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211 Educators providing Creativity courses in Whetstone

Iva Troj

iva troj

London

A Balkan mountain child and a young arts protege who grew up to become a world renown contemporary artist with a PhD in art history. Iva Troj grew up in the outskirts of Bulgaria’s Romani slums in the last decade of communism – a world full of sexual predators, communist propaganda, censorship and no path to artistic livelihood other than what she could imagine in her wildest dreams. Today, she is a Gerety Award winner and 3 times Cannes Lions nominee for her Halo Masterpiece [biggest ever launch in the Halo franchise’s history, with more than 20M players, 520M reach], Towry Best of England Award winner, and 2 times Contemporary Art Excellence Artist of the Year award winner. She has exhibited both nationally and internationally and her work is in collections in the UK, France, Ireland, Sweden, Norway, Germany, China, United States and Japan. In 2021, her epic painting Halo Infinite Masterpiece was exhibited at Saatchi Gallery and The Louvre. In 2020, her paintings were included in a number of permanent museum exhibitions in South Asia, among them Haegeumgang Museum 해금강테마박물관 in South Korea. And in Sept 2022, she was invited to exhibit a body of work at The Louvre in Paris. Troj obtained her first fine arts degree when she was just 17 years old. After completing two BA degrees and a master’s degree from the United States and Sweden, she was awarded an art history PhD title. She is widely known for her fine art pieces which seamlessly merge Renaissance aesthetics and techniques with postmodern praxis. Her intensely detailed oil paintings achieve astonishing tricks of light and shade, as practiced by the great masters. Exhausted by a society in which women often feel vulnerable, threatened, or powerless, Troj recasts the fairer sex as powerful creatures, freed from the oppressive male gaze and placed within Edenic settings where they can revel in their own beauty and potential. Blending abstraction with figuration, the natural world with the urban landscape, dream with reality, Troj’s breathtakingly beautiful artworks achieve something truly unique, both in terms of aesthetics and concept.” 22Blocks Agency Artist Statement As a child, I was taught to question one-dimensional narratives, which grew from a survival technique to a development technology of the artistic self. The foe I so often portray almost always represents the normalisation of one or more dysfunctional discourses. Like many artists, I discuss personal experiences. At the same time, I strive to escape the self, an urge that partially stems from crossing borders in the last years of the Cold War. Living through cultural starvation in my childhood’s Eastern Europe has made me restless and hungry for honest creativity. In that sense, nothing I discuss is strictly personal. Sexual abuse, violence, trauma… I may present an unusual perspective on these topics stemming from the self, but only as an outset. The work needs to keep changing, relive itself, challenge its own conformity. There is a point in every artist’s career when one is tempted to choose a tested and proven path. I’m constantly trying to resist this temptation by containing the “paths” in series where I can explore a motif or a theme without succumbing to the comforts of one visual style. The artists that I look up to for inspiration have one thing in common – constant renewal. Traditional elements are very central to my body of work. It’s not so much a need to keep it” traditional”, but rather the way I speak. I grew up in a communist country. We sang songs about machines being superior to man and praised modernity while destroying nature and killing creativity and the human spirit with it. At the same time, my summers were spent in the mountains with my grandmother who had hanging gardens, thousand stories and no TV. These two realities are inseparable in my mind. My style and inspiration come from the techniques of The Old Masters, not just Western but also Eastern European, Russian in particular. As a child I would often look at art books from the Renaissance, Baroque, Rococo and even Modernism and wonder why the women in them were so powerless and passive, always laying there nude like they lost the will to live, combing their hair and undressing, etc. I grew up wishing to become good at painting so I could change the stories in classical motifs. My technique resembles the Flemish method of layering thin veneers of paint between layers of varnish. Beautiful imperfection and constant renewal are themes that flow throughout my paintings. Awards: 3 x nominee for Cannes Lions Award for Halo Infinite Masterpiece 2022 Art Excellence Award 2020 해금강테마박물관] Haegeumgang Museum South Korea. CAF Artist Of The Year 2019 (2d) Contemporary Art Excellence Artist of The Year 2016 2016 Palm Award Winner 2013 Towry Best of England Award Winner

Readable

readable

London

WE TEACH. Since January 2014, ReadAble has been running weekly reading and language arts classes for children ages 2 to 15 in a neighbourhood in the Chin Swee area. We started out teaching in children’s homes, but have grown to occupy classrooms in the Residents’ Committee Centre. We teach a phonics-based curriculum to our earliest readers and deliver a programme which complements the primary school syllabus for those who have mastered the basics of reading. We use drama, movement and play to draw out a love for reading, build self-confidence, and encourage creativity. WE BUILD. ReadAble has built a community library of over a thousand books for our kids to freely access books at every reading level throughout the week. We also organise educational excursions to plays and museums, as well as connect kids’ families with community resources, such as school supply donations and workshops by professional educators. Through our BookDrop project, we set up conducive study spaces and mini-libraries in kids’ homes. WE MENTOR. Apart from our classes every Saturday, some volunteers run one-on-one classes with children in their homes across the week forming deep relationships with families. We also started a class teaching the predominantly migrant mothers of our students, functional English to navigate life in Singapore. EVERY CHILD LOVED. We believe that children thrive in love. We are committed to forming lasting relationships with them as teachers and mentors. Each child’s progress is closely monitored and classes are tailored to meet their learning styles. We recognise that our children weather challenges such as parental incarceration or family violence, and we strive to support them. EVERY FAMILY PARTNERED. Family support is crucial to a child’s success. We work alongside families to reinforce children's learning at home. We seek to understand our children’s home life and we engage parents with routine updates on their children’s progress. EVERY VOLUNTEER EMPOWERED. ReadAble is entirely volunteer-led and run, and we are serious about equipping our people. We run regular training sessions on topics from phonics to classroom management and how toxic stress affects child development. We constantly refine our methods based on research and best practices. EVERYONE A COMMUNITY. We seek to build an inclusive community that encourages children's diverse aspirations and engages everyone with empathy. We have a flat volunteer structure led by our Co-founders and Core Team who form friendships with children and their families. Together, we work to eradicate social inequality.

London Arts and Health

london arts and health

London

We are London Arts and Health! We support artists, creative practitioners and health professionals across the whole of London and beyond. Promoting excellence and engagement in the field of arts and wellbeing, and extending the reach of the arts to communities and individuals who would otherwise be excluded. Through our activities, we work to promote, develop and support the understanding of what the arts can do to contribute to a healthy society, in London and nationally, and by so doing to encourage the use of the arts in settings beyond the mainstream. We are the leading support sector organisation, advocate and expert for arts and health in London. Our vision is that the power of arts and culture transforms and enriches Londoners’ lives and health. WHAT WE DO We hold industry events, share information and opportunities through our newsletter to 5.5k subscribers, and publicise arts and health activity by sharing on our social media channels that reach around 20k users. We deliver arts and health training and creative wellbeing sessions to health care staff to bridge between the arts and the health sector. We are a member led organisation and have spent a lot of the past year talking and listening to our members. We have focused on digital solutions during the lockdown and explored ways of supporting a sector in crisis. We undertook in-depth research of our beneficiaries and developed a tool for practitioners, the Digital Sandpit. We created and launched a new digital tool, pARTner up to support the Thriving Communities Funding bid, which encourages cross-sector partnerships and supports cultural organisations of any size to be on an equal footing. We have recently released a new website commissioned by the GLA, containing the Arts and Culture Social Prescribing Mythbuster Guide. The resources include information, resources, case studies, podcasts and an animation for anyone interested in cultural social prescribing in London. We deliver a yearly Creativity and Wellbeing Festival that went from a small London festival to national in 2019 and saw over 50,000 attendees taking part in around 600 events. The week is held in partnership with the Culture, Health and Wellbeing Alliance. For ten years much of our work has been supported by Arts Council England and we are proud to hold the status of National Portfolio Organisation. London Arts and Health is a registered charity and a company limited by guarantee. It is governed by a Board of Trustees and is run by a small staff team as well as a number of fantastic volunteers

New School Of The Anthropocene

new school of the anthropocene

London

The New School of the Anthropocene is a radical and affordable experiment in interdisciplinary higher education for the digital era in collaborative association with October Gallery in London. We are an ensemble of experienced academics from the higher educational world who, in the company of diverse artists and practitioners, wish to restore the values of intellectual adventure, free exchange and creative risk that formerly characterised an arts education in the UK and beyond.    The New School is registered with Companies House as a Community Interest Company and is run cooperatively. We think of ourselves as a purpose or condition, rather than an institution, open to collaboration and gathering. Our curriculum is dedicated to addressing ecological recovery and social renewal through the arts. Learning styles flex to accommodate the domestic and employment responsibilities of our students. The age-range within this heterogenous community extends from 18 to 75 and qualification-levels range from GCSE to PhD. We regard our participants as researchers from the start and they co-design their work with an emphasis on critical intervention fused with creative process. The collaborative work of the body – learning, for example, about food resilience at Calthorpe Community Garden and rainforest restoration in Puerto Rico - is assigned equal prominence to more conventional university-level activities such as textual analysis, philosophical discussion and filmmaking.    We opened our doors to a first yearly cohort of 26 students in September 2022. They have joined us for 28 weekly Anthropocene Seminars led by the likes of Marina Warner, Robert Macfarlane, Gargi Bhattacharyya, Adam Broomberg, Ann Pettifor, Assemble Studio, Michael Mansfield, Robin Kirkpatrick, Esther Teichmann, Anthony Sattin, Chris Petit and Mark Nelson (Biosphere 2), whose work covers the entire range of subjects falling within the framework of the Environmental Humanities. These vigorously participatory sessions are prefaced by a movement class and are run in-person and streamed on-line to enable our planetarians to join us from Tajikistan, Egypt, US, Niger, Ireland, Scotland and France. Our teachers are gathered within an ever-extending Ensemble, not an exclusive faculty, and are paid at UCU-recommended rates for their contributions.  All NSotA students also work on a research project that is individually supervised and benefits from five meetings a year with at least two Ensemble members. This contributes towards a Diploma in Environmental Humanities, rather than a degree: a means of countering an anxious culture of accreditation, which we differentiate from the principle of recognition. Our students instead carry forward a supervised portfolio of their critical and creative work accomplished over the year as testament to their development.  While seeking to maintain a genuinely inter-generational student body, our recruitment continues to prioritise applicants from those with no prior experience of university. Our pay-what-you-can-afford scheme means that our students typically pay between 0.5% and 5% of the average cost of a UK postgraduate degree and enjoy double the number of contact teaching hours. This means that no one with the aptitude and desire to participate need be excluded. We have also set aside free places for forced migrants fleeing conflict across the world, which are awarded in association with Revoke and Birkbeck College’s Compass Project.   The New School is to be simultaneously regarded as an applied research project that explores how an agile, self-organising model for higher education might be effectively constituted. Its processes have been fully archived with the intention of creating an open-source toolkit for educators who might seek to emulate this prototype and co-establish a sisterhood of corresponding initiatives. We are a contributing partner of the Academia Biospherica Alliance, which from 2024 will offer on-site educational programmes under the auspices of October Gallery’s parent organisation, the Institute of Ecotechnics, across the five main earth biomes of mountains, oceans, forests, desert grasslands and cities in locations such as Puerto Rico, Brazil, Argentina, Iraq, Italy, Catalonia and Egypt.    This reflects our expressly collaborative ethos, as manifested further in our participation within the Ecoversities Alliance and Faculty for a Future, alongside established associations with Embassy Cultural House (London, Ontario), the London Review of Books and Birkbeck College Library, where our students enjoy borrowing rights, and prospective academic partnerships with the Central European University and Global Centre for Advanced Studies. We are also in the process of gaining recognition as a UNESCO Futures Literacy Laboratory. Our public launch in November 2021 was marked by a symposium on the future of the university in relation to biopolitical emergency, timed to coincide with COP26. It features recorded dialogues with leading thinkers available to view on our website: www.nsota.org [http://www.nsota.org].    In February 2023 the New School hosted a seminar jointly with Birkbeck’s Institute for Social Research to announce the relaunch of the Stories in Transit project founded by Marina Warner with the intention of initiating a collective research project for NSotA students. This will form a central component of a continuing second year active engagement with the present cohort following the end of the academic year in June, which is currently under collective discussion.    From September 2023 our first-year cohort size will be increased to 40 students drawn from the UK and around the world. The programme will be augmented by small-group creativity classes as a means of building a collaborative environment and preparing scholars for the intensity of their project work. NSotA's debut cohort established an additional self-organised reading group, meeting on-line on Sunday afternoons with the purpose of extending discussions broached in previous Anthropocene Seminars. For the next academic year this will be formally incorporated into the curriculum. Long-term plans include the founding of a research agency with D-Fuse intending to explore innovative multi-modal representations of biocidal emergency in civic spaces.   We are keenly aware that today’s university system is outmoded, sclerotic and wasteful; yoked to punishing systems of debt finance and managerial bureaucracy; and falling short in its responsibility to nurture future generations as confident participants within the complex universe in which we are all embedded. In proposing an affordable interdisciplinary education, the New School of the Anthropocene seeks to rejuvenate the core values of an adventurous education that are under sustained threat across the world. In so doing, it represents a genuine alternative for those who consider experimentation across the critical-creative seam to be the prerequisite to personal resilience and cultural renewal.

Bee Lingual

bee lingual

London

Carrie has over 30 years’ experience in education - now Director of Curriculum for the Brooke Weston Trust and a visiting fellow for Ambition Institute delivering NPQ training, Carrie was at that time the Principal of Peckover Primary School in Wisbech; a school with 54% of pupils, originating from many parts of Europe, having English as an additional language. This was a challenge that she tackled with great enthusiasm and creativity! Our first step was to re-write the curriculum completely, ensuring children were exposed to high quality texts and a wide range of vocabulary. Our classroom environments immersed children in their learning and our mantra was ‘talk, talk and more talk’. We planned structured oral opportunities into all our lessons, using the excellent ‘Tower Hamlets, ‘progression in Language structures; we had continuous provision from Nursery through to year 2 centred on language rich environments and opportunities. However, we discovered that once our pupils had acquired enough English to let them read, write and converse fluently, the progress of some began to plateau. These could be pupils who weren’t speaking their first language much at home, or reading books in it. In some cases, pupils were starting to lose their first language altogether, making it harder to build and develop their English. We sent a set of BeeLingual UK dual-language books home with every EAL child, so they could read stories in their first language and in English with their parents We used our bilingual Teaching Assistants to lead daily first language discussion groups to develop a rich and challenging vocabulary We used colourful discussion mats to pre-teach pupils in first language and English, deploying them alongside stems based on Progression in Language Structures Our pastoral team used first language emotion cards to help pupils describe and explain their feelings We introduced a ‘no hands up’ policy to promote lively class discussion We taught the whole schools songs in first languages and English Using the resources we were developing at BeeLingual UK, we introduced a whole raft of strategies to cultivate a rich vocabulary in first language and subsequently in English.

Czech Centre London

czech centre london

London

The Czech Centre's mission is to actively promote Czechia by showcasing Czech culture, innovations and creativity in the UK. Its programme covers visual and performing arts, film, literature, music, architecture, design and fashion, science and social innovations. As well as hosting its own events, the Czech Centre offers support for other groups organising intercultural initiatives among Czech and UK partners. The Czech Centre also seeks to further enhance cultural relationships between the UK and Czechia through curatorial visits, media tours and artistic residencies; helping to generate creative dialogue among artists, scholars, scientists and cultural activists from both countries. The Centre promotes instruction of Czech language and provides series of certified Czech language courses and exams. The Czech Centre, a contributory organization of the Czech Ministry of Foreign Affairs, opened in London in 1993. The Czech Centre is part of a worldwide network of 28 branches across four continents including the Czech Houses in Jerusalem and Bratislava. The Czech Centre was a founding member of the EUNIC cluster in London and currently presides its activities. The Office of the General Commissioner of the Czech participation at the General World Exposition EXPO has been part of the Czech Centres’ network since January 2023. The two institutions seek to deepen their cooperation through the merger and to create even greater synergies in the presentation of the Czech Republic abroad. For more information on the Czech participation in EXPO 2025, please visit expo2025czechia.com.

Adele Brydges Design

adele brydges design

London

I feel empowered by what I do and get so much joy from creating custom pleasure tools for clients that I decided to share the experience and give others the opportunity to create something fun, unique and really personal. My workshops are rewarding experience; they nurture playfulness, creativity and connection with ourselves and others. Yes, we’re putting enamel decals on porcelain sex toys but these workshops are so much more than the sum of their parts. They push people’s boundaries and challenge preconceptions in a gentle, fun, and creative way, encouraging a healthy attitude toward sexuality and ownership over our own pleasure. What to expect. A warm, welcoming atmosphere. Because we use a range of pre-printed enamel decals, no artistic ability is required. Spaces are limited but everyone is welcome regardless of artistic ability. I don't specify that all the workshops are women only but that tends to be the case. The workshop lasts around 3.5 hours and once decorated, the handmade dildo needs to dry for 24 - 48 hours before being enamel fired and shipped in the post. It’s amazing to see what people create with the same resources; there is always so much diversity and it's wonderful to see my dildos embellished with your creative designs. Prosecco, light refreshments and treats and return postage are included in the workshop fee. Studio vibes. During the workshops, conversations amble from the intimate, to playful, emotional, insightful, and uplifting; everyone who attends has a different story and fresh perspective. It’s humbling to share the afternoon with so many inspiring women (and sometimes men!) creating together. One of my past participants said that it was like therapy for her and I guess it is for all of us in some way. Every person leaves feeling like they've formed a connection with each other and some even stay in touch after the session - it’s such an awesome feeling to see the workshops creating a community. Upcoming workshop dates 2022: 9th December 2022 18:30PM 13th January 2023 18:30PM Click here to join the waiting list to be first in line for future dates & early bird tickets. Booking and more info. Prices start from £135 pp. Tickets includes materials, a handmade porcelain dildo (or handmade plug if you'd prefer), tuition, kin-firing, prosecco. Click here to book your place at an upcoming workshop. You can see pictures from previous workshops at the Decorate a dildo feed on Instagram. Private workshops: Planning a hen party or want a session just for you and your friends? Private sessions are available at my East London studio and start from £600 for 4 people. Additional people are charged at £150 per person, maximum 8 people in the studio. I may need a 4-week lead time to ensure I have my handmade dildos and plugs in-stock but I will do my best to accommodate your desired date. Send your booking enquiry including details of your preferred dates and number of attendees to info@adelebrydges.com. Price per person is non-negotiable. Private workshops at your location in the London area and further afield may be possible depending on my schedule. Please note that an additional travel fee covering time and expenses will be added to the price of your on-site session.