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The Nuisance of Place

The Nuisance of Place The English Lake District is the Paul Newman or the Tom Cruise of landscapes, it’s tiny, it’s obvious but it’s undeniably attractive - even perfect. The birth of the idea of this pleasing aesthetic was established in the 18th century by the Romantic poets. Escaping from political persecution for their radical beliefs, they in effect went into rural exile, establishing an out of the way hotbed of radical thought much of it expressed through analogy to nature. The leading figure - Wordsworth, though expelled from France pre-revolution for his radical beliefs, led the ‘cutisification’ of the movement. His one time political position quickly giving way to a personal quest for Utopia. It was for him a return to a childhood idyll and for us the evolution of the idea of the landscape as an escapist paradise, a special world of roses over the door and ‘natural’ beauty. The reality is of course rather more barbarous both now and then. Prior to the invention/appreciation of the idea of landscape and the sublime, the custom while travelling through the country - in particular the wilder areas - was to pull down the blinds of your coach to avoid the horror of the landscape in its raw state, with its suggestions of life, death, chaos and madness. If the romantics established the idea of the landscape and a relationship to it, they also established the idea of the artist and the artist’s role in relation to society. This idea is a still very much with us today and has become, in effect, the international art style, the hero artist visionary, dysfunctional, a critic of society and responsible to no one, in effect the popular idea of the artist - a mediator of beauty, a being apart. Similarly, the radical romantic tradition has spawned the garden centre and interior decoration as an interpretation of the relationship to nature - mediated through floral design and the hybrid geranium. The romantic idea of the artist is no less over coloured and crass. The UK Tourist Board – marketers of the rural idyll - insist on floral fabrics, floral crockery and floral wall paper, if hoteliers want to get the coveted 5 star seal of banality essential to the unsuccessful running of a hotel/bb they have to comply. All this illustrates the mainstreaming of artist activity, the banalification of the original vision, and in many ways this is a good thing, it is what develops culture, but as one culture is assimilated another needs to be struggling into life and that is what has not happening. Why do cultures freeze and become traditions? Can we identify the point at which this happens, and what do we do with them at that point? The 70’s land art movement has clearly stopped developing but it is still alive, it still generates interest and it still inspires and opens doors for individuals. Is there a way to set the assimilated cultures alongside the developing? There is a value that can be drawn from the current confrontational positions between cultures, the current rejection of vast areas of creative activity by one ideology or another is a terrible waste, our culture is impoverished by this, we end up with something very dry, lacking texture and depth, Sunday painters or conceptual art - it should not be an either or for anyone. The contemporary reality of the rural is that it is a hotbed of conflicting ideologies, each sitting alongside one another and each with a very different view of the value and purpose of place. These conflicting ideologies mirror the conflicts of the global community in a deeply petty way; the countryside as a toy version of the real world. It is alongside this maelstrom of evangelical misunderstanding that a contemporary arts programme such as Grizedale arts attempts to negotiate its relationship to its location and its own misunderstandings and evangelical purpose. The polarised quality of the differing cultures offering an insight into what it is that people are looking for, finding or discarding. How do we identify cultures? How do they evolve and what drives that evolution? The romantics occurred as religion had just started to lose its all-pervasive power, they offered a replacement or a reinterpretation of god through the artist and the landscape. We have continued to extend this model, with the white (god) space, but this concept is ever decaying. New ideas and ways of working wish to lose the ‘artist’ figure, individual identities are dissolving, and art practice is looking for other ways of engaging with the real subject, the context. Grizedale runs a very artist centred programme, attempting to enhance this support of innovative practice through the establishment of a range of programmes with very different curatorial positions, ideologies and product. One such programme being instituted in 2004 will take the form of a traditional sculpture trail, offering the public the opportunity to see traditional art being made in situ, a tried and tested formula. Clearly such a move reflects Grizedale’s history and that history’s place and function for a specific audience and community, but it also sets up considerable potential for conflict between artists of differing interests and between audiences. Is that a good thing? Adam Sutherland is director of Grizedale arts – one of Britain’s foremost residency programmes– established in 1977 it was the first site in Britain to develop the contemporary idea of site-specific public art and in particular land art. Sutherland has further developed the idea of art in the landscape with an innovative programme of ‘socially engaged practice’ live art and extensive community related activities.

September 09, 2005 | Permalink | Comments (0)

Furness Beekeepers Association

Furness Beekeepers Association The Furness Beekeepers Association has a membership which covers South Lakeland and the Furness Peninsular. At the moment our association has around ninety members. Our aim is to promote the craft of beekeeping and to give help and advice to people interested in keeping bees. Our Apiary Gleaston Water Mill, Gleaston is the site of our Association apiary. The apiary manager is Mr David Johnson from Coniston. It’s the venue for many of our activities that we’ve staged since its creation, with the aid of a National Lottery grant, in 2000. Principally the apiary is a teaching apiary where new and prospective beekeepers can come on Saturday mornings form 10.30 till 12.00 and open the hives for themselves, whilst receiving tuition and advice from our experienced beekeepers on hand. There is protective clothing available; they just need to bring Wellingtons. Classes started on April 16th and will continue till late September. This season there has been a regular attendance on Saturdays including a local boy who successfully completed his “Duke of Edinburgh” Gold award in beekeeping The apiary is open to all members of our association, including our “Friends Of Furness” (a non beekeeping membership) which costs £5.00 per year. The Live Bee Show The “Live Bee Show” is a mesh walled garden gazebo that we take to events and local shows. The idea is that a hive is placed in the gazebo and members of the public are invited to don a bee suit and come inside and have a “hands-on experience with bees”. We have both children’s and adult sized suits. The Bee Show was taken to six local shows last summer and proved to be a great success with the public, as well as being an exciting new method of promoting beekeeping. The Black Bee Breeding Programme The indigenous British Black Bee very nearly became extinct in the years between World War One and Two, due to a mite which affects the breathing of bees Beekeepers imported bees from the continent to replace our dwindling colonies, and although this was satisfactory at the time, there are beekeepers who feel that the Black Bee should be reintroduced to the United Kingdom. An association called BIBBA (The British Black Bee Improvement Association) aims to do just this. Furness Beekeepers invited BIBBA Committee members Mr David Allen and Mr Tom Robinson to their apiary at Gleaston Water Mill to hold a Queen rearing workshop. Both are very experienced beekeepers and highly regarded in this field. Over 30 beekeepers from the North of England attended The workshop included talks on how to assess bees for their suitability for breeding, the use of the grafting tool, the Jenter method of raising Queens, and how to raise Queens on a small scale without resorting to grafting. There were also practical demonstrations in the apiary using our own BIBBA Bees on assessment and grafting larvae into cells. Visitors were invited to bring their own bees in nucleus boxes and have BIBBA brood from our own hives grafted into them. The Coniston Connection Breeding pure queen bees is not an easy process. One of the main difficulties is that the queen has to leave the hive to be mated and consequently the beekeeper has no control over which or where the several drones (male bees) she mates with comes from. David recognised that Coniston village lies within a bowl with high fells around which could form a natural barrier and prevent non pure drones from visiting this area. Selecting a queen from proven BIBBA stock, he created a breeding apiary in his garden at the head of the lake, and this has proven to be very successful in breeding pure black queens from this original queen and has been distributing them to other interested beekeepers in the area.

September 09, 2005 | Permalink | Comments (0)

‘The captain is dead, but that is no problem’

‘The captain is dead, but that is no problem’ Eight-track log entry: Track 1 It’s a gig and I take what comes my way. £160 per day with my man, Alan; fuel is the rider, no questions, just whirling blades. This gig’s with an artist - those feeble people with soft hands. They love the machismo of working with a chainsaw, hard hats, reinforced chaps, conversations about anti-kickback and white finger - the theatre of real work. So Olaf Breuning, what’s your game; what’s the point of what you do; are you showing us something; do you explain; do you have a point? Or will you move us emotionally? I can see you enjoy my style, my mixture of machismo and fear. You like to play with the chainsaw image, the hyper-violence, the slasher horror violence, manipulating my real purpose. What do you think that is all really about, the separation of the whole? I, Chainsaw, live to divide. You like that, is that a bit sexual, sexual violence, does that reflect feelings you have? I am well used to chainsaw sculpture: I’ve done more than a few artist-gigs; I’ve made bears, squirrels, the ubiquitous mushroom - all informed by the love of nature, craftwork, as a way to express that love. A simple world-view: nature is good; any intervention by man is bad. “Rodney cares deeply about the landscape. He uses local timber which has been felled by storms or regeneration projects, and he aims to leave the landscape as he found it.” That’s a quote from a chainsaw artist who I recently did a bit of work for. Notice the use of the word deeply, an essential and oft repeated adjective, as if repetition would make it true. But Olaf, your idea is more about leaving the landscape as you see it - a knackered wilderness bearing the scars of habitation, a cauterised shinning membrane of scar tissue - little reminders of DDT, Napalm and Agent Orange, those romanticised angels of death; farming and industrialisation. That’s a lot closer to what I do, rainforest despoiler. I am no lover of nature for all the bears and squirrels, I make scar tissue and I think Olaf that you know too well this nothingness. Here we are about to start doing something a bit complicated. You don’t even pretend to love nature. You are asking about cutting down the biggest and best, the towering oaks, lets do it. I wanna bring that motherfucker crashing floor ward - if a tree falls in the forest and no-one’s there it goes cur-fucking-rash, like it always does, and you know you’ve hit the mark, done your work, your reason to be. Track 2 Alas I’m idling; I’m listening to Olaf telling my man Alan about what he does: “Vell yu seez Alans, I am making dees zings for zis gallery, you know I want to make zem really stupid” “It’s liake ah jooke”‚ “Yez, but not really a juke, izz very serious as well, I meanz um not lafhing, not atoll…” Is what I am to be? a joke, misused, made to dress up, posing with the be-wigged, my gleaming sides professionally lit, dry ice and fashion shoot aesthetics. Something to frighten the children! Olaf’s talking about a photo he did with pantomime ponies, a photo in a farmyard. He’s laughing about the mud, the shit, the stupid pantomime of farming, so obsolete, he’s making a case for boutique farms run by gay New Yorkers, tidy farms, clean farms with white picket fences, slow farms, play areas for world citizens. People that say ‘I like to call a spade a farmyard bygone’, oh ha bloody ha ha ha. Another art person who’s been hanging around starts talking about “…culturally specific backdrops as a theatre for explorations of identity, ways that our fragmented world community can reconfigure; Olaf’s globetrotting trips to cultural über-destinations, his reconfiguring through cultural collisions”. He goes on, ever less comprehensible, lots of names that are obviously important in his world but I don’t think anyone here knows; no one says anything. Olaf looks blank as if he hasn’t a clue what he’s on about and although Alan’s laughing and agreeing, he’s thinking about something else, maybe tea. There is a massive divide between us all, some similar thoughts but such different interpretations. To be honest, none of this is going down all that well. My blades whirl and I’m deafened into my own world again, my sole purpose, only my internal throbbing and internal thinking to keep me company. I think about these new worlds: carving dragons and goblins, entering competitions to make bears and squirrels, being petted by small children, being reinterpreted by artists, and filmmakers. Diversification, that’s the name of the game; diversification of my purpose, give me a rural development grant, where do I mark my cross? Track 3 You only have to Fear Finally I get my handle in Olaf’s hands. Can you feel that? My power Olaf, vibrating? Are you thinking about all those slasher movies? Don’t you want to slash Olaf? Swing me round your head; execute that dance of death, twirling in the sunset, your form encircled by my spiralling exhaust fumes. I love that end piece from the Texas Chainsaw Massacre where Old Leather Face does his dance of death; remind you of Faschnacht Olaf? Texas Chainsaw Massacre was financed by the profits from Deep Throat, and both films adopted the semi-documentary style that you see so much now, the reality TV. Odd that, how do you like that for complicated, cross-cultural, pick the bones out of that, mind-fuck Mr Olaf, cultural muddler, comedian, complexifier Breuning? I can manufacture fear with just the sound of my voice. People fear just the thought of me, the idea of my arm just laying against your arm in a gentle caress, just sliding like a stubby butter knife through its warm namesake, through the flesh and bone; just peaceful, “half in love with easeful death” . You’re thinking about what I do Olaf. It’s cutting things in half, asunder, rendering the whole into component parts. I think you know what I am getting at. Those early slasher movies have often been sited as a cathartic reaction to Vietnam: a way to exorcise the horror through humour. The idea being that Vietnam was some sort of modern identity crisis; a point where America faced the real complexity of being a world power, a farewell to innocence, nationalism, faith in state. Paint it Black, everything a part of a conspiracy to dissemble. The whole world is suffering from division anxiety, apart from Switzerland that has so long been apart; has so long practiced world citizenship that there is no anxiety, just a wry amusement with the machinations and angst of the awakening. It’s interesting that those prototype slasher movies are all being remade, here we go round again only this time will it be less comprehensible, just the sense of threat from a power that they have no understanding of - hey just like the combustion engine. Track 4 ‘Nothing is more real than nothing’ So we are cutting these sculptures out of Larch, nice wood to work with. I slice through like a cheese wire through curd. I prefer wood wet, creamy, leaves a bit of a rough cut, a little hairy, but who minds a little hair, I can live without a Brazilian. We are all bored, bored of cutting, bored of jokes, bored of complexity, there is a rise of mischief emerging from tedium. I am trying to give Olaf white finger before he goes, something to remember me by. Alan’s kicked back, on auto. Olaf’s stopped the chat - he’s stopped trying to explain. 'Let there be light'.

September 09, 2005 | Permalink | Comments (0)

THE PICTURESQUE STORY OF A REGENCY BLUE-STOCKING AND THE ROMANTIC NAMING OF TENT LODGE

THE PICTURESQUE STORY OF A REGENCY BLUE-STOCKING AND THE ROMANTIC NAMING OF TENT LODGE Walking or driving around the head of Coniston Water , there it is between the lane and the lake-shore . Tent Lodge . An odd name . . . Looking around Hawkshead’s Parish Church , St Michael and All Angels , there’s the name again . A clue . On a white marble memorial . To George Smith of Tent Lodge , Coniston , who lived from 1751 to 1822 . And to his wife , Juliet , [ nee Mott ] , 1754 to 1836 . And an inscription “ In memory of Elizabeth eldest daughter of George Smith of Coniston Esqr. She died August 7th , 1806 , aged 29 . She possessed great talents , exalted virtues , and humble piety .” Intriguing . . . The family lived near Coniston , but their remains were interred at Hawkshead . . . Straightforward it turns out : Hawkshead parish extended over Hawkshead and Monk Coniston Moors [ now mainly covered by Grizedale Forest ] to include a chunk of the north-eastern shore of Coniston Water : the boundary was School Beck . But why Tent Lodge ? The name is literal . Tent Lodge is named in memory of the death of the young scholar and translator Elizabeth - familiarly ‘ Bessie’ - Smith , who died of tuberculosis on 7 August 1806 in a tent sited where the house now stands . In many ways , Bessie has come down to us as an idea , almost a hallucination , an ephemeral shadow of the late Picturesque / early Romantic ideal : a true spirit of a very particular moment in time when bliss was it in that dawn to be alive and to be young was very heaven . . . The interest of the literary Lakers , and especially of Thomas de Quincey , opium-eater and early - first ? - Editor of The Westmorland Gazette , 1818 / 1819 , was piqued by her early death , and by that small white marble tablet , “ raised to her memory , on which there is the scantiest record that , for a person so eminently accomplished , I ever met with . . . Anything so unsatisfactory and common-place I have rarely known . As much or more is often said of the most insipid people , whereas Miss Smith was really a most extraordinary person . I have conversed with Mrs Hannah More often about her , and I never failed to draw forth some fresh anecdote illustrating the vast extent of her knowledge , the simplicity of her character , the gentleness of her manners , and her unaffected humility . She passed , it is true , almost inaudibly through life ; and the stir which was made after her death soon subsided . But the reason was , that she wrote but little . Had it been possible for the world to measure her powers , rather than her performances , she would have been placed , perhaps , in the estimate of posterity , at the head of learned women ; whilst her sweet and feminine character would have rescued her from all shadow and suspicion of that reproach which too often settles upon the learned character when supported by female aspirants .” [ Tait’s Magazine ] . Phew ! So . . . Who was this paragon ? And what is her connection with Tent Lodge ? She was the second child and eldest daughter of a military man , [ variously described as Captain or Colonel , following promotion ] George Smith , 1751 - 1822 , of Burnhall , in the county of Durham ; Elizabeth was born there in 1776 . De Quincey states that the family moved “ to the splendid inheritance of Piercefield , a show-place on the banks of the Wye ,” but , when Elizabeth was 15 going on 16 , through the failure of a banking house , the family was bankrupted , and the estate lost . Elizabeth was devastated by the loss of the library : “ not a volume was reserved , for the family were proud in their integrity , and would receive no favours from their creditors .” The Smith family lived in various places in England and Ireland before moving to the Lakes in 1800 , when , with the help of the Quaker writer and intellectual , Thomas Wilkinson , they settled in a cottage in Patterdale , on the banks of Ullswater , not far from where Thomas Clarkson , the Abolitionist , was living in retirement . A couple of years later they moved to Townson Ground on the north-eastern shore of Coniston Water , a Picturesque spot with panoramic views of the lake and fells . As Norman Nicholson puts it in The Lakers , [ Robert Hale Ltd , 1955 ] , “ Here , for three or four years , Miss Smith lived the life of a romantic young lady after a pattern which was already beginning to grow old-fashioned . She climbed the hills with Wilkinson , made sketches with William Green , read Mrs Radcliffe , surrendered herself with immense enthusiasm to the hypnotism of Ossian . Her only formal education had been from a governess , a girl about her own age , qualified to teach no more than French , yet she showed a quite remarkable talent for languages . As well as French , she taught herself Italian , Spanish , German , Latin , Greek and Hebrew , and acquired some knowledge of Arabic and Persian and a smattering of Welsh and Erse . She made a good many translations , especially from German and Hebrew , yet , with all her bookishness , she never seems to have felt the least curiosity about Wordsworth , or anything he had written , even though both Wilkinson and Green were friends of his .” The manuscript of Elizabeth Smith’s translation from the Hebrew of The Book of Job , consisting of some 50 close-written pages , and dated 1803 , is now in the collection of The Ruskin Museum , Coniston ; Orme , [ Bibliotheca Biblica , page 413 ] , describes the book published in 1810 from this translation as “ a good English version of Job , produced chiefly by the aid of Parkhurst’s Lexicon ; in which almost all the peculiar renderings of Miss Smith’s version will be found .” We see Elizabeth Smith almost entirely through the eyes of her friends , because her translations reveal nothing of herself , and the letters and fragments of poetry seem to have received the treatment one might expect from an editor whose name was Harriet Bowdler . Throughout her life , however , Elizabeth Smith was extremely fond of writing poetry . The following - Bowdlerised ? - lines date from 1792 : “ How charming then o’er hill and dale to stray , When first the sun shot forth his morning beam : Or when at eve he hid his golden ray , To climb the rocks , and catch the last faint gleam ; Or when the moon imbrued in blood did seem , To watch her rising from the distant hill , Her soft light trembling on the azure stream , Which gently curl’d , while all beside was still : How would such scenes my heart with admiration fill ! ” and hark back to a softer , gentler iambic pastorale far removed from the vigour of Wordsworth’s brave new world . Because she is such an ethereal , insubstantial , almost ghostly , figure amid the Lakeland literati , this poetic fragment may provide a truer perception of her than De Quincey’s description of her as “ a good mathematician and algebraist . She was a very expert musician . She drew from nature , and had an accurate knowledge of perspective .” For whereas with Wordsworth , it solidifies into fact , The Picturesque evaporates into a dream with Elizabeth Smith . She described the beginning of her metamorphosis thus : “ One very hot evening in July , I took a book , and walked about two miles from home , where I seated myself on a stone beside the Lake . Being much engaged by a poem I was reading , I did not perceive that the sun was gone down , and was succeeded by a very heavy dew ; till in a moment I felt struck on the chest as if with a sharp knife . I returned home , but said nothing of the pain . The next day , being also very hot , and every one busy in the hay-field , I thought I would take a rake , and work very hard , to produce perspiration , in the hope that it might remove the pain , but it did not .” It was consumption , of course . The doctors had no cure , but they let her decline in peace . After taking the allegedly curative waters at Bath and Matlock , she returned to Coniston , where she spent most of the day in a tent on the lawn across the lane from Townson Ground . As she lay slowly fading away , she suggested that this lawn should be the site of the family’s long-talked-of new home . She died in August 1806 , some 199 years ago , and her family observed her wishes - and the new house was called Tent Lodge , in homage and remembrance . Thomas Wilkinson , the afore-mentioned Quaker yeoman poet from Yanwath , laid out the grounds . Norman Nicholson sees Elizabeth Smith “ fading out , melting away , without resentment , without bitterness , as quietly , as sweetly as the evaporation of early morning rain . It was - and I say this not unaware of the poignancy of her story - the almost perfect picturesque death : the gentle progression from the lesser fantasy to the greater , from the known to the unknown , the unnoticed going down of the sun , the book of poetry , the mountains , the shadows , the darkness . . .” The Romantic and literary connections of Tent Lodge did not begin and end with Elizabeth - “ Bessie” - Smith . Few houses embody such rich associations . Tennyson , soon-to-be Poet Laureate and master of Arthurian romance , spent part of his honeymoon there in 1850 . He and his bride, Emily , were visited by Matthew Arnold , Thomas Carlyle , Coventry Patmore , and Edward Lear . They walked and boated , and Tennyson and Patmore climbed mountains . Whilst walking , Tennyson composed The Princess , becoming so engrossed that , on several occasions , he failed to notice the entrance to Tent Lodge and went on walking . Emily remedied that by having the gatepost painted white so he could not miss it ! The Tennysons returned to Tent Lodge in August and September 1857 . Their guest was Charles Dodgson , Oxford mathematician and pioneer photographer , but not yet famous as Lewis Carroll , future author of the Alice books . A 20th Century owner , Miss Emma Holt often shared afternoon tea in the drawing room with her great friend , Mrs William Heelis aka Beatrix Potter , who used to spend time reading the Tales from her Little Books to her friend’s avid young relative , George Melly . He says that it was Aunt Emma who first introduced him to the gloriously coloured paintings of The Pre-Raphaelites : she kept a few small and choice works from the family’s famous collection , [ which she eventually bequeathed to Liverpool museums for display in her old home , Sudley Hall ] , at Tent Lodge . Miss Holt permitted the use of her family’s sailing dinghies - for it was her shipping family ancestors that had introduced leisure boats to the working lake of Coniston Water - to the Collingwoods , at Lanehead . In the years between 1903 and 1913 , Dora and Barbara and , especially , Robin and Ursula Collingwood taught the young Arthur Ransome to sail on Coniston . He came to know the lake and its many moods most intimately . A generation later , the adventures afloat of Barbara , Robin and Ursula Collingwoods’ youthful nephew and nieces , the Altounyans , jumbled up with Arthur Ransome’s memories of his own boyhood experiences , and his observation of the antics of another old acquaintance’s two red-capped girls , Georgie and Paulie [ Rawdon ] Smith , sailing and fishing , dressed as boys , [ and so robust in comparison with poor Elizabeth Smith , who was not related ] , who just happened to be cousins removed of Miss Holt - added to his desire to escape forever the rigours of newspaper deadlines - inspired that same Arthur Ransome to write Swallows and Amazons . He borrowed the plain Georgian architecture and rectilinear trellis of Tent Lodge , creatively transported to the opposite end of the lake , near Allan Tarn , [ ‘ Octopus Lagoon’ ] , and with the embellishments of a little artistic licence , for the Amazons’ home , Beck Foot . The stronghold of Peel Island , with its secret rocky harbour , celebrated by W . G . Collingwood as the refuge of his fictional Norse outlaw , the eponymous Thorstein of the Mere , [ which had been one of the boy Arthur Ransome’s favourite books ] , was purloined as the basis of the immortal Wild Cat Island . And , of course , R . G . Collingwood is now considered one of the most original philosophers of his generation . At eight , he tried to read Kant’s Theory of Ethics : he could not understand a word of it , but felt ‘ intense excitement’ and knew that he must become a philosopher - which after a distinguished career as the premier Roman historian of his day , he did .

September 09, 2005 | Permalink | Comments (0)

Tea Room Walk

A Tea Room Walk Parking is available opposite the Farm at Glen Mary, Tarn Hows, Hodge Close and Shepherds Bridge. The walk can be started from any of these parking areas. Sorry, we are unable to offer car parking at the Farm. This walk is ideally used in conjunction with an ordnance Survey map – OL 7 is perfect. This walk is moderately difficult with some uneven and steep terrain, and the path surface could be wet and slippery in places. I would estimate it taking between 1 and 3 hours depending on walking speed and time taken for stops. Please always wear stout footwear with good grip and be prepared for the Lakeland weather with warm and waterproof clothing. From Glen Mary Car Park: ∑ Cross over the small wooden footbridge next to the National Trust ‘Tom Gill’ sign. ∑ Follow the wooden footpath sign to ‘Tarn Hows’. Go through the hand gate and follow the path uphill through the woods, take care near the top as there is a large slippery area of bedrock. Tom Gill - this is the wooded valley carrying the outflow from the Tarn, look out for the small water falls on the right. The damp atmosphere is perfect for a variety of ferns, mosses and liverworts. ∑ When you reach the waterside of Tarn Hows, turn left, follow the track north until you near the head of the Tarn. Tarn Hows was created less than 150 years ago by the Marshall family of Monk Coniston who owned the Estate, Tom Gill was dammed to create the Tarn and hundreds of trees were planted, the area was then available for the public to enjoy. ∑ Turn left at the junction of paths when you reach the wooden sign post marked ‘Arnside & Langdales’, follow this path until you reach a gate. Look out for the mountain views, Wetherlam dominates the view to the West, (763m) and the Langdale pikes can be seen to the north-west. ∑ Pass through the gate on to the track and turn left following the footpath sign to ‘Oxen Fell & Langdales’ continue on this well surfaced track, when you reach tarmac turn left and follow this until you reach the main road. ∑ Cross over the A593 and follow the tarmac farm track to High Oxen Fell also sign posted Bridleway. ∑ Pass straight through High Oxen Fell Farm yard to the gate at the far end, this leads on to another well made stone track, continue on this track passing through another gate on the way. You will pass many Juniper trees, these are small shrubby evergreens that yield berries used for flavouring gin. Buzzards are often seen circling above Holme Fell and red deer can occasionally be spotted. ∑ Look out for a wooden sign post on the right opposite a gate on the left, follow the sign pointing to ‘Holme Ground & Yew dale’ through the gate and along a grassy track, passing Hodge Close quarry on the right. Hodge Close Quarry – Once a long powered incline would be used to raise the slate from the base of the pit, it was an underground cavern until in the 1880s when work began to take the roof off, there were many fatalities during this dangerous procedure. The quarry closed before the start of the Second World War. ∑ At the South end of Hodge Close quarry continue past the gate on the right hand side that leads to the quarry area. The path curves left, follow this uphill to another gate, continue through the gate and along this stone track. ∑ You will go through another 2 gates before reaching a final gate that leads on to the tarmac Hodge Close road. ∑ Turn left here, continue downhill and along the road, this is a quiet road but beware of cars. Holme Fell – is the high rocky fell to the left of you. The fell is a mosaic of grassland, bracken, heath land, small mires and woodland, and this forms an important habitat for many plant and animal species. Peregrine Falcon can sometimes be seen or heard! ∑ When you reach the road bridge ‘shepherds bridge’ there is a wooden sign post for ‘Yew Tree Farm, 1 mile’. Go through the kissing gate and follow this path. ∑ The path passes through 3 gates and then skirts to the rear and north of Yew Tree Farm, look for the large Scots Pine trees. ∑ Turn right through a kissing gate into the wooded area and follow the track to finally reach the front gate to Yew Tree Farm. Yew Tree Farm – owned by Beatrix Potter in 1930s the Farm House dates from the 17th Century. The spinning Gallery on the barn is said to have been used for drying fleeces and spinning wool. Teas are served from the front room (furnished by Beatrix Potter) between 11am and 4pm at weekends, and during school holidays. ∑ At the main road turn right on to the road for a few yards before going left through a kissing gate and then left along the fence side. This allows you to avoid the bad corner of the road bringing you back to the parking area at Glen Mary.

September 09, 2005 | Permalink | Comments (0)

SPRING IN CONISTON

SPRING IN CONISTON Raw cold Helvellyn iced with snow Trees bare The larch in see-through winter wear. No sunlight, all relentless grey. The Gondola went out today. Grey ewes Burdened with reluctant lambs Womb warm Unwilling to take cordless form Stumble and slide, hunch and sway. The Gondola went out today. House bound Her hibernation has no end. Hoar frost Premature snowdrops count the cost Mother, look out across the bay. The Gondola is out today!

September 09, 2005 | Permalink | Comments (0)

‘Selling our souls’, the problems associated with the tourist industry.

‘Selling our souls’, the problems associated with the tourist industry. In June 1792 Joe Budworth decided to take a fortnight’s holiday in the Lake District. He was a fit guy and particularly keen on walking and so he set out an itinerary for the two weeks which included the ascents of Skiddaw, Helvellyn and Coniston Old Man. By the end of his holiday he had completed all three ascents and had also climbed Helm Crag as well and, in the process, walked over 240 miles. Quite a feat, even by today’s standards! We believe that his ascent of The Old Man was the first ‘tourist ascent’ made of the mountain. Since that June fortnight the mountain has been climbed millions of times for pleasure in all weathers and by all age groups. Coniston village has been the starting point of most ascents. The village has good facilities and has provided accommodation and sustenance at the end of hard day on the mountains and the Coniston Mountain Team is always on hand in case anyone comes to grief. Since the first visitors ventured into the Lakeland valleys Coniston villagers have provided hospitality and board and lodgings. As the tourist industry developed Coniston’s hospitality became renown. The opening of the railway to the village in 1859 opened the flood-gates to tourists, but the village was quite capable of looking after all of them. After the railway closed visitor numbers did not decline because, by them, the car had taken over. A few years later, when the M6 motorway was completed, visitors from the south, and particular from Lancashire and Cheshire, were able to travel to the area for the day and return the same evening. It has to be said that Coniston would be a sad little place it is was not for the tourist industry. We have benefited hugely from the influx during the summer months. What other English village of slightly less than a thousand residents can boast of three grocery stores, five pubs, a flourishing post office and a bank? However during the 1990’s visitor numbers started to ‘plateau’ and this has continued up to the present day. Those who moved to the Lakes to set up businesses just to make ‘an easy buck’ out of tourism began to feel the pinch and start to demand the development of major attractions to bring more visitors to the villages. Fortunately, up to now, Coniston has resisted this type of pressure for development and long may it do so. Quality tourism is much more Coniston’s style. Discerning visitors come to walk on its mountains and sale on its lake and this will always be the case. Coniston must always remain fully in control of its destiny. We must never sell our soul to tourism.

September 09, 2005 | Permalink | Comments (0)

HIGH YEWDALE FARM ACTION GROUP

HIGH YEWDALE FARM ACTION GROUP Why High Yewdale must remain as a working farm – the Beatrix Potter legacy This is a time of unprecedented uncertainty for British agriculture, particularly so for farms in upland regions, many of which are located in areas of outstanding natural beauty. The Coniston and Little Langdale area of the Lake District is one such region where the beauty of the landscape has been defined by farming practices over many years; but this landscape is now under threat because of a decision taken by the current land owner, the National Trust. Without any local consultation and with very poor understanding of the agri-environmental implications the Trust has decided that High Yewdale farm should be split up and the land divided between the four neighbouring National Trust farms when the present tenant retires. The Trust has stated: “We will subsequently re-let High Yewdale for residential purposes and, potentially for appropriate rural business use”. The Trust’s argument appears to be based purely on financial considerations derived from external assessments. There have been no internal discussions with any of the tenant farmers. Of the five farms involved (Yew Tree Farm, High Arnside Farm, Tilberthwaite Farm and Boon Crag Farm) only High Yewdale and Tilberthwaite have hefted flocks of Herdwick sheep. These hefted flocks are descended from the Herdwicks that the previous owner, Beatrix Potter (Mrs William Heelis) bred with such success and constitute a precious resource in the management of a most beautiful and environmentally sensitive habitat. Hefted sheep have the unique ability, passed down through successive generations, to graze in defined, but unenclosed, areas or hefts; for the High Yewdale Herdwicks the heft includes the majestic Wetherlam and surrounding fells. Beatrix Potter’s main purpose in buying land in the Lake District was to prevent the break-up of farms and estates. When she died in 1943, she left over 4000 acres of land, her farms and her cottages to her husband, and thence to the National Trust on condition that they “let and manage the same, as far as possible, on the same lines as previously let and managed during the lifetime of myself and my said Husband”. Beatrix Potter took enormous care over the selection of her tenant farmers because she recognised the crucial relationship between the farmer and the land they manage. The current tenant of High Yewdale is Jonathon (Jonny) Birkett and Jonny’s father (Bob) was headhunted by Beatrix Potter as the ideal tenant for this demanding fell farm. Jonny has lived at High Yewdale all his life and the farm has prospered under his skilful environmental stewardship – Jonny’s reputation extends well beyond the farming fraternity of Cumbria. It is a matter of deep regret that the Trust’s action has made Jonny feel that he has achieved nothing. High Yewdale Farm is the most viable agricultural enterprise of the five farms in the group and has always been regarded as one of the jewels in the crown of the National Trust. It was this farm that the Trust selected for Her Majesty the Queen to visit when she last came to Coniston in 1985. Its reputation for livestock rearing is renowned, as the many prizes testify. Such is the excellence of the farm that a number of fell farmers with the requisite skills were waiting for the farm tenancy to be advertised when Jonny decided to retire, but the Trust did not attempt to recruit a suitable replacement. We care passionately about the Lakeland fell farms and their hefted flocks. We feel that this way of life must be supported if the Lakeland landscape is not to deteriorate and we would be most grateful for your support. If you need further information please contact: Alastair Cameron: 07801 441386 (mobile) a.d.cameron@virgin.net (email) Sheila Crispin 07802 667235 (mobile) s.m.crispin@bris.ac.uk (email) Maureen Fleming: 015394 41258 (home) Dorothy Wilkinson: 015394 37281 (home) tilberthwaitefarm@lineone.net (email)

September 09, 2005 | Permalink | Comments (0)

Coniston Sailing Club

Coniston Sailing Club Coniston Sailing Club was formed in 1967 by nine people at an inaugural meeting in the nearby Ship Inn. The newly formed club approached the owners of the land for permission to use the site for a sailing club. Permission was granted on the understanding that the club would make the site good and would keep it in good order. Initially there were no services laid on, but these were provided in subsequent years as the premises were extended to be as they are today. The National Trust acquired the site and lease it to Coniston Sailing Club. From the initial small group of members, the Club now has a membership of 450 adults and almost 100 juniors. Coniston Water is approximately 8.5 Kms long and 0.8 Kms wide at its widest point. It is subject to a speed limit of 10 mph. Coniston Sailing Club has a varied calendar of events from club racing, cruising, national class race meetings and national class championships for both dinghies and cruisers. The club runs many and regular sail and race training sessions for its members both young and not so young. There are overnight stays on the lake with BBQ’s, social events in the clubhouse on Saturday nights, annual dinner dance, Christmas dinner etc. For more information about the club the web site address is: www.conistonsailingclub.co.uk The membership year runs from January to December with the clubhouse being open from March to November. Coniston Sailing Club will be hosting the Water Festival Dinghy Regatta for the Tom Marsham Trophy September 24th and 25th 2005 ∑ Handicap Dinghy racing - £10 entry fee per boat ∑ 5 races – 4 to count ∑ Briefing: Saturday 24th at 13:30 ∑ Race times: 14:00 and 15:30 Saturday 24th 11:00, 13:30 and 15:00 Sunday 25th ∑ Friday evening bar and Saturday evening entertainment The boat dressing will also be visiting the club on Saturday 24th September.

September 09, 2005 | Permalink | Comments (0)

The Music Is Live and Well by Jim Loxham

Water Festival The Music Is ‘Live’ And Well The resurrection of Coniston Water Festival, rising, phoenix like from the ashes of its past glories, is a chance for live music, song and dance to play a pivotal role in the success of this years planned event in mid-September 05. The festival’s music programme, which has links to ‘Grizedale Arts’ contemporary arts programme, has been designed to cater for all tastes and all ages, and ranges from street music through to pub gigs and more formal concert performances. But the greatest thing is that it’s all live, live, live. The South Lakes and Furness area is fortunate indeed, having as it does a wealth of local musical talent. It is the intention to demonstrate during the festival the scope and range of this talent from teenagers through to your, shall we say more mature members of the music and arts community. Music events are planned to take place throughout the period of the festival and include young ‘Indie’ rock bands as well some ‘older’ well known rockers, and will cater for both electrically propelled instruments as well as those that are acoustically driven. Trad Jazz will also feature in an outdoor street concert. We will also have the chance to see and hear some more unusual instruments, such as a stone xylophone and (this may take some believing) ‘Rave’ music transposed into melodies for the church organ. Also featured are the more traditional music and dance from Furness Traditional, which includes local Morris men and women. The event will also cater for a Lakeland ‘Merry Neet’, or shepherd’s meet. Some of the music will reflect the ‘Sea Britain’ theme for this year in the 2nd centenary of the Battle of Trafalgar, where a set of songs will be performed reflecting the Nations’ close relationship with the sea in a contemporary style. Local tunes and songs will be supplied by ‘Furness Tradition’, and the local youth, ‘Hawkshead wind band’ will provide a more classical flavour to the event. ‘Swing’ is represented by a youth band from Ulverston, as is traditional folk. The venues are as varied as the range of music. Outdoors, there will be street music and dance in Coniston village centre, as well as more ethereal settings by Coniston’s lake shore adjacent to the magnificent medieval Coniston Hall. Indoor venues include John Ruskin School, Coniston’s Institute and Methodist church, as well as the relatively new Sports and Social club. Local pubs also feature, and another highlight towards the end of the week will be a traditional country dance Ceilidh in the old Hall, and as a complete contrast as the Ceilidh finishes - a ‘Disco’ in Coniston Sailing Club next door! The festival should provide a feast of music and dance to suit all tastes and styles, it’s also an opportunity to listen to music that is perhaps not main stream, but the main thing is that it’s live, and not canned. So come along grab a programme, organise your selves, get your tickets early to avoid disappointment and support as much as you can.

September 09, 2005 | Permalink | Comments (0)

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