Have a look at our Sumemr Arts programme here, with such a wide range of arts courses there's something for everyone to keep you entertained this summer.
International and local musicians at Hawkwood May Day Festival
Rhi Milsom, former member of Glastonbury's site team and keen music fan has pulled together an eclectic mix of music for Hawkwood's May Day Festival this year http://www.hawkwoodcollege.co.uk/courses-and-events/arts/may-day-festival---hawkwoods-open-day The free event on Monday 1 May begins with experimental acoustic music by The Ark Ensemble http://www.theartinlistening.com
Following on are Celtic folk fusion band Spiracy and local singer songwriter Genevieve Miles.
Fresh from Morocco's Fes Festival of World Sacred Music comes music to mesmerise by Alchemist's Wardrobe. http://www.thealchemistswardrobe.co.uk/
Traditional folk dance tunes will accompany maypole dancing at 2 pm, then sacred singing with choir leader Celia Hart is at 3pm. Kaines, a duo from Bristol bring mellow cello, guitar and vocals and the afternoon wraps up with the popular 10-piece band The Raga Babas singing upbeat indian-style songs and chants that every one can dance to.
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If you would like to book onto any of our courses you can find them on our courses and events page and fill in a booking form, or you can call us on 01453 759034
A New Story for Humanity
Following on from the successful New Story Summit at Findhorn Foundation, Scotland, a small group of a dozen enthusiasts have been meeting for conversation, networking and generative dialogue along themes of
common purpose * human potential * future thinking * waking up and activism * spiritual renewal * being agents of change * online platforms * crowdfunding * organisational change * indigenous wisdom * next generation entrepreneurship * engagement and collaboration
The latest “new story meet-up” occurred on 24 October 2016 at Hawkwood, Stroud, convened by Janice Dolley (curator of New Story Summit at Findhorn Foundation 2014) and Katie Lloyd-Nunn (Hawkwood Centre for Future Thinking)
Each person brought their enthusiasm about the organisation(s) they work with and for more information, please click on the links below. The conversation was generative and supportive and everyone intends to continue this nourishing association. New people are welcome.
Janice Dolley (One Spirit Alliance – link not available)
Katie Lloyd-Nunn (Hawkwood Centre for Future Thinking)
HonorGriffiths (Canada New Story Hub)
Lis Parker (Refugee Aid Stroud)
Geoff Napier (Cygnus review)
Ray Savage (Community Connection Network)
Chris Johnson (Author)
Chris Taylor ( Oasis School of Human Relations)
Neil Gilson (Contemplative Consciousness Network)
Mattie Porte (Findhorn New Story Hub – via Skype)
The full report – about four pages of A4 can be read on request. Click here or email email@example.com
NEXT MEETING Monday 15 MAY 2017 at Ray Savage’s Mount Pleasant Farm, Alfriston, Sussex BN2 5TM. Contributions towards lunch welcome. 10am-4pm (times to be confirmed). Agenda to be announced. If interested, please email Katie Lloyd-Nunn firstname.lastname@example.org
an interview with Tom Green, Artist in Residence by Katie Lloyd-Nunn, Hawkwood Programme & Communications Manager
Tom Green is a trombonist, composer and arranger working mainly in jazz and contemporary music. While studying Physics at Cambridge he directed and toured Cambridge University Jazz Orchestra CUJO. He received funding from the F W Reckitts Art Trust for a one-week residency at Hawkwood College 28 November – 2 December 2016. www.tomgreenmusic.com
"Some of the most exciting original music I've heard for a long time" Dame Cleo Laine
"A new rising star in the British jazz scene" Nigel Williams (Jazz FM)
"Remarkable… only the very best arrangers can get a sound like that. " Evan Parker, June 2013
KLN: Your aim for the residency at Hawkwood was to create a new body of work ready to be recorded in early 2017 by your band, the Tom Green Septet.
What have you achieved?
TG: A new piece Champagne Sky for the Septet, which will go on the album. And a commission for Patchwork Jazz Orchestra to premier in London this Saturday 3 December, hopefully.
What inspires you? Time outdoors, walking, views and the writing of Robert MacFarlane, among others. Also I have a motion-sensitive camera to watch badgers, cats and other wildlife in my garden near Oxford. I used to live in London where most of my work is, but I just love the countryside.
A view might trigger a musical idea or sometimes a musical theme reminds me of something in nature. The title of my new piece Champagne Sky was something Alicia (Carey, Hawkwood Principal) said one beautiful evening looking out from Hawkwood.
Yes, the titles on your first album Skyline indicate someone who loves the outdoors, including Sticks and Stones, Skylark and Winter Halo.
When did you first pick up a trombone? I started with Suzuki violin aged 4 and moved onto piano. My piano teacher loved jazz and about 10 or 11 I started playing trombone. I still use piano for composing.
Who are your favourite composers? Maria Schneider in America, taught by Gill Evans – I love her orchestration. Mark Nightingale an English trombonist in his 40s and Carl Charles Fontana from USA (who used to back Sammy Davis, Tony Bennett and played with the Benny Goodman Orchestra).
How do you set about writing a new piece? I have a note book and pencil which I use all the time to capture ideas, so sometimes I go back through that for inspiration. Champagne Sky came from something I noted down about four years ago and I’ve developed it this week. Once I’ve got the tunes and harmonies on the piano I use Sibelius software and a MIDI keyboard (digital) to write the manuscript.
Do you feel pressure when composing under a deadline, like your week’s residency? I do feel some pressure, yes, but that also helps me to be decisive. I have to organise all the ideas and bring them into form.
What advice would have for beginning composers? Write ideas down, it’s a bit like improvising in slow motion. Just make a start. Half of it may be rubbish, but that’s the creative process. Composing, like performing, takes practice.
What’s your practice with composing? I listen to lots of music, I transcribe things I hear and study other musicians’ compositions. It’s a melting pot of ideas, but each person makes their own unique music.
What’s happening in jazz among the younger generation, like you? There is more and more breadth under the jazz banner. Fewer boundaries between, say, jazz and contemporary classical.
What’s coming up? Well I earn my living from playing at weddings and functions, as well as jazz gigs. I work on my own so I manage my own diary, the website, youtube film editing and so on. Plenty to keep me busy.
How has the residency been for you? It’s been wonderful to be surrounded by nature and have focussed time for my work. I’d like to come back for two weeks next time!
More on Tom’s Background
I am a graduate of the Royal Academy of Music jazz course, and have performed at venues including Ronnie Scott's, the Vortex and 606 Club, as well as the Montreux, Toronto and Montreal Jazz Festivals. I won the Dankworth prize for Jazz Composition in 2013, was the recipient of a 2014 Help Musicians UK Emerging Excellence award, and in the same year was mentioned 3 times as Jazzwise "One to Watch".
My current main project is the Tom Green Septet: we released our debut album "Skyline" in February 2015 to unanimous critical acclaim, with a tour from Inverness in Scotland to St Ives in Cornwall. Dave Gelly in the Observer (4*) described the album as as "a kaleidoscope of harmony that is not only phenomenally skilful, but absorbing and endlessly entertaining, too."
I have also performed internationally in Rome, the island of Ischia, Budapest Jazz Club, Langnau , Switzerland, and Tunisia.
Hawkwood’s fourth annual Creative Arts Summer school welcomed over 170 participants to 20 courses in July. Described as “a breath of warm, zingy air blowing some cobwebs away,” the fortnight of making, moving and creating proved more popular than ever. “Hawkwood is a calm, cool, idyllic, happy, productive place,” said schoolteacher Michael Grant on the first day of summer holidays. And others commented that it was relaxing, peaceful and conducive to creativity.
The tutors were knowledgeable, patient and friendly which inspired confidence when tackling new skills ranging from blacksmithing, raku pottery, textiles and woodcarving to writing a story, a song or a line of exquisite calligraphy. Meanwhile, the long standing Japanese embroidery course with Jackie Hall continued their ten-stage practical study of this ancient, meditative art. Everyone appreciated the productive creative atmosphere. “It was lovely to have several craft workshops running at the same time” said Emily Thomas, gardener and local resident. “It gave a sense of community.”
The average class size of eight people meant groups were small and intimate, allowing plenty of individual attention and the chance to get to know the other people in the group.
The Hawkwood programme in arts, well-being, sustainability and spirituality continues through the summer and autumn with a mixed menu of evening events and classes, day courses and weekend or longer residential retreats.
Guests consistently appreciate the atmosphere and delicious food. “I feel great at the end of our creative arts summer school,” says Katie Lloyd-Nunn, programme manager. “Not only because it was our most successful summer school yet, but I took part in Nia Dance and Songwriting and it was great to nourish my own creativity and experience the skill and enthusiasm our wonderful tutors.”
wetheuncivilised – a film about finding home was shown at Hawkwood on 1 August as part of our Centre for Future Thinking programme.
The film was not only inspiring and informative, but it was beautifully crafted storytelling, enhanced by stunning visuals, graphics and music.
The overall feeling for me was respect and modesty: my total respect for the film protagonists, their own self-respect, respect for others and the earth. Honouring and heeding the voice of elders and humility and listening in the face of challenging situations, including Lily’s close call with death following delivery of their daughter.
The narrative was gripping, moving and honest, ending with a kind of open question. How to accept and appreciate the positive aspects of our post-industrial society, particularly health care, while acknowledging the concurrent devastation, cruelty and dissonance?
Throughout there was a lightness of touch, rather than table-thumping, even during an empassioned sequence on fracking protests.
I believe this film tour speaks to all generations and gathers people together for a experience of true community. It is totally in line with Hawkwood Centre for Future Thinking and we were privileged to host the event. Tour dates can be found at www.wetheuncivilised.org
Thank you Lily Rose, Pete and Solara (aged 2 ½) Sequoia.
The Bard of Hawkwood contest, founded by Kevan Manwaring in 2014, is a celebration of local distinctiveness, and a platform for creative expression.
Entries are invited for the best original story, song or poem on the given theme, chosen by the outgoing bard. Dominic James, the 1st Bard of Hawkwood, chose the theme: The Way Home. The judges this year were last year’s winner, Dominic James of Chalford, Wiltshire-based folksinger Chantelle Smith, and the event's ‘chairman’ (who provided the 1882 original bardic chair) Richard Maisey of Frampton-on-Severn.
Competitors were Anthony Nanson, storyteller; Katie Lloyd-Nunn with a song; Peter Adams, a poem; Steve Wheeler, prose; Anthony Hentschel, a poem.
The winner was Anthony Hentschel who performed a barnstormer poem on the theme ‘The Pathway Home’ inspired by William Blake’s Jerusalem and the wild beauty of Cornwall. “From toddlers to senior citizens, the audience were mesmerized throughout. It was our best contest yet,” said MC Kevan Manwaring.
The winning bard was initially “ stunned, astonished, thrilled and somewhat daunted” but made a positive statement in the days following the contest.
“I believe, as John Cowper Powys put it, that ‘Man should be capable of believing Everything and Nothing.’ Thus the rational insights of Sam Harris or Christopher Hitchens and the mystical insights of Rumi or Llewelyn Powys are to be equally applauded. The title Bard of Hawkwood will hopefully furnish me with the confidence to carry the living Word of Poetry into local schools, prisons and retirement homes. If anyone out there would like to invite me, and perhaps some of my friends, to such institutions, please get in touch via my email: email@example.com."
Anthony will serve as the Bard of Hawkwood for a year and a day, honouring his compassionate and socially-engaged bardic statement, and choosing the theme for next year, when the contest will be once more held at Hawkwood’s May Day Festival Open Day. Anyone who lives in the Five Valleys around Stroud can enter an original poem, song or story on the theme. Details will be announced by October 31st. The Hawkwood College website will post information.
Satish Kumar visits Hawkwood
SatishKumar, a leading eco-activist and author gave a talk on Ecology and Society to a packed audience of ninety people on Saturday 12 March as part of a retreat weekend. Now in his 80th year, his enthusiasm and vigour are evidence of a person who definitely walks his talk. After childhood years as a Jain monk the young adult Satish set off on a 2-year pilgrimage of 8,000 miles on foot. The journey took him overland to Paris and onward to London, Washington DC where he met Martin Luther King.
Founder of Schumacher College, Devon, and editor of Resurgence Magazine for over 40 years, his message is simple – we are one with all life and this has impact on soil, soul and society. He encourages us all to live close to nature, to create community together and above all to appreciate the world around us. He extolled the beauty and generosity of an apple, home-made bread, all the mothers who nourish their children and family. When questioned about inflammatory situations such as ISIS and civil war, his response was – have a conversation, hear both sides and negotiate. We need to move beyond a culture of blame and enmity to find a way forward. It sounds so simple. Perhaps it is...
Hear the talk for yourself here:
The personal meets the organisational
Organisational culture is moving from hierarchy towards cooperation and communication. With the growth of social media, flash mobs, kickstarting, crowd funding and more, our lives are becoming more complex and flexible, which presents challenges as well as choice and freedom. Qualities such as innovation, intuition, creativity, positive attitudes, resilience and empathy are more valued than ever before in the workplace and in relationships of all kinds.
At Hawkwood, a new strand of our programme is emerging, bringing together varied but resonant resources for you to explore your development as a leader of your own life and in wider forums. These courses are guaranteed to bring you forward in your self development, and delivered by top mentors and guides.
Each event welcomes you, with your personal gifts and input. There is no need for you to already be a leader (although we all are, in our own ways). But if you feel drawn, do ask us for more information or a chat. We invite you to join in these explorations and by bringing your participation, help us shape the Hawkwood Centre for Future Thinking. http://www.hawkwoodcollege.co.uk/centre-for-future-thinking
All our courses are offered as a way to nourish your creativity and spiritual life, key aspects of a buoyant, positive life.
Rising Women Rising World – monthly ‘salon’ meetings and trainings
Soil Soul and Society Satish Kumar retreat weekend 11-13 March
Ecology and Society Satish Kumar Public talk 12 March
Chloe Goodchild – The Naked Voice: Liberate your self-Leadership and true authority through spoken-sung communication 31 March – 1 April
Mindful Leader Ivor Twydell 13-15 May
Evolutionary Leadership Richard Olivier and Ana Rhodes 7-10 November
The search is on for the Bard of Hawkwood 2016! Competition Deadline 5pm Saturday 2 April 2016
The search has started for the Bard of Hawkwood 2016. The annual competition was launched at the Hawkwood College Open Day, 5th May, 2014, with a traditional ceremony called the ‘Declaration of the Chair’. The rules of entry: an original song, story or poem of 10 mins or less, on the theme The Way Homeplus a 300 word statement of intent describing what you would do as your time as the Chaired Bard. It is open for 18 years and above and the entrants must traditionally dwell within walking distance of the Bardic Chair at Hawkwood, but in modern times the requirement is that they be a resident of postcodes GL5, GL6,GL8 or GL10.
The 2015 winner was Chalford-based poet, Dominic James. The deadline for entries is the 5.00pm Saturday 2 April, 2016.
Five copies of the entry, plus the statement, to be sent to: K. Manwaring, The Annexe, Richmond House, Park Rd, Stroud, GL5 2JG. Entrants must be able to perform their entry at the Hawkwood College Open Day, Bank Holiday Monday 2 May 2016.
Hawkwood's 2016 Course Brochure is here! Click on the image below to view or download now
The Hawkwood Centre for Future Thinking was launched in July 2015. We invite innovative thinkers to address key issues for society and the planet, moving towards a more peaceful, ethical and sustainable future.
So far we have welcomed:
Charles Eisenstein—Author Sacred Economics, The More Beautiful World our Hearts Know is Possible
Jonathon Porritt—Forum for the Future activist and author
Scilla Elworthy– Author Pioneering the Possible, Nobel Peace Prize Nominee, Founder Rising Women Rising World
Juliet Davenport—CEO Good Energy
Satish Kumar—Author No Destination ; Resurgence editor
Natalie Bennett—Green Party Leader
Arthur Potts Dawson—C4 The People’s Kitchen
Robin Alfred —Open Circle Consultancy, Findhorn
"When I heard that what’s growing here at Hawkwood is the Centre for Future Thinking ,I absolutely rejoiced, because it’s exactly what’s needed now – to gather all those who are seriously envisioning and preparing for a future world that’s going to work for all." Scilla Elworthy, Nobel Peace Prize Nominee and Founder of Rising Women, Rising World
Founder of The Naked Voice Chloe Goodchild has synthesized Indian philosophy and classical music teachings with Japanese martial art movements. She maintains that everybody can sing when they find their authentic voice. With her new book THE NAKED VOICE: Transform your life through the power of sound just published, Chloe Goodchild held a Summer Retreat at Hawkwood in August. Katie Lloyd-Nunn caught up with her.
KLN: You describe The Naked Voice as your life’s work. When did your journey begin?
CG: I would say it was deafness in childhood. Aged four I had traumatic surgery on my ears and didn’t really hear properly until I was eight. Those four years were the trigger for sensitising my ears to the soul; preparing my listening. As my hearing came back I discovered I could hear if people were telling me the truth. I saw there were layers of communication between the personality or surface social communication and what lay underneath.
I remember reading in your first book The Naked Voice: A Memoir that you were influenced by time in Africa.
At 18 I went to Africa with VSO to work in an experimental school exploring mixing tribal communities together so they could overcome differences and get on with each other. Being in African culture, my ears were opened to the music of the instinctual body. Everything I learnt in Cambridge in Western classical and religious music was up and out of body but African music was “git down!”
Could you say something about Indian singing and how you work with this?
Another major influence was encountering North Indian Raga music initially through Gilles Petit (voice and movement teacher based in France) and then Shruti Sadolikar and her extraordinary ecstatic South Indian classical singing. Hearing Indian music through a feminine voice got me very excited so I pursued her to Bombay. I was also visiting Ramesh Balsekar a teacher of Advaita, the Indian philosophy of non-duality. There I realised that it is my job not be a master of Indian Raga but to marry Advaita with the Indian reverence for the human voice. To realise the teachings of Advaita through the human voice in myself and then in others. The Naked Voice vocal work offers a direct experience and embodiment of the voice.
What are the main themes of the book?
The core of the book covers transforming your listening, your communication and your life! Each part includes some instruction, some narrative and a more reflective philosophical element. I’ve interwoven stories to illustrate this methodology of the voice. Stories have helped me to deepen my understanding of the transformative power of the voice, but I hesitate to constrain it to a methodology because its foundation is a pathless understanding of oneself – an undivided wholeness.
Another thread is Shintaido movement and energy work with Japanese Master Masashi Minagawa, with whom you have been studying and researching for many years. What in particular speaks to you about his approach?
Shintaido was developed in Japan in the 1960s and means ‘New Body Way,’ bringing together Japanese martial arts, Chinese medicine and Buddhist meditation. I first met Masashi Minagawa in 1995 and was immediately struck by his demonstration of Shintaido’s joyous spontaneity and flow. It’s a dynamic dance of giving and receiving which offers a radical encounter with one’s true self. All the movements seek to empower, rather than overthrow, and require deep, non-judgemental listening, precision and fearless attention.
K – I can see that this quality of encounter and listening dovetails perfectly with your work. You also have a close colleague in Nicholas Twilley, who you describe as a world percussionist, poet and visual artist. What specifically does Nicholas bring to your work?
I would say both Masashi and Nicholas have a creative relationship with the deep feminine. Nicholas has been co-creating soundscapes for healing and artistic expression for many years. Since the 1980s he and I have been doing someexperiential research into the cross fertilisation of spoken and sung voice, which is complementary to Masashi’s energy movement. Early in 1990s we formed an alchemical trio and they are my core team at The Naked Voice, along with my wonderful administrator, Tim Chalice. They are incredibly supportive and fearless of the feminine. They are my soul friends at a very high creative level.
Yes, and Nick’s improvised rhythms really support us getting connected to our physical body, the Earth and our own natural voice.
You talk about the mastery of the emotions through music. Your work is reaches far and wide, but you can’t be everywhere at once. Is this the reason for your new online training?
Yes! We are becoming aware of the concept of the singing field and how new technology can support this work. The other day I was participating in a webinar with people from 20 countries.
What’s next for you in your musical and teaching journey? You’ve already sung for the Dalai Lama, with International Policy Leaders and high-security prisoners.
World domination through the Singing Field! We have our world network of Naked Voice facilitators, who are taking the work into their local communities. I will continue to work internationally and a new initiative is a creative practitioners training.
I had to put my own musicianship on the back burner to pursue this path and develop the Naked Voice – hopefully I can return to that more now.
Thank you Chloe, we look forward to welcoming you back to Hawkwood in October 2016.
Hawkwood, August 2015
For wandering guests, below is a brief summary or you can click here to see the survey.
The area round the house and gardens while busy with people and a few vehicles is a haven for regular garden birds, such as Blackbirds, Robins, Blue Tits and Wrens. In the conifers lining the drive are Goldcrests with their high pitched squeaking - this is Britain's smallest bird and, although plentiful, are very difficult to spot because they are so tiny and love to feed in thick pine branches. Much more easy to pick them out by their dainty slightly wheezy call-sound.
Out in the fields in front of the house there are excellent areas for birds to gather, feed and skulk - such as the ponds, the growing areas towards the gates and the large trees at the edge of the fields below the house. Song Thrushes regularly feed on the open side of the bushes near the ponds and the bright white tailflash of Jays is often seen as they fly in and out of the woods. The larger trees provide a great spot for birds to gather and in the spring months they can be full of noisy bustle from Goldfinches (the collective noun is a "charm" - and it really works when you hear their delightful collective chatter) - and from Redwings. These are winter visitors - they look very like thrushes and have a wonderful white eye stripe and a splash of red by the wing which can easily be seen when they are gathered in a treetop - there were over 150 in one tree this Spring.
The wooded areas to the back and side of the estate are full of a mass of bird life. Above the trees Buzzards glide, regularly in pairs along with Jackdaws, Carrion Crows and Common Gulls. In the trees themselves you can hear Nuthatches with their trilling call - and if you follow the call you will see them creeping upwards and downwards (gravity-defying) on the beech trucks looking for or hammering open beech-nuts. Chaffinches also love the beech woods, as do Great Tits with their fabulous range of calls and that masterful black stripe right down the middle of their chest. Both Great-Spotted Woodpeckers and their larger cousins the Green Woodpeckers thrive in these woods - the Green being most easily identified by his vivid yellowy-green apparel as well as his loud laughing call (known as a "yaffle") which can ring out far and wide. Woodpigeons and Stock Dove also like this woodland area along with the ever-present Pheasants, Magpies and Dunnocks.
By James Millar