in behind the other as we
We’ve been training for eight months and
have a pool speed of 2.5 mph, which should be
quick enough to get us across. That all changes
in the sea of course. It’s a struggle to settle into
a rhythm when waves keep hitting you in the
face. I’ve done much of my training with Lewes
Swimming Club and at Pells Pool, but there are
a lot more hazards in the sea. Most significantly
the cold. We’ve been sea swimming since April,
spending three hours in the water at a time. We’ll
do a ten-hour simulation swim off Seaford beach
before the crossing.
There are only a few pilots and they’re pretty
booked up. We
waited two years
for a slot. We have
to trust their judgement
on the route
and timing but
they want to get
you across. It’s their
badge of honour.
It’s quite expensive
- around £3,000
for the pilot - but
we’ve had the help of Leadership Challenges to
sort out the finances and logistics - the same team
who set up our ‘Race Across America’ trip two
years ago. Apart from that it’s fortunately quite a
minimalist sport. To keep a level playing field the
dress code is strictly speedos and goggles. But you
are allowed two rubber caps as a concession to the
cold. Everyone asks about the goose fat but we’re
actually smothered in petroleum jelly. It helps to
stop the chafing.
It is possible to hit ‘the wall’ - a point where
you can’t get your arms out of the water - and
it’s just horrible. But if you’ve trained your body
properly, it’s all about getting the right fuel. We’ll
be putting as many calories back in as we take out
- around 700 per hour - and taking it slow and
steady. It’s real hare and tortoise stuff.
We’ll also have to contend with jellyfish. Apparently
it’s like swimming whilst being jabbed
with an electric cattle prod. Then there’s the
shipping too. It’s basically a motorway for tankers
but there is a ship-free ‘central reservation’.
I’m not sure who has the right of way but I’d be
inclined to say ‘after you’. As told to Lizzie Lower
Support Dave and Phil at justgiving.com/teams/
Linishing lugs, and brazing joints
“I’m happy with it,”
I tell Adrian Parry, a
makes bike frames for
“But will I be happy
with it?” he responds,
and walks over to
inspect my handiwork.
I’ve just hacksawed an elongated semi-circle out
of a steel tube, and filed it down so a second tube
fits snugly on top. Well, fairly snugly… you can see
some gaps, but hey.
Reilly’s, based in New England House, are famous
for making bespoke bike frames, and have also
started a frame school, where punters spend five
days making their own frames to their own specifications.
I met founder Mike Reilly, one of three
partners in the company, a couple of days before,
and he told me about this aspect of his company.
“There’s nothing quite like the feeling of riding a
bike you’ve made with your own hands,” he says.
I’m not doing the whole five-day course, I’m
just in for the morning, learning to make a joint
equivalent to one that would join the down tube to
the head tube on a road bike. It’s the first time I’ve
done any metalwork in my life, and I can see that
Adrian has realised he’s got a tough couple of hours
ahead of him from the moment I pick up the hacksaw.
He bends down, looks, and says “not happy,”
then hands me back the file. I get back to work.
For much of the next two hours, my tongue is
stuck out of my mouth, I’m concentrating so much.
Once I’ve got my filing
right, I learn to polish
the steel with emery
paper, and then do the
same to the inside of a
‘lug’, using a ‘linisher’.
The session does more
for my vocabulary than it
does for my confidence
in my practical skills:
the lug is a curvaceous socket-like steel sleeve, the
linisher a belt-sanding power-tool that would have
your skin off in a flash if handled badly. Valuing my
possession of all ten fingers, I let Adrian finish off
the tricky bits.
The trickiest bit of all, once the two tubes have
been doused in ‘flux’ (don’t ask) and joined together,
is ‘brazing’ the joint, which means melting brass
with a blow torch so it flows evenly between the
lug and the red-hot tubes. For most of this process
Adrian holds my hand in support, but I get more
confident as I learn the technique (you have to feed
a thin brass stick into the ridge between lug and
tube and wait for it to flow down) and after a while
he occasionally lets go of me. When we’ve finished,
I feel a mixture of relief and euphoria. “Nine more
of those and you’ve got a bike frame,” he says.
This course is not for me, I’ll admit it, I’m far too
cack-handed and scaredy-cat when a power tool’s
around. But I know some guys who’d jump at the
chance of starting out with a bunch of steel tubes…
and riding off on a bike. Alex Leith
Reilly Cycleworks, 01273 694143
HEALTH / MUSIC
New Note Orchestra
‘It’ll be a soundscape of the city’
In 2013, TV producer
Molly Matthieson created
the Channel 4 series
Addicts’ Symphony. It followed
ten musicians, all
in recovery from alcohol
and/or drug addictions,
as they strove to stay
sober and create a piece
of music that they then
performed at the Royal
Albert Hall with the
London Symphony Orchestra.
“The idea was, if you get a bunch of people, all in
recovery, and give them a common cause, putting on
a show, would that help their recovery?”
With the answer emphatically affirmative, rather
than keep earning the daily dollar in TV making
When Traffic Wardens Attack or somesuch, Molly,
now living in Brighton, decided to continue making
“I wanted to take it further. I went along to the
School of Social Entrepreneurs, and did a course
and got a start-up grant. As a result, I set up the charity,
New Note Orchestra, and on the 18th of July
2015 we had our first workshop at St Luke’s Church
Molly had spoken about her idea at open meetings
arranged by various recovery groups, and 20 people
turned up for that first gathering, along with musical
director, composer and conductor Patrick Harrex.
Thus began their weekly sessions.
“We’ve all different levels of musical experience.
Some don’t read music, so they play by ear, and
some have been trained to a high standard. All the
music we do is improvised, because if you’re playing
someone else’s work then it can become about
perfection, ‘is this good
enough?’ and also we
didn’t want to be confined
to classical. It’s
our music. Someone
might come in with a
couple of chords, or
an idea they’ve had for
years, and we’ll build
Roger, who plays guitar
in the orchestra, came
to Brighton ten years ago aged 31.
“I was very ill. I was drinking a lot, the drugs weren’t
working, and I had to have open-heart surgery four
times. Bits of my legs had to be amputated and I’ve
only one properly working lung. I carried on drinking
and using until five years ago, when I was introduced
to the recovery community. Now I volunteer
for various support groups, showing people how I
stay sober. The music is such a vital part. I’d been in
bands, but I was just a mess, the annoying git in the
corner. Since I’ve sobered up, I’ve put my energies
and obsessive personality into the music. I’ve got
eleven guitars, each one with a different name and I
would at some point like to be able to make a living
out of my music.”
New Note Orchestra pack out St Luke’s Church
every three months with their gigs, and in November
they’re collaborating with Brighton University
and Cascade Creative Recovery Choir.
“It’ll be a soundscape of the city” says Molly, “a love
letter to Brighton. We’ve come so far in such a short
time. The day before our first performance someone
said ‘Are we in tune?’ Now we’re the real genuine
article.” Andy Darling
At Shoreham Pottery
‘What are the therapeutic benefits of throwing a pot?’
I type into Google as I reflect on an utterly absorbing
hour spent at Shoreham Pottery. Our September issue
being all about learning stuff, we thought we’d better
at least try to pick up a new skill, so Rebecca and I had
embarked on a private throwing lesson, taught by Alice
Maplesden. Alice co-runs the pottery with her business
partner Katy Harris, and together they’ve created an
inviting atmosphere of artistic endeavour tinged with
The lesson starts with a deceptively effortless demonstration
by Alice, deftly conjuring up a shapely pot
whilst imparting easy-to-follow instructions. Very
quickly we’re each crouching over our own wheels,
arms braced, applying equal parts brute force and
dogged determination in a bid to centre our pieces of
clay, which are spinning giddily out of control. Next
we use our cupped hands to repeatedly raise and flatten
the clay until the once-unruly mess is an orderly disc
about an inch high. Thumbs pressed into the spinning
centre create a tentative dent, which widens to
transform the disc into a vessel, and we tease the walls
upwards and outwards with growing confidence. It’s
wonderfully tactile and deeply satisfying, and very soon
we both have highly respectable, if somewhat chunky,
first attempts to marvel at.
First pots set aside, we begin again. Alice instructs
us that it’s important to get our pots to the desired
height before allowing them to get too wide and - as
if to prove the point - the rim of my flamboyantly
flared bowl collapses. No matter. I start again, this
time following the fundamental rules of engagement,
squeezing the clay into a taller tower before ‘drawing
the profile with my hands’. It’s a triumph of sorts -
probably unremarkable to the untrained eye - but it
has pleasingly thin walls that might actually break if
dropped. I undercut the base and, wetting the wheel,
use a wire to slice and ‘float’ the pot to freedom. By
the fourth attempt I’m able to remember the correct
sequence and achieve an Alibaba-esque honey-pot,
whilst Rebecca pulls off a highly passable plate.
Quite unexpectedly the lesson becomes one of those
rare experiences when your brain is so utterly taken up
by something other than your daily routine that you
come out as refreshed as if you’d been on a mini-break.
The hour quickly passes with much tongue-lolling
concentration and very little chatter, just the occasional
pointer from Alice about the speed of the wheel or the
position of the hands, and a congratulatory murmur
each time a pot is placed on the plank to air dry.
So what are the therapeutic benefits of throwing a pot?
They are many and varied, and include not only the
satisfaction that comes with learning a new skill, but
having somewhere to keep your honey, too.
Shoreham Pottery offer classes, workshops and private
tuition options for adults and children. Tarmount Studios,
Photos by Lizzie Lower
INSIDE LEFT: PHOENIX CENTRE, 1970
Pevsner’s Architectural Guide calls the Phoenix Building, now a warren of artists’ studios, workshop spaces
and a gallery, ‘a brutal intrusion’, built in the late sixties after the demolition of an elegant row of Georgian
houses (built in 1819) that then made up Waterloo Place. Nos 1 and 2 still exist more or less in their
original form to the right of the block: number 9 lasted several years after the demolition of its other
neighbours: and therein lies an interesting story. It was inhabited by a Miss Harriet B Silvester, when
this picture (from the James Gray collection) was taken, in February 1970. She was then aged 85, and
had lived in it for decades (the earliest record we can find dates back to 1931, when it is listed under her
mother’s name). While all her neighbours had accepted offers for their houses, she had steadfastly refused,
so the developers built ‘Wellesley House’ either side of her, and waited for her to die. Two computer
companies, Watney Mann and Datapro, set up in the two halves of the building. Harriet lived until March
1974, whereupon number 9 was demolished, and the block was completed. Wellesley House was never a
well-loved building, and in the 80s and early 90s there was much talk of the place being demolished. But
a group of artists started renting out the space in 1991, and in December 1996 the building was bought
outright by the Phoenix Group in order for it to become more or less what it is today. In 2009 artist
Rich White resurrected the memory of Miss Silvester as part of the exhibition Floor Plan in the Phoenix
Building’s North Gallery. Alex Leith Picture courtesy of the Regency Society, regencysociety-jamesgray.com