53 Educators providing Courses

creative people

the cello teacher - lessons for all

As a freelance 'cello teacher I have many years of teaching experience from teaching in both the state and private sector. I have also work for Music Services, involving individual and group tuition, at junior and senior levels.  I try and use many of the pedagogical ideas of the ‘Kodaly System’, especially when teaching beginners, with its emphasis on singing,  musical games, rhythm and with the introduction of music-reading, fluency in the musical alphabet. Other areas of my work in education have always included close involvement in the production of lecture-recitals and demonstration workshops, mostly with the Astaria String Quartet, the Foundation for Music in Hospitals or in the past, Live Music Now! I have presented workshops and lecture-recitals for Arts Alive, Birmingham University, the City of Edinburgh Music School and the Education Department at Symphony Hall Birmingham, often to National Curriculum and National Lottery specifications. During the summer months, I have been a regular tutor on the 'Fantasia Music School' music course for many years. I have also researched authentic performance-practice and contemporary (classical) music, through both commissions and subsequent performances. This has led to intensive collaboration with eminent composers as well as time spent coaching student composers, giving me valuable insight into the creative process of compositions and the interpretive and technical difficulties for the performer. My own personal interest and inspiration has always been teaching, performing and coaching chamber music, specifically the genre of string quartets. As an experienced chamber musician, I have performed and coached the main works for string quartet, the chamber music for 'cello with flute, clarinet and piano as well as the solo repertoire for violoncello. I am also familiar with the orchestral repertoire, opera and theatre music, through extensive work as a freelance player. Please request my CV for my professional referees.

skillogy international

SKILLOGY PERFORM™ IS A COMPREHENSIVE HUMAN-CENTRIC SKILLS TRAINING AND DEVELOPMENT RESOURCE DESIGNED SPECIFICALLY TO IMPROVE SELF, MANAGER AND LEADER PERFORMANCE.  “ONE OF THE BEST PROGRAMMES WE HAVE SEEN,” CMI PROGRAMME ASSESSOR, THE CHARTERED MANAGEMENT INSTITUTE.  Skillogy PERFORM™ effectively builds and grows individual, team and organisational performance regardless of business, market, organisation or sector, creating critical competitive advantage and greater business resilience.  PUT YOUR SELF TO THE TEST [https://skillogy.com/assessments/]  TO ASSESS YOUR CURRENT LEVEL OF KNOWLEDGE. EACH TEST HAS EIGHT MULTI-CHOICE QUESTIONS FOR YOU TO RESPOND TO. YOUR SKILL ASSESSMENT RESULTS WILL BE AUTOMATICALLY EMAILED TO YOU.

angie parker

I established my business creating distinctive and intricate rugs and textile art in 2014, and I specialise in hand-weaving using long established techniques, such as Krokbragd. (The one that no-one likes to say out loud). After being taught rug weaving by the late Susan Foster at art college in the 1990’s, I pursued a career in costume for a number of years whilst continuing to weave on small scale collections. During this time I developed the original style for which I have become known since setting up my business. I combine my weaving with an instinctive and daring approach to colour and it’s the creative process of importing a contemporary element to the time honoured techniques of weaving and the responses from the viewer which most excite me. A year spent living in India and more recently, the dynamic graffiti and houses in my Bristol neighbourhood, have influenced the fabulously joyful palette which is intrinsic to my weaving. Working in reclaimed high quality rug wool and a variety of other yarns I meticulously hand-weave and finish all the original pieces myself on my Glimakra Floor loom at BV Studios in Bristol. Some of my designs are then produced in small batches through various partnerships.

new ashgate gallery trust

New Ashgate Gallery, a non-profit making trust, cultivates the pursuit of excellence in a marketplace environment, with support to emerging artists, by exhibiting work and through professional development. We promote the creative process for all communities through workshops, talks and outreach work. We provide an unparalleled resource in Farnham, Surrey and beyond. History In doing all this we have a direct line of continuity with our beginnings. Elizabeth Naydler, who founded the Gallery in 1959, had aspirations to bring quality art to Farnham, with the first provincial exhibitions of nationally and internationally known sculptors and artists such as Henry Moore, Anthony Caro, Elizabeth Frink, Barbara Hepworth, Picasso, Sandra Blow, Mary Fedden, Peter Blake, whilst at the same nurturing local talent and helping the careers of the next generation of artists and crafts people through exhibitions, sale of work and prizes and scholarships. The Gallery moved into Waggon Yard in 1966 - in 2016 the Trust celebrated its 50th anniversary in the 17th century Grade II building in in the centre of the Farnham Craft Town. During the years, the gallery has administered the profits from craft and art sales to create prizes and scholarships, and for the purchase of artworks for local and national museums. It was one of the first provincial galleries to show artists with an international reputation as well as supporting local talent.

marina red

Stephanie Burgess aka ‘Marina Red’ is an established zine creator and writer from Cheshire. She is one of the original riot grrrls, having played in punk bands throughout the 90’s. She runs her own fanzine and blog riotgrrrlzine.co.uk, which forms part of her postgraduate research into the Spanish alternative music scene, but also covers Riot Grrrl and punk bands from throughout Europe. She is an old skool paper ‘zine creator, who crafts her ‘zines by hand using collage and a mixed-media approach, creating unique pages and art which are highly representative of punk zine culture and influenced by the Washington Hard-Core Riot Grrrl Scene of the early 1990s. In particular, Kathleen Hanna’s Riot Grrrl Manifesto, which was first published in a ‘zine in 1992. She has written for a variety of online music publications, is a published writer and translator, and also runs creative writing and ‘zine production masterclasses. Currently working towards her PhD “In Search of Spain’s Riot Grrrls” for Manchester University, she has over 20 years experience of both academic study of the writers and musicians of the last century. As a hispanophile with an MA in European Languages and Global Cultures, she can draw upon her deep understanding of the function of language within the creative process and has thus developed her own technique for inspiring others to be creative in a similar way.She is an avid fan of alternative music and has an extensive record collection dominated by female musicians. She can still be found most weekends flicking through the vinyls and CD’s at her nearest music shop or dancing her fishnets off at a punk gig!

tina mayfield associates

“I’ve always held the belief that we are all creative beings, and that given the right conditions, everyone is able to explore their strengths and reach their full potential.” Inspired at a young age to pursue creative disciplines, Tina began her career as a design and fine arts teacher and tutor. Working in further education colleges in impoverished and crime-riddled neighborhoods in the UK, she quickly encountered the challenges inherent in supporting students that had complex needs. These were young people struggling with violence and trauma, drug and alcohol addiction, low self-esteem and, in some cases, undiagnosed neurodiversity. They struggled to learn in the same way as other students did and were often marginalized by an academic system that measures success solely through targets and standardized tests. Tina quickly realized that no matter the resources or skills of staff available, when individuals are not emotionally and psychologically stable, they simply cannot excel. Driven by a deep compassion and a struggle she could understand, having grown up with violence and unrecognized neurodiversity in her own family, Tina sought ways to create an environment where young people could thrive and flourish, access their strengths and develop confidence. “I’ve always believed that every individual has their own unique strengths and in the right environment every person can get to know what those strengths are.” Training in counselling for drug addiction and Neuro-Linguistic Programming provided a foundation for a more holistic approach. She saw the success that her students experienced when they felt supported in a safe haven; a stress-free space of true presence and non-judgment where they could explore themselves freely through their creative process and develop confidence.

the creative writing programme

The Creative Writing Programme is one of the leading centres for creative writing in the UK. After moving out of the University of Sussex it has established a reputation for excellence in Brighton and the South East. Our approach to teaching creative writing At a time when the cost of higher education has made university study an expensive luxury, our programmes offer a practical course of study, taught at university level, at an affordable price. Our innovative approach to teaching focuses on individual creativity and on teaching writing skills within the context of the creative process. Through a practical course of study designed to teach you how to build and structure narrative, our team of experienced writing tutors will help you develop your creative potential. Blended creative writing courses Work patterns and learning patterns are changing. To accommodate this new reality, as well as our in-person courses we have developed a new blended learning structure for our two-year programme. Our blended courses, aimed at local writers in the South East, are a mix of online and in person teaching, with classes taught from the Phoenix Art Space, or The Kemptown Bookshop in Brighton in early autumn and summer and online during the winter. You’ll spend the first five weeks of the Autumn Term meeting up in person, then switch to online learning as Winter sets in. We’ll stick with online classes until clocks go forward in March, then meet up again in person for the end of the Spring Term and the whole of the Summer Term. This way we make the most of what online learning has to offer, get to know each other, work together as a group, avoid travel over the winter months, stay safe and reduce our carbon footprint. We think that’s a positive.

biteabout arts

After graduating with a BA(Hons) Fine Art at Camberwell School of Arts and Crafts, London in 1988, I returned home to Northumberland to work as a photographic artist and silversmith. In 1994 I trained to teach whilst continuing on my own creative journey. I started experimenting with the many processes in the making of felt in 2005. I fell in love with its versatility, being able to paint with a varied palette of dyed wools, create something delicate and ephemeral using fine wools and silks, or use more sculptural techniques to form vessels. In 2008 I was introduced to the many varieties of coloured willows grown locally for basketry and the traditional techniques used to work with them. It excited me and I started using these to create vessels and sculptural forms. In 2011 I set up Biteabout Arts with the intention of creating unique items for sale and delivering a variety of art and craft workshops. We have been renovating the buildings at our smallholding to provide a working environment and somewhere to deliver workshops. Biteabout Farm is a North Northumbrian smallholding consisting of over 7 acres of permanent pasture. It was formally known as Coalshank (sited near to Biteabout Colliery) and also The Red Lion Inn ...'a troublesome little pub' until the 1940s. Badly neglected in more recent years, we took it on in 2002 and started its transformation. With far more work needed than initially anticipated, renovation is still ongoing, but nearing completion. I am now working in my studio and have a program of workshops on offer here. Sculptures are made to commission. Drawing on their creative expertise of materials, processes, 3D form and design, a working partnership between Anna Turnbull and Richard Charters. Working together, they explore the creative possibilities of your idea. The creative process takes time. It starts with collaboration through drawing, discussion and exploration of materials. An animated armature is created in mild steel by Richard, the bones. Anna weaves the flesh, emphasising its muscles and flow, its movement. It is the dialogue between them that brings the creations to life. Each sculpture is unique due to its individually made metal armature and the natural material of willow. Past pieces can be recreated, but each will have its own stance, character, life.

ive studio

We are IVE (formerly CapeUK) was established as an incorporated company in April 1997 and registered as a charity in April 1999. Inspired by radical new models of creative education, the company was originally set up as a research and development organisation. CapeUK looked to drill down into the creative process and explore how it might be used to drive improvements in teaching and learning. We became influential in relation to policy development and established a national and international reach in relation to championing creativity and professional learning. We also acted as advisors to Government on the importance of creativity and how it might be developed as a transferable skill. By 2014 we realised there was an opportunity to diversify our work and utilise the learning that 17 years of research and development had provided us. It was clear there was significant appetite beyond the education and cultural sectors for programmes that were aimed at developing the creative capacity and competencies of the workforce, and particularly in leadership. We have therefore spent the last 5 years designing and delivering training that aims to teach creativity as a transferable skill and how to create the right environment for creativity to flourish within the workplace, driving innovation, in a consistent and structured way. We also draw out the leadership and team behaviours that are needed to support this. IVE today Rosi Lister, CEO, explains: Rosi Lister CEO We are IVE “In 2016 we began delivering creative leadership training in sectors that are highly regulated and where staff are not traditionally encouraged or empowered to think outside the box, but where there is a growing need for this skill set. “Then, in 2017, our umbrella identity became We Are IVE Ltd, establishing InnovatIVE as our trading company which gifts all profits to our charitable programme. This programme seeks to inspire young, diverse & talented people from some of our most disadvantaged communities through a range of opportunities designed to develop their own creative potential as future leaders.” We believe that the workplace of the future depends on having individuals that are creative, that are able to adapt, that are resilient and have the range of skills and aptitudes employers are looking for. That’s why, when we deliver our training on an earned income basis, the profit goes back into supporting our charitable programmes for disadvantaged young people. It is therefore a ‘pay it forward’ scheme where all our customers and beneficiaries win.