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Transforming Spaces Updating our teaching & learning environments The Unheard Youth Critical research from Community & Youth Work

Early Electronica The conservation of a pioneering music machine People and Politics Cathy Jamieson MP on her unconventional career

The Art of Teaching In conversation with Michael Craig-Martin

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winter 2011 No. 36 Keeping you in touch with Goldsmiths

David Mungall Director, Development & Alumni Relations

Welcome to the new look Goldlink. We really hope you like it. Since it was first published 18 years ago, Goldlink has always evolved. We have worked with a leading graphic designer to create a magazine that we hope is easier to read, is more portable, and is more attractive.

We in the Development and Alumni Office think this is a better magazine than we had before but it also has a distinct advantage of being more cost-effective to post than the old size. As always your feedback would be much appreciated.

At the recent Open Day for prospective students, it was a pleasure to meet several parents who themselves had studied at Goldsmiths. They were attending the Open Day with sons and daughters who are now interested in studying here. Repeat custom is always a good sign for any organisation, especially considering the much wider choice of universities there is these days. But it also illustrated one of the many reasons for keeping in touch with alumni, which is that we want our former students to be able to make an informed recommendation of Goldsmiths, whether you work in a professional capacity with those considering university, or as a friend or relative of a school-leaver. goldlink 36 Editor Genevieve Kantoch Design Studio8 Design Photography Dagmara Cetkowska (page 26) Ivan Coleman (page 10-13) Adam Jackson (page 6) Thanks this issue: Ivan Coleman, Paul Halliday, Richard Noble, David Woodger If you are interested in advertising in a future issue of Goldlink please contact us for a rate card, discounts are available to alumni.

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Director of Development David Mungall Senior Development Manager Annette Bullen Alumni Relations Officer Genevieve Kantoch Research & Database Officer Antoinette Carey Development & Alumni Assistant Angela Elderton

Update your details online at www.gold.ac.uk/alumni/update

Development & Alumni Office Goldsmiths, University of London New Cross, London SE14 6NW alumni@gold.ac.uk +44 (0)20 7078 5015

The opinions expressed in the magazine are those of the writers concerned and not necessarily of Goldsmiths.

Follow Goldsmiths Alumni on Facebook, Linkedin and Friends Reunited.

Contributions to Goldlink are welcomed by email or post. We reserve the right to edit articles in the interests of brevity or clarity.

Goldlink is printed on paper accredited by the Forestry Stewardship Council.

On the cover Michael Craig-Martin, 2011 Ivan Coleman

in this issue

— see page 10 02 Lost & Found Re-connecting with alumni from the archives 03 On Campus 05 Research News 06 Events 08 Transforming Spaces Creating a contemporary learning environment 10 Interview In conversation with the artist and art teacher Michael Craig-Martin 14 Origins of Oramics Celebrating a pioneer of electronic music synthesis 16 Showcase Michael Frank 18 Hearing the Unheard Voices Investigating young people and crime 21 Books 22 3x3 23 Life After 24 Obituaries 26 First Person MP Cathy Jamieson on her diverse career 27 People News 28 Thank you Donors to Goldsmiths 32 Parting Shot

Winter 2011 No.36

2 News

Lost & Found The Development and Alumni Office has been inundated with letters after getting back in touch with alumni from the 1940s and 1950s

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t is only relatively recently that an Alumni Office was set up at Goldsmiths. Over time, the College had lost contact with many former students, particularly those from early decades when records were not digitised. During the summer, the Development and Alumni office began a project to get back in touch with some of these ‘lost’ alumni.

The team started by looking at the enrolment documents from the 1940s and 1950s held in the records archive, which consisted of handwritten log books. These were individually transcribed into a digital format, which could then Goldlink

be used to search public records.

Through this exercise, we were able to trace many people who we had lost touch with. Letters were promptly sent out to these alumni with an invitation to attend a special reunion at the College.

Alumni Relations Officer, Genevieve Kantoch, said: “We were bowled over by the response and received so many touching letters from alumni who were delighted to be back in touch with the College after all this time. It was wonderful to meet some of them at the reunion event in October and welcome them back to the College.”

Now the plan is to widen the search and get back in touch with alumni who studied at the College in later decades. By reconnecting with these alumni, the College can build up a better picture of where former students are located and what they have gone on to do. We are keen to bring them up to date with what’s happening now at the College by sending them Goldlink and inviting them to events and reunions.

Are you in touch with other alumni who don’t receive Goldlink magazine? If so, please let us know or ask them to get in touch with us.

3 on campus

New courses Goldsmiths for Media launches Professionals Advertising Campaign

Molly Parkin opens textiles show

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oldsmiths is introducing courses in Professional Media Practice designed to enable professionals to understand the challenges of the new media environment, and develop the creativity and confidence to succeed. The new ‘Build Your Own MA’ programme offers a series of flexible short courses, where you can select just one course or complete the full MA in Professional Media Practice.

The aim is to enable students to develop specialist knowledge and bring a critical understanding into their professional practice. The next course starting in January is ‘Entrepreneurial Modelling’ which will facilitate creatives to operate as an entrepreneur. Discounts are available for alumni. Find out more about the courses at: www.gold.ac.uk/build-your-own-ma

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arlier this year, Goldsmiths launched a new advertising campaign: ‘I study at Goldsmiths’.

Posters have appeared at stations, and on trains and buses, in and around south-east and central London. The campaign aims to capture the unique and diverse nature of our students through a series of quotes. The text seeks to convey the academic potential and variety of our students, the positive impact they have on their communities, along with the intellectual variety and talent that Goldsmiths attracts and nurtures. The adverts also reflect the personal qualities that make Goldsmiths – and New Cross – a place to meet, interact and socialise with well-rounded and interesting people from across the globe.

You can see more at: www.gold.ac.uk/2012

ormer student Molly Parkin came back to Goldsmiths in October for the launch of an exhibition at the Constance Howard Textile Centre. Molly reminisced about her contemporaries at Goldsmiths – Bridget Riley and Mary Quant, and painting Quentin Crisp in life-drawing class. After establishing herself as a painter, Molly branched into fashion, opening her own boutique in Chelsea before becoming Fashion Editor of Harpers and Queen and The Sunday Times. The exhibition, ‘Their Past, Your Future’, by Dr Sue Jones, displayed textiles produced by the women of Bani Hamida in the Gulf state of Jordan. The weaving project will be one of the contributions to a special edition of the academic journal Textiles next year.

Winter 2011 No.36

4 News on campus

Introducing the Teachers’ Centre

Families Explore the Big Draw

Music at the Museum

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n October the new Teachers’ Centre opened in the Department of Educational Studies. A recent Ofsted inspection commented on “the outstanding contribution of Goldsmiths to widening participation in initial teacher education and enabling all trainees to become exceptionally well prepared to teach in a diverse society”. Building on these strengths, the Centre will co-ordinate existing Continuing Professional Development provision, and develop new courses.

It will provide a dynamic space for pupils, teachers, lecturers, and adults working with children to access higher education and continue to learn. The work of the Centre will be strongly linked to that of schools and will create dynamic learning opportunities for teachers and pupils.

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undreds of people packed into the Great Hall in October for the annual Big Draw event. As part of the national Big Draw campaign, families from the local area were invited to take part in drawing and storytelling activities led by PGCE Art & Design and PGCE English students. Peter Austin, Press and PR Manager, said: “We’re delighted with how this year’s event went. The PGCE students worked tirelessly in the weeks leading up to the event to prepare the activities, and on the day they were fantastic with the children. It’s heartening to see so many familiar faces in attendance – we’ve been running the event for the last five years and it is now a regular fixture in the diaries of local families.”

he Department of Music has announced a new partnership with the Foundling Museum of London, which is home to the Gerald Coke Handel Collection.

Students will have access to the museum’s archive which includes manuscript scores, first editions of music, eighteenth-century books, iconography, ephemera, and an outstanding harpsichord.

Berta Joncus, Senior Lecturer in Music, explains: “The range of the collection as well as the rarity of its materials makes this collection unique.” Seminars will be presented at the Museum by staff from both institutions, and students will have the opportunity to pursue research projects using the Collection resources.

The partnership will also allow Goldsmiths students to perform in public concerts at the Museum.

5 research news

Multisensory development study

The Cloud Generation

Secrets of sing-along songs

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esearchers in the Department of Psychology have started a five year project investigating Human Embodied Multisensory Development (HEMSDEV).

The project, which was awarded €1,227,752 from the European Research Council, is being lead

by Dr Andy Bremner. Andy and his research team are particularly interested in how babies and children combine different sensory inputs to control their actions; for example how infants recognise people, learn to reach for objects, and how they know where their own hands are. Studies are being conducted by the department’s Infant Lab and recently included a ‘Touch and Light’ study, which looked at how babies deal with information conveyed by their multiple senses and interact with the multisensory environment.

he newly launched Centre for Creative and Social Technology (CAST) is investigating how cloud computing practices will shape and shift our social lives. An initial survey indicates that British users could have at least £2.3bn worth of personal videos, music, books, and photos stored in the cloud.

The use of cloud services is on the rise and physical media is being replaced rapidly by quicker, more intelligent, and flexible media.

The project will predict how people will store, share, and value artifacts as we increasingly live our lives in the cloud. Through this project, CAST will investigate the intersections of social and economic life with the emerging technologies of cloud computing, exploring how it is changing our lives, our environments, and our imaginations.

he properties that give certain songs the ‘sing-along-able’ factor have been identified by Dr Daniel Müllensiefen, co-director of the MSc in Music, Mind, and Brain. The research, conducted with the University of York, monitored the behaviour of thousands of people as they sang along to over a thousand tunes in night clubs and entertainment venues. The key elements that trigger people’s inclination to sing were identified as the prominent use of a high chest voice and an increased vocal effort by a male singer, singing with greater clarity when pronouncing consonants, and making little use of vocal embellishments. Queen’s 1977 classic ‘We are the Champions’ came top of the most sing-alongable list, making it more likely to get listeners joining in than any other song.

Winter 2011 No.36

6 Events

Old Smiths Reunited

The College held a very special reunion in October, welcoming back alumni from the 1940s and 1950s

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ver 200 people packed out the Great Hall for a memorable reunion back in October. Former students who were at the College from 1940 to 1960, and who refer to themselves as ‘Old Smiths’, were invited to the special occasion.

Alumni had travelled from across the UK with others coming from as far afield as Canada and Australia. Many of those returning to campus had not been back since they left more than 50 years ago.

Amongst those in attendance were students who were transferred to University College Nottingham during the war years, some of whom had never been to the College at New Cross. There was also a warm welcome for those alumni that the College had only recently reconnected with, having lost touch over the intervening years (see News on page 2).

7 Guests were welcomed into the Great Hall with the sounds of a jazz pianist and viewed displays of pictures and records from the College archives. The College Registrar, Hugh Jones, officially welcomed everyone back to Goldsmiths, and the Director of Development and Alumni Relations, David Mungall, gave a speech on some of the important changes at the College in recent years.

Many returning had not been back since they left more than 50 years ago

Everyone was then treated to afternoon tea in the refectory seated by class years, allowing time to chat with old friends and reminisce about their time at the College. Some current students also came along to find out what life was like as a student in the 40s and 50s, and to share their experiences of studying now.

Guests then had a chance to wander along the familiar corridors and revisit old haunts before heading home.

Rosemary Davis (TCert, 1951) said: “The Old Smiths Reunion was a really happy day, congratulations for organising and hosting such a lovely occasion. I enjoyed myself much more than I ever hoped to do and I met up with a number of students I remembered. We laughed so much at the memories of those days. We felt young again!”

Alumni Book Launch: david bracher ‘the way we were’

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fo r t h c o m i n g e v e n t s

Christmas Carol Concert 14 December 2011 The Goldsmiths Chamber Choir and Popular Music Studies Vocal Group present an evening programme of Christmas music with audience carols for everyone to enjoy.

History Alumni Event 22 March 2012 The Department of History will be holding its first-ever alumni event and invites former students and staff to come back to the College.

See www.gold.ac.uk/alumni/events for more details.

ack in the summer, alumni were invited to celebrate the launch of a book by alumnus David Bracher (TCert, 1970). The Way we Were is a photographic account of life at the College in the late 60s and early 70s, with written contributions from other alumni.

The book has been well received by both former students and staff.

Margaret Collier, secretary with the Students’ Union for 10 years, said: “Wonderful, evocative, I spent a whole day looking at this book, putting names to faces!” On the evening of the launch, guests purchased signed copies of the book and Russell Profitt, former President of the Students’ Union, gave a speech congratulating David on the publication. David has generously donated the proceeds from sales of the book to Goldsmiths’ Annual Fund. So far, over £700 has been raised which will provide much-needed support for students. Books are still available to purchase – contact 01460 61116 or davidbracher@ btopenworld.com or order online at www.davidbracherbooks.com Winter 2011 No.36

8 Campus Developments

Transforming Spaces Work is underway on an exciting modernisation programme of the original 19th century College building. The aim is to create a learning environment fit for the future

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n 1843 Prince Albert laid the foundation stone of what was to be a school for the sons of naval officers.

The building became the home of the new Goldsmiths’ Institute in 1891 and was extensively adapted. The School’s former parade-ground – then an open courtyard – was transformed into the Great Hall.

When the College was formed in 1904, the building was dedicated for educational purposes in perpetuity and this 19th century building served the College well during the 20th century.

However, increasingly the building no longer meets contemporary needs.

The modernisation programme currently underway in the College’s main building is the biggest in 50 years and a vital project for the future of Goldsmiths. Once completed the three-year programme of works, costing £7 million, will create a contemporary teaching and learning environment for the next generation. It will go a long way to securing Goldsmiths’ reputation and its attractiveness as a place of study in the future. The College is also taking care that the improvements preserve the character of the building for future generations.

Work underway “It is now time to modernise our buildings that served previous generations well. Our objective is to improve significantly the student experience,” says the Warden, Patrick Loughrey.

Major work to renew the exterior of the building is underway. As well as renovating the fabric of the building, the work has already created a new open-plan Student Centre that brings student administration and a range of services to one location. In addition, 23 of the 44 seminar and lecture rooms in the building have been completely transformed including new furniture, IT and AV equipment. The intention is to complete all rooms by 2013.

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Some of the key opportunities to improve the building are currently beyond the means of the College and completing these will require additional fundraising. One such goal is restoring the Great Hall with its magnificent organ, and creating an eye-catching ‘glazed colonnade’ (above) between the Great Hall and the main entrance to bring more light into both spaces. Another objective needing funding is a new state-of-the-art music recital room (left) with flexible acoustics, raised seating, and improved sound-proofing, which can accommodate the much wider range of music now being taught and practiced at Goldsmiths.

Student involvement A cross-section of students were consulted about what they would like to see from the modernisation.

Commenting on plans for music performance, student Olivia Wild said: “Improving the music performance room would create a fantastic new hub for learning and performances.”

If you would like to find out more about this important project, please contact David Mungall, Director of Development and Alumni Relations, d.mungall@gold.ac.uk

Winter 2011 No.36

10 Interview

The Art of Teaching Goldsmiths’ Emeritus Professor of Fine Art – Michael Craig-Martin – looks back on his time at the College. Photographs

by Ivan Coleman

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Michael Craig-Martin is one of the leading artists of his generation, and has been one of the most important figures in the British Art world for the last 25 years.

During his career, he has taught some of the most influential artists of our time and played a major role in the development of art education. Talking to Richard Noble, the current Head of the Department of Art, he reflects on the inexorable rise of the art students at Goldsmiths in the 80s and 90s, and his unique approach to nurturing and teaching young artists.

Richard Noble: You first came to Britain in the 1960s. Was it normal at the time to be teaching as well as making your work?

Michael Craig-Martin: I came to England in 1966 when I was barely 26. I left Yale in June and I was teaching in September. Within a year, I had been introduced to almost every artist I had ever heard of in England – Patrick Caulfield, Bridget Riley, Richard Hamilton and Howard Hodgkin. Then I got a gallery and I had my first show in 1969. It did not seem surprising to me that I would teach and work: first of all, because it gave one a comparatively decent income, and, secondly, because it kept one in the business. In 1973 I came to teach at Goldsmiths and it was

11 extraordinary. At the time the school had a terrible reputation for being anarchic, so my friends commiserated with me for the nightmare that I was stepping into. But Jon Thompson [then Head of Art] was totally passionate about teaching and about art education. Our idea was to completely renew the idea of art education, which was very much Jon’s agenda.

We were going to re-invent British art education.

RN: Did it begin right away to draw in interesting students or did it take a bit of time to build up?

MCM: The funny thing is the year I arrived, there were some of the most interesting students I’d ever had. Jon was interested in the wayward students – the difficult, stroppy, slightly crazy people. We were interested in art that wasn’t just defined by painting or sculpture in the traditional sense. There were students doing performance, film or video, writing, installation.

At the time this stuff was very speculative, it was a small part of the art world at that time. This was very, very close to the cutting edge of what was going on in

Opposite: Emeritus Professor of Fine Art at Goldsmiths, Michael Craig-Martin

Below: Michael Craig-Martin, Fate, 2011, Acrylic on aluminium, 200 x 200 cm

Bottom: Current Head of the Department of Art at Goldsmiths, Richard Noble

During the 70s there was no place in London to see more interesting art than at Goldsmiths the world outside. I can truthfully say that during the 70s there was no place in London to see more interesting art than at Goldsmiths.

RN: So did the different disciplines begin to dissolve at a certain point?

MCM: Jon had dissolved the disciplines before I arrived but there was the still residual character of these groups. Then, in 1978, suddenly the department was decamped into this amazing place, Myatt Field, which had been a teacher training college. Suddenly everything was brought together and it became a hothouse dynamo. In the early 80s there were some young people, like Julian Opie and Lisa Milroy, who, for the first time, were having success in the outside world. It became possible for the kids at Goldsmiths to see that you could go to Goldsmiths and have a life, a visible life, as an artist. And then the pinnacle of that came in the mid to late 80s which is really when the YBA [Young British Artists] thing happened.

RN: It sounds to me as though the whole process of building this up took roughly 10 years?

MCM: It’s like everything else in life that seems like it happened overnight – it took 10 years before you knew about it. Nobody really expected the amazing TOP right: © 2011 Michael Craig-Martin. Courtesy of Gagosian Gallery

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12 Interview

thing that happened. I did have moments when I thought: “Is this the next generation of artists that are going to dominate?” I did think that.

RN: The YBAs were all at Goldsmiths in a very short space of time. Did you have a sense when they showed up that there was something extraordinary about them?

MCM: My experience of teaching is that I have never been to any art school where I didn’t meet interesting students. But I became aware that I was seeing an exceptional number of very, very interesting people. I tried to mix the students which generated a kind of dialogue amongst them. They were getting used to looking at each other’s work in depth and also being jealous of each other and being competitive in the best possible way. If I did a seminar and Sarah Lucas did something fantastic, then Gary Hume was pissed off because she got all the attention and he wanted it – it’s a normal human thing, but it had an amazing effect. One of the things that was incredible good fortune for all of them was Damien [Hirst] doing Freeze. They were all doing diverse things but Freeze gave them a group identity. Then subsequently, everything that happened to one of them, helped all the others.

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13 This spread: Details from Michael Craig-Martin’s studio

RN: Do you think that kind of engagement where you challenged them to be interested in each other gave them a confidence that allowed them to project what they were doing in the professional world?

MCM: A lot of it is to do with having the confidence to speak your mind and having the words to speak your mind. If I was mixing people who did photography and performance with people who did painting or sculpture, everyone starts to learn the language that different disciplines need. You don’t have to be a painter and only talk about painting, you can have a view about sculpture. One of the things that I thought was very striking, as soon as anybody did anything really terrific – everybody could tell. That is a very important thing to see happen and once you’ve seen that, you want it again – it’s a drug.

RN: What you describe is absolutely at the core of what we’re trying to achieve at Goldsmiths now. It’s still built around this idea that to teach the student, you have to understand what their work is and what it means to them. It becomes a kind of talking shop which gives them a confidence to articulate and believe in what they are doing.

MCM: One of the things that I loved about the way Goldsmiths approached things was that it was

student-led and also retroactive. The whole idea was to focus the responsibility on the person themselves rather than a tutor giving a project. I developed a strong sense in myself and a confidence that I could feel when someone was doing work that was appropriate to their inner self. You need time with the person and to get to know them in relation to the work.

I could spend unbelievable amounts of time, which I often did, hours and hours over years, getting to know people really well so I had a sense of what their potential was.

RN: These kinds of relationships that you were able to form have gone on – have you remained close to many of the people you taught?

MCM: Of course when they left Goldsmiths I was excited by what they were doing and I felt like if I didn’t continue to engage with them and be supportive, it was as though I didn’t mean what I said when I was teaching them. We had so much fun and it was a very enjoyable time. It’s a source of great pleasure and happiness that there is hardly anybody from that time that I don’t think of as a friend, it’s quite extraordinary really.

The full interview is available to read online at: www.gold.ac.uk/Goldlink Winter 2011 No.36

14 Feature

Origins of Oramics

Thanks to the dedication of Dr Mick Grierson from the Department of Computing, a piece of twentieth century musical history has been saved for posterity

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esigned and built by Daphne Oram in the 1960s, the Oramics machine was one of the earliest forms of electronic music synthesis. The machine was groundbreaking for its time as it turned drawings into sound by translating lines drawn by a composer on to filmstrips into musical notes. A pioneering electronic instrument, it was the forerunner to the kind of synthesiser used by bands such as The Beatles and Pink Floyd for its distinctive sound.

Daphne was one of the leaders in the field of electronic music development. While working as a sound engineer at the BBC during the Second World War, she had pushed the research and development of electronic music. The BBC launched their Radiophonics Workshop in 1957 with Daphne at the helm and great strides were made in these new techniques. However, the workshop’s remit was to focus on producing

Opposite: Daphne Oram drawing data on to film on the Oramics machine

Below: The Oramics machine

In terms of sound and electronic music, this machine is hugely significant

background music and theme tunes, such as the unmistakable Doctor Who opening sequence. With her passion for composing and belief in the importance of electronic music, Daphne chose to leave the BBC and devoted her time to creating her own machine.

It was only recently, after her death in 2003, that an interest in Oram’s work was reignited. Despite the importance of the Oramics machine in the development of electronic music, it had been out of circulation since the 1970s. Dr Grierson was able to track down the location of the abandoned instrument to a barn in the south of France. After raising the funding needed to transport the machine back to the UK, he has overseen the restoration and conservation of the machine, working with colleagues from the Departments of Music and Computing. Thanks to his work, the instrument has now gone on display at the Science Museum in London, as part of an exhibition about the birth of electronic music.

Dr Grierson said: “The machine is a very important historical artefact. Daphne Oram was a pioneer in an area which at the time didn’t have much status. She was forgotten about and so was the machine.

When I first showed the pictures of the machine to Tim Boon, Chief Curator at the Science Museum, he couldn’t believe it. He understood this was the first time anyone had ever created a device like this in the

UK. In terms of sound and electronic music it’s hugely significant.”

As well as restoring the machine, the College has become custodian of the archives of recordings and papers from Daphne Oram’s workshop. The collection also includes research documents detailing her theoretical approaches and studies of electronic music, alongside early computer software relating to her compositional practice, synthesis techniques and instrument design. Discovered in her papers was a letter from Goldsmiths following a visit she made in 1966, thanking her for demonstrating her electronic music techniques. It is likely that this demonstration directly influenced the beginnings of electronic music study at the College. It was not long after that the Electronic Music Studios were created and became an integral part of the Department of Music.

It is hoped that this research and the exhibition at the Museum will allow Daphne Oram her rightful place in the history of electronic music. She is one of the few people in history credited with the invention of a form of sound synthesis, without which many of today’s electronic music pioneers would not exist.

For more information see www.gold.ac.uk/ems/oram You can see the Oramics machine at the Science Museum in London until 1 December 2012.

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16 Showcase

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17 Michael Frank MA Photography and Urban Cultures, 2011 Image from series 23_05_2007 “This series is a visual investigation on the megalopolises’ most feared and cherished product, the crowd.

The technique of concealed camera allows me to become almost invisible and explore, to a very close proximity, the response between subject and the surrounding buzzing multiplicity.” www.mickfrank.com

Winter 2011 No.36

18 Feature

This summer saw the worst rioting in a generation across London and other cities in the UK. David Woodger has been researching why increasing numbers of our inner-city youth are turning to crime. Illustrations by Nathalie Lees

hearing the Unheard voices I

n the aftermath of the riots earlier this year, there was much speculation about the catalyst for such violence and disorder. The episode threw the spotlight onto the issue of the growing numbers of young people becoming involved in violent crime. Recalling the words of Martin Luther King, the riots were labelled as “the voice of unheard youth.”

A recent government report on the riots revealed three key findings: more than two thirds of the young people involved were classified as having special educational needs, over half were from black and Asian communities and one third were excluded from school in the past year.

These statistics reveal some of the issues at the heart of the matter. Since 2009 David Woodger, a lecturer in the Community and Youth Work team at Goldsmiths, has been undertaking research into some of the reasons behind young people becoming involved in gang and knife crime. Commissioned by the government’s Department of Communities, Schools and Families, David worked closely with a number of local schools. He was given the opportunity to meet with a group of selected young people who were experiencing difficulties at school and were classed at risk of offending. Over a period of 12 months, David was able to build relationships with these individuals in order to understand the challenges and issues they faced.

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“I worked with students from three inner-city schools involving them in extensive interviews and small focus groups.” explains David. “The research examined each pupil’s experience from primary to secondary school. The focus specifically was on looking at the impact of school-based interventions with regards to behaviour; the quality and creativity of the teacher and young person relationship; the curriculum and also the impact of external agencies’ interventions.”

The vulnerability of these particular teenagers and their escalating involvement in crime became shockingly apparent while the research was taking place. “Tragically, during the project, two of the young people died as a result of knife stabbings – one of which was gang related. One further young person was convicted and sent to a Youth Offending Institution. Nine of the remaining 24 participants were eventually permanently excluded from their schools. All of the young people were frequently given fixed-term exclusions.”

The impact of their exclusions from school, and in particular permanent exclusions, were found to have an extremely high correlation to their involvement with gangs or crime. In order to understand the young people’s behaviour which had lead to their exclusion, David had to connect with them and gain their confidence. “The process involved developing trust and

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20 Feature

The chance to freely express themselves had a cathartic effect

mutual respect. None of the young people involved felt they had ever been able to share their stories. They could rarely recall a time in their school life when they had been listened to or heard. The process of reflecting on their stories, with the interviewer and in groups, proved to be a very powerful experience. The chance to freely express themselves, and to be listened to, seemed to have a cathartic effect.”

Two other factors highlighted by the research were the issues of race and the young people’s educational needs. “All the young people involved, apart from one white young woman, were black. Each black young person described the significance of racism in their lives both in and out of school, which was either ignored or denied as relevant to their school experience. In addition, we found a quarter of this group had special educational needs. Whilst this was recognised and supported by the Special Educational Needs departments, the young people reported that when they were in the mainstream lessons, teaching staff rarely responded to their needs. This often resulted in behaviour difficulties and consequent exclusion from the lesson.”

As part of the research, David was able to review hundreds of incidents that had taken place at the schools from low-level arguments with staff, to more serious actions that had resulted in short fixed-term exclusions. In David’s opinion, these had a damaging effect on the young people’s behaviour: “The school’s responses to these incidents indicate to me that they failed to contextualise or empathise with the experiences of these young people and their experience of being in school, the community and their family. Instead, a model of blame and punishment was adopted, where these young people Goldlink

frequently experienced discrimination, where they were negatively labelled by individual teachers or by the school senior staff.

“These students expressed a lack of hope,” David reveals. “They were pessimistic about the schools ability to respond positively towards them and recognised that this had affected their ability to learn. For most of the group finding and developing a supportive relationship in the school was rare.”

However, where these relationships were established, they were significant for the research as they provided an example of the skills, qualities, and attitudes required to effectively engage with these young people.

Since the research was completed, David has been sharing the findings with the partner schools and other agencies. Through discursive workshops, those involved have been able to analyse the outcomes of the project and reflect on current practice. It is hoped that by working together, professionals and agencies will be able to adopt a more flexible and responsive approach.

The research revealed that the quality, and nature, of the relationships developed by education professionals and agencies with these young people is instrumental in supporting transformations in their lives. As well as identifying further training opportunities and support for education professionals, the research will also feed into the teaching of community and youth work students at Goldsmiths.

For all of these groups though, one thing is clear – the ability and decision to listen to young people is the first and most important step.

David is keen to discuss the research with individuals who are working in the field, you can get in touch at d.woodger@gold.ac.uk or 0207 919 7844.

21 b oo k s

Forgotten Letters: A Literary Anthology of Dyslexic Writers Edited by Naomi Folb This anthology, edited by current student Naomi Folb, brings together work by contemporary dyslexic writers. The book, which received support from the Annual Fund, features renowned writers such as Benjamin Zephaniah and emerging writers including students and alumni. It seeks to dispel the belief that dyslexia is a linguistic disability and gives dyslexic writers a literary voice.

The Handbook of Visual Culture Co-edited by Barry Sandwell Bringing together leading international scholars to assess all aspects of visual culture, this book aims to provide a comprehensive and authoritative overview of the subject. Co-edited by Barry Sandywell (PhD Sociology, 1974) the publication embraces the extraordinary range of disciplines which now engage in the study of the visual and deals with many of the key questions raised in visual culture.

St. Anthony’s Church, Scotland Road, Liverpool Michael O’Neill Michael O’Neill (BA History, 1970 and Dip Ed, 1971) has researched and written a history of this parish, close to Liverpool docks.

Using documentary evidence and personal reminiscences, this study covers two hundred years of history. From its origins in the aftermath of the French Revolution to the Great Famine and the Blitz, the book covers the area’s rich and fascinating heritage.

Mind the Gap Joan Travers Simon The best ways to support children’s literacy development is a perennial issue in education worldwide. Joan Travers Simon (PhD Educational Studies, 2008) has contributed to research in this field with a publication which analyses the domestic and scholastic literacy development of a trilingual child from the age of 3 to 9 years. This book is a point of reference for all parties interested in early literacy development in local and crosscultural contexts.

Final Performance Ruth Silvestre Grater The latest work from Ruth Silvestre (TCert, 1949) after her series of memoirs about life in France. This book, set in the world of Victorian theatre, looks back on the lives of two popular performers of the day, William Terriss and Jessie Millward. Charting their rise to fame on the stage, the book reveals the story of their love affair and the mystery surrounding a tragic murder backstage at the Adelphi Theatre.

Speak to Strangers Gemma Seltzer Originally a daily fiction blog, Gemma (MA Creative and Life Writing, 2008) writes about her experiences of speaking to strangers in London. The book brings together 100 hundred-word short stories, each prompted by a real situation but presented as a fictionalised version of events, which chart a journey across the city through its inhabitants. It was launched by a series of book drops in the exact places marked in the stories.

Winter 2011 No.36

22 Retrospectives

3x3 Annette Walker (MA Social Anthroplogy, 2006) Tap dance teacher and aerial skills artist, Annette is currently back at Goldsmiths studying for a diploma in Jazz

Richard Chambers (BA History, 1988) Working as a fundraiser for a hospice, Richard lives with his wife and two daughters in Kent

Claire Struthers (TCert German with French, 1977) A former teacher and journalist, now working for the Australian Government and living in Canberra

My abiding memory from my time at Goldsmiths is...

The place you would be most likely to find me was...

One person at the College who truly inspired me was...

aw: The first time I attended a lecture there. I had just finished my degree so needed a break from studying but Goldsmiths must have made an impression because I’ve been returning to study there ever since! I’ve returned recently to study for a diploma in jazz.

AW: In the library. I spent most of my time researching information for assignments from books and online journals. It made sense to do most of my work there in case I needed to cross-check anything while drafting an essay. But then I’ve always loved libraries!

AW: Professor Brian Morris who taught me Political Ecology for my MA in Social Anthropology.

I always found his lectures came across effortlessly fascinating and engaging. He encouraged me to develop my academic writing without losing my style.

rc: The friends I made, they turned an initially daunting experience into something truly memorable. Good friends can teach you as much as good professors.

If I had those years again, I would do so much more because you never get anything quite like the University ‘experience’ again.

RC: The football pitches and gym at the back of the College, and – in my final year – the stage for ‘Jade’ and ‘Battle of the Bands’. Naturally, I also visited the library and the student bar pretty regularly. And Hilly Fields, Brockley.

RC: Dr David Killingray.

He constructively criticised my first few History essays thus: “try not to write like a Guardian correspondent”. He confirmed that my writing style did have an audience, even if it wasn’t an academic one, which was a big confidence booster.

cs: Proudly wearing brown flares so wide they looked like a dress with enormously high platform shoes, thinking I was so trendy with my pageboy hairdo, propping up the union bar sipping a rum and black and discussing Karl Marx (not that I’d actually read him).

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CS: Loring Hall where the weekend sports fixtures took place, as did some of the best parties. In my second year, I was responsible for organising the post-match teas which was usually shepherd’s pie made with cheap mince boiled up and covered in synthetic mashed potato.

CS: Peter Boullay, our German assistant who made sure we knew the latest German slang and swear-words. The German tutors Ted Batley and Hanna Castein were inspirational too. Also Jackie Plaster, my Education tutor, she was so patient and happy to go over Piaget until my brain ached.

23

life after goldsmiths Ted Jarrold & Jeremy Taylor

ted (left): As part of my course, alongside pottery and printmaking, I learnt gas welding so I could make metal sculpture. After Goldsmiths I ran a design and print company (The Beatles were among my clients) and later an advertising agency. About 15 years ago I started work for the Helen Doron company, which specialises in teaching English to children. Now, we have schools in over 30 countries. I was looking for a specialist author to work on our new textbooks and Jeremy stood out. We met earlier this year and he is now part of our team. It’s been great fun working with him, especially since we share the Goldsmiths’ background, and a certain form of madness; he has promised to teach me to juggle!

Jeremy (right): Although I studied Biology and Geography at Goldsmiths, I also picked up a lot about teaching. As a TEFL teacher I have lived and worked in Germany, Egypt, France, the Czech Republic and Ireland. I did some of my most rewarding work with refugees from some very interesting places. Now I work as a freelance writer and teacher trainer. I love the freedom of my job (nice not to be woken by an alarm clock in the morning!) and I get to travel a lot. One day I received an email from Ted’s colleague, who had seen my website, which simply said: “You write very well.” I wrote back, suggesting we might be able to work together. I met her and Ted at an impressive Polish University. We very quickly found that we all spoke the same language!

Archive

1985

These photos from the College Archive, taken in 1985, might bring back memories for some alumni.

They show a PE lesson in the College gymnasium (top left), students in the Language Laboratory (top right)

and exam revision in the Library Reading Room (bottom right). This was the year that the Department of Anthropology was offically formed and Simply Red played at the Students’ Union.

Winter 2011 No.36

24 Obituaries In Memoriam

Michael Riley BA Fine Art, 1980 Department of Art, 1981-2011

P

rof. Brian Falconbridge writes: “I first met Mike Riley (always known as Mike) in the late 70s when he was a fine art student, and one of my tutees, in the early Millard Building years. After graduating in 1980 he took a temporary job as a Porter at the College before becoming a part-time technician in the Visual Arts Department shortly after in 1981. In 1988 he became Studio Manager when we moved back to the main campus at New Cross. He was brilliant at organising ‘the crew’ in constructing the studio spaces, and then the set-ups for the degree shows.

All the while he was moving with the times and developing his skills in digital media and in 1998 he became Digital Media Manager, a new post, pulling together all the scattered kit and consolidating it under one roof on the backfield.

This he did brilliantly as well, and his workshop (we now say ‘laboratory’) became a showpiece.

When I was Head of Department, if I had a VIP visitor, I would always walk them to the backfield to show them the workshop and Mike would always do his stuff, say all the right things, and stick to time.

In 2005, following the opening of the Ben Pimlott Building, Mike’s Digital Media Lab merged with the Department’s Film & Video Lab to become the Digital Media Research Laboratory which, with its team of six, he was appointed to lead.

He represented support staff as a member of the Departmental Board Goldlink

and in 2007 became the line manager of all the Research Lab and Store Managers in the Department before being elected to the Departmental Leadership Group in 2008. In January this year Mike was diagnosed with lung cancer which advanced rapidly.

In spite of that, and with utterly characteristic professionalism, Mike ensured that everything for which he was responsible was in order and that suitable transfer arrangements were in place.

Hundreds and hundreds of students, and numerous staff come to that, whether they realise it or not, have good cause to thank him for helping to make their experience of Goldsmiths as good as it was (and I believe it was and continues to be the best of anywhere). The Department and the College would have been a vastly poorer place without his consummate skill and expertise.

Laced with calm, thorough, and patient professionalism – and no small measure of ironic wit – he was always absolutely reliable, a natural problem solver, and good company. We will all miss him as we mourn his passing. Thoroughly committed to Goldsmiths, he had achieved much and had so much more to achieve before his life was cut short so tragically early.

His enduring legacy will be seen in the success of all the students who studied in the Department and who graduated during his time – and in all those students yet to enrol.”

Rt Rev Michael Evans Goldsmiths Chaplain, 1987-1993

M

ichael Evans, who was the College Catholic Chaplain from 1987 to 1993, died in July this year. After leaving Goldsmiths he spent time as a parish priest in Tunbridge Wells, and was appointed Canon Theologian of the Archdiocese of Southwark, before his appointment to the Diocese of East Anglia in 2003. Kate Hurley (BA Historical Studies, 1995) writes: “Michael’s main asset was to encourage everyone to come to the Chaplaincy whatever religion (or no religion), creed or colour they were. In fact he became Bishop of East Anglia particularly due to his work with fostering relations with Methodists. Anybody was encouraged to drop in at any time of day, and Michael was usually sitting in the kitchen, typing away and ready to put the kettle on. At his funeral, he was described as ‘the funny little man we learnt to love’, but at the Chaplaincy he was loved for his unstinting devotion to Leeds United; for his love of pan pipe music but also Shostakovich (in fact any pan pipe music is still described as the Michael Evans fan club); for being unable to cut bread in a straight line; for eating fiery chillis; for organising the annual Guyabel concert and for being a great friend.”

25

Sally Heddle mbe

Michael Smoughton

Vivien Revell (nÉE Lister)

Dip Education, 1983

MA Cultural Studies, 2003

BA English & History, 1982, PGCE, 1983

S

M

H

ally Heddle, who died in December 2010, was one of the first people to undergo pioneering brain surgery while fully conscious.

After graduating from Royal Holloway University she married Geoff Heddle (who taught in the Department of Design at Goldsmiths from 1964-2002).

Sally taught English and Music and in 1970 was appointed Head of Music at Stratford House School.

In 1975 she was diagnosed with Multiple Sclerosis and by 1980 she was wheel-chair bound. This did not deter Sally and she came to Goldsmiths and completed her Diploma in Education. She also devoted a lot of time to charity work: Sally co-founded and was Chair of the Dial-a-Ride Scheme for disabled passengers in Bromley and set up a charity for disabled people to learn sailing skills.

As well as being Chair of Bromley Arts Council for five years, she served on numerous committees, working to change policies to make real improvements for people. In 1992 she was awarded an MBE in recognition of her charity work.

In 2010 she was diagnosed with a brain tumor and underwent ground-breaking surgery where she remained awake throughout the operation. Ever selfless, she saw an opportunity to benefit others and hoped her contribution to surgical understanding would help other people.

ichael died in November 2010 following a tragic car accident. After completing his MA at Goldsmiths, Michael went to work for the government in the Department of Health before a career move into urban planning and design. During this time he also studied for an MA in Urban Planning at UCL, as well as taking part in many charity sporting events. In 2008, he married Sara Samir Al Bader and they moved to Canada where she was studying for her PhD. After completion of her studies, they were spending some time travelling in Canada before they were due to return home to London. It was during these travels that they were involved in a car accident which claimed both their lives. Nick Thoburn, former tutor in the Centre for Cultural Studies writes: “We were very sad to hear that Michael had died in a tragic accident. Michael was one of an especially enthusiastic and warm group of students, and I know he was very close to many of them.

I remember fondly his inquisitive attitude and keen engagement with the group’s many and varied discussions, in the seminar room and in more relaxed settings. Scott Lash and John Hutnyk join me in remembering Michael and offering our condolences to his family.”

ilary Wilson (BA English and Drama, 1981) writes: “After studying English and Drama for a year, Vivien transferred to English and History, graduating in 1982.

She completed her PGCE and gained early teaching experience at Kelsey Park boys’ school. Whilst on a ‘round the world’ trip, she settled in Sydney, Australia, and remained there for 25 years. Happily married to Stephen (aka Barney) for the last 11 years, she taught English, History, and Film Studies at Canley Vale High School, a loved and esteemed member of staff. Despite her years in Australia she never lost her English accent (apart from a little rising inflection) and retained strong links with her family and friends in the UK. Stylish, sensitive, intelligent and practical, great company and great fun – she has gone too soon and will be sadly missed and fondly remembered.”

If you would like to include an obituary in the next issue of Goldlink magazine, please contact us on alumni@gold.ac.uk Winter 2011 No.36

26 People

First Person:

Cathy Jamieson MP & Shadow Economic Secretary to the Treasury, Art Psychotherapy, 1980 When I came to London it was the first time I had really lived away from home. I lived in Deptford which was so different culturally from the West of Scotland. I used to go to Deptford market on a Saturday morning, there would be all the different stalls and afrocaribbean food – they got used to me going up and asking them: “How do you cook this?” It was a great opportunity and I really enjoyed living there.

The Art Therapy department very quickly became like a family. It was based in a small space which was useful because everyone got to know one another. I remember there being lots of people who were terribly experienced, I was probably the baby of everybody at that time.

It was a fantastic opportunity to use all the work I had done at Glasgow Art School but to put some kind of social purpose to it which was really important to me.

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There is no doubt that my politicisation came from the time I spent in London. I’d been brought up in an area with a socialist outlook, you took for granted that was how everybody thought. Being in London in 1979 sharpened up the focus for me – that you had to do something political as well as just genuinely trying to be a good person and helpful.

I always felt art is something that can be of value in trying to create social change. Whether that’s for an individual or whether it’s on a community level. At Goldsmiths it was really important for me to have that reinforced. There were lots of things I did as a social worker trying to support people who were using the arts. When I had responsibility for policy in prisons in Scotland, I made sure that art therapy continued to be seen as important – instead of cutting it we should be encouraging it.

I think the fact that I had a social work background helped me as a constituency MP. When I first went to the Scottish parliament, a lot of my colleagues struggled with the idea of having a case load that you had to do as well as the politics. l think the combination of having an art background – which makes you think outside the box – and the social work background of analysing situations and deciding how to act, is quite unusual, but it’s been very good for me.

The Shadow Economic Secretary is an interesting post as it’s a very wide brief. As well as technical work around things like passenger duty taxation, fuel duty regulations and the wider economy, I have a fairly specific brief as well to look at how budgets are impacting on issues, for example child poverty.

I’m not an economist but I’ve spent most of my life in politics trying to tackle poverty and disadvantage.

27 people news

Patric Standford Mmus Music, 1979 The music of composer Patric Standford is the subject of a new recording by the Royal Scottish National Orchestra. Conducted

by David Lloyd-Jones, the recording of three orchestral works was sponsored by the British Music Society. In addition, the BBC Singers recently made recordings of all Patric’s unaccompanied choral music for future Radio 3 broadcasting to mark his 70th birthday.

Mbeke Waseme PGCE, 1992 and MA Social Research, 2003 Mbeke recently took up the post of Vice-Principal at Ghana International School. With over 20 years experience as a teacher trainer, coach and manager, Mbeke was chosen for her strengths in curriculum development and project management. She has worked predominantly in the UK for a variety of institutions, but has also worked in Ghana before, as well as Cameroon and Jamaica.

alumni services

The Development and Alumni Office helps you to stay in touch with the College and each other. As your ongoing link to Goldsmiths, we keep you updated with the latest news through the biannual magazine Goldlink and quarterly e-newsletter. Just remember to let us know if you change your postal or email address so that we can keep in touch. You can update your details online at: www.gold.ac.uk/alumni/update Share news and connect with the wider alumni community on our Facebook page: www.facebook.com/GoldsmithsAlumni We also have Goldsmiths alumni groups on Linkedin and Friends Reunited. Links are available at: www.gold.ac.uk/alumni benefits

As a former student of Goldsmiths you also have access to:

Tania El Khoury MA Performance Making, 2009 Earlier this year, Tania garnered plaudits at the Edinburgh Festival for her groundbreaking, and at times controversial, show, ‘Maybe if you choreograph me, you will feel better’. Wearing wireless headphones, her every move was dictated by a single male audience member with a dictaphone, choosing to either follow a script or improvise with instructions.

Following positive reviews in the local and national press, the show picked up two awards from the Festival: the Total Theatre Innovation Award and The Arches Brick Award.

Lucy Caldwell MA Creative and Life Writing, 2004 Lucy Caldwell has been enjoying success in the literary world during 2011. Lucy was awarded The Rooney Prize for Irish Literature, in recognition of her achievement and outstanding promise as a novelist and dramatist. In addition, her novel ‘The Meeting Point’ was the winner of the Dylan Thomas Prize, one of the world’s highest paying literary awards for young writers, with an award of £30,000. This is the second time she has been nominated for the prize – her debut novel ‘Where They Were Missed” was previously shortlisted.

Alumni reunions and events Events are organised throughout the year in the UK and overseas, an opportunity for you to get together with your Goldsmiths friends and network with other alumni.

Library access Alumni have free access to Goldsmiths Library as a reference user, charges apply if you would like to borrow books.

Careers advice Tailored careers advice and support are available through membership of The Careers Group, part of the University of London careers service.

Awards and Transcripts We can provide you with confirmation of your qualifications or a transcript of results.

Winter 2011 No.36

28 Thank you

Our community of support Goldsmiths gratefully acknowledges the many alumni, staff, and other individuals, and the charitable foundations, companies and other organisations, who have generously made gifts to Goldsmiths in the last year. Their support made, and continues to make, a significant difference to the lives of current and future students.

Our donors and those who have made provision for the College in their Wills are listed here to give public thanks and recognition for their generosity and willingness to give.

Thank you — Patrick Loughrey, Warden, Goldsmiths, University of London To join our community and make a gift, please complete the enclosed donation form or go to www.gold.ac.uk/giving-to-goldsmiths

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Below: Some 2011 Annual Fund recipients

29

Donors to Goldsmiths 1 August 2010 to 31 July 2011

Donors giving £100,000 or more Garfield Weston Foundation Donors giving £10,000 to £99,999 Rob and Julia Stringer* The Goldsmiths Company The Huntercombe Group The London Borough of Lewisham Outset Contemporary Art Fund and one anonymous donor Donors giving £1,000 to £9,999 AKT Productions Limited Chartwells Chelsea Arts Club Trust The Corinne Burton Memorial Trust Sally Fairhurst* John S Farrow The ISA Charity London Chamber of Commerce and Industry Commercial Education Trust Patrick Loughrey, Warden of Goldsmiths* David Peake Serge Prokofiev Foundation Gavin Stoddart Stewart Till CBE Willmott Dixon and four anonymous donors Donors giving up to £1,000 Marinella Abbondati Valerie J Adams Nikky Aderanti* Colin Aggett* Abhijeet Ahluwalia Mervyn J Ainsworth OBE* Gabriel K Ajeigbe

Moneea Alamin Kay Albrecht* Amber Alferoff Shah Ali Teresa Amprako Appiah* Herbert S Anderson* Ian J Anderson Dr Jorella Andrews* Margaret C Andrews Vicky Annand* Laura P Annansingh Carol Appleby Robert Appleby* Martina Attille* Roy S Axell* Stephanie Bailey Helena Ball* Hani Baluch* Dr Nina L Banerjee Gillian Barber Jennifer Barnett* Olga M Barradas Lisa Barron Dr Andrew M Barry* Phyllis C Barton Peter Baseley Lisbeth Beard Harold Beldon Ian J Bell Josephine M Bensted Gillian R Bentley Alisdair D Bevan* Phillipa Bird Stephen D Bishop* Joan M Blake* Colin Bland* Christine Bleathman Dr Herbert Blumberg Nishi Bolakee Ian Booth Francesca D Botley Lynn Bowers* John Box* Ana Bracher Dr David M Bracher Sally Brady Jan Brand David A Brenton* James R Brian Lesley Bricknell Janet S Brown* Peter V Brown* Yvonne Brown Alison B Browning* Geoffrey Buck* Lizzie Buckley

Adriano Bulla* Annette E Bullen* Shellie Byatt Victoria E Camalich* Antoinette Carey* Madeleine Carrington* Diana Case* Jane Caven Jill E Cervenka Mark P Chandler Patricia Chandler Kathleen Chater Sallie Cheung* Alison Chew* Munazzah Choudhary Nicola Christie* Leonard D Clark MBE* Kieran A Clarke Miranda J Clifford Martin Clifton Marina Cogman Peter D Cole* Dr Robert F Colquhoun* Michael J Connolly* Gregory M Conway* Vanessa Cooling Simon P Costar* Anne S Cox* Kath Cox* Sophie Cox* Spencer J Cozens* Trudy and Roger Crockett Professor Geoffrey Crossick* Carol Crowdy Serafina Culhane Angela Cutts Ann Dace* Barry Daly Bernadette C Danford Paul R Dart* Elizabeth N Davey* Michael I Davies* Heather Davis* Maurice E Dawson Carmine De Rosa David Dean Beatrice Deleplanque Clare F Deniz Patricia A Dennis Carmela M Diclemente Elizabeth Dixon Valerie A Docksey* Catherine Doherty Conor Doherty* Laura Donnelly Olivia Drake* Winter 2011 No.36

30 Thank you Derek F Duchemin* Anthony D Dulake Kathleen Dunstan* Revd Kenneth I Dunstan* James W Dwelly* Chloe T Edwards* Jeffrey Edwards MBE* Althea Efunshile* Angela M Elderton Jessie Elderton Dr Graham Eldridge* Andrea M Ellis* Diane Emery* Barbara J Evans Brian Evans Glyn R Evans Rupert Evenett* Stephen R Eyre Andrea J Fairweather* Elaine H Farmer* Emma C Farmer Anna-Silvia Fattorini Gurinder S Fermah* Albert W Fielder* Delaney P Fifield* Helen Finch Wendy Fiveash Jennifer A Fletcher* Robert J Fogg Colin T Follett Piers E Ford* Catriona Forrest* Catharine B Forster Alan E Fox* Elizabeth S Francis Dr Paul E Fryer Andy Fung Fiona E Furness Josephine Gallagher* Revd Dr Peter Galloway OBE Miles Garratt* Lilli A Geissendorfer Hayley Gelling Carol Gigg* Andrea Gillie Anna M Giuffria* John Glockler* Derek L Gooch* Genevieve Grant Louise Grayson Patricia M Green Maia Griffin Geoffrey S Griffiths Michael J Griffiths Peter W Griffiths* Daniel Grint* Goldlink

Professor Christopher Haines Simon B Hale* Tim Hall* Moira L Hammond Ruth J Hanmer Roger W Hardaker Paul A Harfoot Jan Harpley* Dr Mark Harris Janet Hatcher Lindsay Haverson* Lorna M Hayes Ian F Heath* Edward R Heaton* Annette M Heilbron Sylvia A Hejda-Forde* Manda Helal Fiona E Higgins John B Hobden Ian K Hobson Joy Holmes* Norman R Holmes Tabitha Holness* Sheila Hoover* Hilda Hopkins Anne E Hoskins Michelle L House Beverley Howard* Dr Robert A Howard* Tamera H Howard Ailsa M Hughes Samantha Hulbert James Hunt Jacqueline Hunt Katherine A Hunter* Nazia Idries* Nechamah Inbar-Bonanos* Peter Indall Philip G Inman Amirul Islam Dr Elizabeth Jackson Anna Jago Daniel C Jeffreys Jenny Jenks* Sharon Jennings* Hugh H Jones* Marion Jones John Jordan Paula Jordan Abdul Joueid Ewa Kalinwoska-Stockton Genevieve Kantoch* Sarah E Kelly Richard S Kemp* Paul S Kemp Robertson* Michael Kennelly

William Kiang* Katharine Knight Janet Koll Suzanne Lafferty Andrea N LainĂŠ Reena Lal* Peter G Lambert Keri R Landau Julia Lannary* Susan Latham Eric H Le Ruez Gemma R Leith Nobuko Leslie Eva Lewin Owena C Lewis* Richard H Lewis* Kwok H Li* Gerald Lidstone* Patience E Light* Virginia K Litton* Laura L Lloyd Jennifer Lo* Mary C Lockett* David J Loughlin* Rachel A Loxton Brian Lymbery OBE Susan MaCartney* Edith Macgill James MacGregor* Kevin M Macken Megan Mackintosh* Dr David Male Karen Males* Catherine J Mann* Cecelia D Marshall* Jill M Marshall* Jason D Martin* Karen R Martin* Mick Martin* Paul Martin* Anna Mason* Andrew F Mathieson* Tim J Matthews* Wilfrid F Matthews Jacqueline A Mawer* Erin Maxon David Mcbride* Paul J McKeever Philippa R Mckeown* Tom McLoughlin* Professor Simon McVeigh* Bindy Mellor* Michael Metelits* Ashley Meyer* Martin Mills Joe Minns*

31 Mark J Mitchell* Felicity A Moore Benjamin Moorhouse* Laverne Mortley* Linda E Muir* David Mungall* Jacqueline A Muschett Music for Alice Carole Myers* David M Neat* Jaimes Nel* Dr Nici Nelson Joyce R Newton* Mary C Nixon* Claire M Norden Dr Barley Norton* Gemma Novis* Idell Nugent* Sharon O’Dea Andrea K O’Donnell* Matthew Okyere* Fiona M O’Neill* Rowan O’Neill Judith A O’Regan* Ruth Ortiz* Olivia Otchere Annamarie Owens Gareth Painter Arianna L Palin* Donna Palumbi* Chris Panfil* Janet R Parker Nicholas G Parkes* Christopher W Peacock* Annabel Pearcey Christopher J Pearson* Joan Peploe Louise D Perera* Edward O Petrie Hilary P Phelps* Isabelle J Phillips* Dr Andrew G Pink* Marco Pomati* Susan H Poole Diana F Pordham* Patricia Poulton* Anthony C Powell Professor Jane Powell* Preethi A Premkumar Barbara B Price Tina L Price-Johnson* Maureen Prince* Ruth G Pringle* Rebecca Puttick Jessica Rabin Gwendolen E Rabinowitz

Shah S Rahman Sophia P Rawlinson Saul N Reid* Janet Rennie* Frances C Renton Alison J Richards* John A Richardson BA Dr Anthony F Riddle* Audrey Ringrose Hannah Robertson* Kristyan Robinson David Roderman Christine J Rodgers Sian Roffe Neil Rogers* Jessica Roscoe* Rosemary Ross Claire L Rowley* Lorna Royle* Ione Saizar Daljeet Sandhu* Philip Scott* Michael Scott-Kline Anna Seaborn Gaia M Segal Katherine A Semler Carla A Shehfe Rosemary L Shippard* Abdul Shohid Lesley E Shurlock Kaz Simmons* Peter Slade Bartholomew J Smith Carolyn M Smith Moira J Smith Christopher E Spear Caroline L Speller* Anita R Spence Nigel Spencer* Peter G Starling* Richard P Stevens-Katona* Jean Stolton Katie Stone* Mhairi A Sturt* Kartar K Sually Helen K Suggitt* Mark F Syed* Derek G Sykes Emma Taverner* Andrew C Taylor* Dennis J Taylor Harold Taylor Dorothy E Thomas* Haydn Thomas Joan Thomas Marjorie Thomas

Natasha M Thomas* Sarah Thomas Liam J Thompson* Philip A Thompson* Michael Thorne Oliver D Troath Rosalind M Tucker* Veronika Tugendraich Garwolinski Rebecca N Turner Neil Twedell* Michael Vogt Michael Waddilove Ursula M Walker Florence M Wallace* Professor Diane Waller* Valarie Wallis* Rosamond Watling Lana E Webb* Lynne A Webb Dr Paula Webb Johanna A Webster* Kate Welsh* Michael E Wendling* Pamela J Westall Ann J Westaway Susan A Wheeler Sarah Whiteley Richard G Whiting Polly Wicks Dorothee Williams* Andrew Wills* Pamela Wilson Dr Paul S Withers Angela Wolfson* Gillian L Woods* Jessica Woodward Nicholas Woollcombe Harry J Wright* Stephanie Wright* Christopher J Young* Susan M Young and nine anonymous donors * indicates donors who have given more than once in the past year Pledged legacies The College would like to thank all those who have informed us that they have decided to make the exceptional commitment of remembering the College in their Will. We gratefully acknowledge the support of Anthony C Powell, Bryan Lymbery OBE and five people who prefer to remain anonymous.

Winter 2011 No.36

32 Parting Shot

Loring Ladies 1947

“In 1947 I was one of a select group of 23 girls, known as the Ladies of Loring. Coming from a small, terraced home with no bathroom and a lavatory at the end of the garden, and being transported to an historical, Georgian mansion with a great drawing room with window seats and bathrooms with baths large enough to share, was like heaven. We were presided over by the formidable Miss Hustle, the Head of Hostel, and rules were fairly strict. But, as this picture shows, we were not always very lady-like!”

— Ruth Silvestre Grater

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Goldlink 37 Summer 2012

next issue

An interview with Mary Quant, Goldsmiths alumna and fashion icon