…“bravo, the music will not die” said Italian conductor Arturo Toscanini (1867-1957), when he heard a new Italian ensemble – iMusici rehearsing in April 1952. Founded by twelve young enthusiastic musicians in 1951 based on its countries brilliant musical traditions, iMusici da Roma created a unique orchestra; six violins, two violas, two cellos, one double bass and one harpsichord. They do not have a conductor, but instead tune into each other brilliantly. Their understanding of the music is innate, their playing seamless. They have succeeded gloriously and are a true ensemble – all the parts of a whole taken together with each part considered only in relation to the whole.

Players have come and gone from this fine music ensemble over the years, but the essence at the heart of their music making has remained faithful to the vision and philosophy of its original founding players.  Current members will play an exciting program of Italian music at Melbourne, Sydney and Brisbane in February 2012 as part of their world 60th anniversary tour. The group will features work by great Italian composers, including Rossini, Donizetti, Paganini and Vivaldi.

There has been many interpretations and recordings of Vivaldi’s fabulous, and now famous piece of music, The Four Seasons. However nothing can really prepare you for hearing it played, one on one, by an orchestra for whom the music seems to be programmed into the DNA of its players. An iMusici recording made in 1971 sold over 25 million copies, inspiring other musicians globally and at that time brought the glory of eighteenth century Italian music to the attention of the world.

It was during the Italian Renaissance, from the end of the thirteenth to the beginning of the seventeenth century in Europe, the love of life so cherished by the ancients and expressed through its music, was re-established. The towering achievements of the Italians during that amazing period of revival and rebirth, meant that all of Europe as well as England was richly ennobled by Italian support for an expansion of world exploration and trade, the birth of the sciences, excellence in the arts as well as its great achievements in architecture. This era also heralded the arrival of a whole new era of marvelous music-making, so eloquently reflected in the grand manner of what is now known as the Baroque style, which gave free rein to the artist and his imagination.

iMusici play Excerpts from Vivaldi’s Four Seasons

A lively description of the power of the iMusici rendition of Vivaldi’s ‘Four Seasons’ was recorded in the Braunschweig Newspaper 1.11. 2010 when the orchestra played for the people of this historic town, which located in the Harz mountains of Lower Saxony in Germany…

‘the Allegro of Primavera (Spring) blossoms with the maximum amount of energy and the scintilating bows hurl their rolls of thunder…as the sounds in a wintry squall’

The concert salon of the Ospedale della Pietá at Venice in Vivaldi's time

Composer Antonio Vivaldi (1678 – 1741) is for Italians, and many others a towering figure in the world of music. Throughout his life he was commissioned to compose works for the church,  the nobility and significant members of European royalty. An exuberant and flamboyant composer, Vivaldi was an ordained priest with flaming red hair. He didn’t conduct the mass but instead for most of his life cared for a flock of disadvantaged children that he worked with, and composed for. The children were either abandoned, orphaned or had families that could not support them. They were cared for at Venice in a former hostel, which had been established for returning Crusaders – the Ospedale della Pietá.

Vivaldi’s music has an unmistakable characteristic resonance, that is all at once expressive and emotionally charged. Vivaldi was only 25 when he started composing vocal works the children could perform. A virtuoso violinist, considered a true maestro because technically his playing was flawless, he was promoted to maestro di’concerti in 1716. He became responsible for all the musical activity of this unique institution, which was a convent, orphanage and music school rolled into one. The ‘home’ was well endowed by ‘anonymous fathers’ because it also accommodated the illegitimate offspring of noblemen and their mistresses. Consequently the decor had an air that bordered on opulence.

Europe’s composers in a ‘romantic’ movement that started around 1810 and went until about 1900, developed a musical style that pushed the edges of human achievement in making music. iMusici will also play works by Gioacchino Rossini (1792-1868), Italy’s foremost early Romantic composer. Rossini had a love of melody, like Mozart with whom he’s often compared. He produced memorable chamber music, instrumental and piano pieces. A significant composer of opera, his best known works are The Barber of Seville, which sparkles with spirit and caprice. Then there is William Tell, which was noble and serious, re-enforcing an idea of reflection and reaching great heights of pathos and lyricism. This when combined with a new-found luxury of harmony and tone meant that the music was delivered with passionate conviction and therefore entirely seductive.

However after achieving so much Rossini gave up opera suddenly at 37 years of age when he witnessed a grand opera his friend Giacomo Meyerbeer (1791 – 1864) had composed – Huguenots. A conversation recorded in a book about Mendelssohn by German composer, conductor, writer and music-director Ferdinand Hiller (1811-1885) reveals Rossini expressed his doubts about the future of opera. iMusici will perform Rossini’s ‘Sonata a quattro’ No.1 in G major and Une Larme – Theme and variations for cello and strings, which both highlight the characteristics and sounds of superb string instruments.  The ensemble recorded Rossini’s Six String Sonata’ in 2011. They were composed when Rossini was only twelve years of age and have been called precocious. With great emotional depth they provide a challenge in technique for any player and their composition seems especially amazing when you realise that they were so finely drawn by someone so young. Rossini was a prodigy in every sense.

Views of the Hubay 1726 Stradivari played by Paganini

Other works iMusici will play include Niccolò Paganini (1782 – 1840) – Il Mosè – Theme and variations on the 4th string for violin and strings and Domenico Gaetano Maria Donizetti (1797 – 1848) Allegro for Strings in C Major.

Paganini’s compositions were technically imaginative.  One of the most celebrated and well travelled violin virtuosi of his time, Paganini was a master of improvisation. He indulged in artistic pleasantries and musical hi jinks, including making animal noises. He excelled at entertaining the public gloriously and they adored him for it. He famously said ‘music is a question for which there is no answer’.

Donizetti was a leading composer of his day and of the opera style now known as Bel Canto, which is Italian for beautiful singing. Originally this style of music was all about placing an emphasis on virtuosity and beauty of tone. In present use the term may also refer to singing methods dating from the late seventeenth and early eighteenth centuries, particularly the early Romantic period.

The term ‘Romantic’ did not come into common use until 1880, some years after Donizetti’s death when it was more than likely being used as a counter reaction to the drama of the all new pervasive dramatic Wagnerian vocal style. Composers like Wagner knew true art in any era must find its own mode of expression. Donizetti, on the other hand. reconciled his innate Italian style with that of a respect for French grand opera, without abandoning his own countries musical heritage.

iMusici is celebrating its diamond jubilee by touring around the world to celebrate. They are visiting many cities in Europe, the Baltic, China, Singapore, Taiwan, Korea, Japan, South America, USA, Canada, Russia, New Zealand and Australia. This is a rich presentation of individuals, their capabilities, their habitat and indeed their credentials – all of which will enhance our love for fine music making, give a little boost to our collective historical understanding and, raise our cultural awareness.

‘In every art form good models give birth to ideas by exciting the imagination‘*. Today in western tradition architecture, literature and philosophy are integral to the intellectual and artistic life of every society in every age, with its spirit expressed through the richness of its music.

The beautiful sound of music produced by Italy’s unique ensemble iMusici will be sure to revitalize and nurture the inner well-being of many Australians. You will just have to be there.

iMusici at Melbourne
Wednesday 22nd February 7:30 pm
Robert Blackwood Hall
Wellington Road, Monash University, Melbourne
Click for Bookings

iMusici at Brisbane
Thursday 23rd February 8:00 pm
QPAC Centre, South Bank, Brisbane
Click for Bookings

iMusici at Sydney
Sunday 26th February 6pm
Utzon Music Series – Bennelong Lawn, Royal Botanical Gardens
Price: $85 ($60 if purchased in sub package)
Bookings essential: (02) 9250 7777

Carolyn McDowall, The Culture Concept Circle 2012

Click Here iMusici 60th Anniversary Brochure

NB: All images, brochure download, video and historical information provided and used with the kind permission of iMusici da Roma

*Quote by Charles Townley (1737-1805)

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In the State Art Gallery at Sydney there is a painting that ever since I was a little girl I have visited often, first with my grandmother, and then with my own children and more lately by myself. When it disappeared a few years ago for a while I hoped that it was just having a little holiday, or being cleaned. Seems that must have been the case, because it was back again this past Christmas (2011), when I was visiting the fabulous Picasso exhibition with friends from Brisbane.  So, I just had to take them to see it too. In the scheme of things it is not a very well known painting. Some might even think it very ‘old fashioned’, just like me.  But there it is j’adore it.

The Bloodhound is one of the most noble. dignified and oldest breeds of dogs domestically. They are first referred to in fourteenth century literature.

Its connection for me is deeply spiritual and it has many times moved me to tears. It hangs in the Heritage galleries, which are on the right hand side of the entrance if you are visiting soon. Apparently the gallery purchased this wonderful work from the artist directly around 1897-8. It features a huge bloodhound leaning against the funeral byre of its master, a knight who has been laid out following his demise in full armour. He is laying on the field of a fabulous embroidered textile. The look on the dog’s face is full of honour and pain so be prepared if you plan to see it in the flesh so to speak, because it will, more than likely, quite take you down. For a knight on crusade so far from home and loved ones, to have had such a companion as this noble bloodhound must have been wonderful. He would have been a valued friend, who also helped to keep the knight safe and warm, cuddling close when chilling out around a temporary campfire at night.

The image is called “Requiescat”. It was painted by man born in London of French Huguenot descent Briton Riviére (1840- 1920). Apart from the beautiful rendering of the dog himself, the detailing of the knight’s armour and the sumptuous nature of the superb textile that he is lying on, reveals that he must have been someone very important back in the day.

From classical literature to contemporary times, dogs such as the wire fox terrier Snowy owned by Tin Tin, to Lassie, who epitomized love and loyalty and traversed the whole length of Britain to get back home, have been stealing our hearts for a long long time.

Fang from Harry Potter was one huge hound, whose despite his size and ferocity was actually timid and a coward. Then there are those dogs meticulously detailed by such classic authors as Charles Dickens, Will Shakespeare and Rudyard Kipling as well as the pooches, who have been critical characters in animated movies or popular comic strips.

The earliest dog in movies that I remember was Asta in the Thin Man series of the 1930′s , which my brother and I often saw as a second feature when we were kids in the 50′s. Asta’s owners were the very chic sophisticated duo Nick and Nora Charles, played by William Powell and Myrna Loy, my mother’s favourite pair of Hollywood sweethearts.

Asta was very adept at taking cues and getting in the way or helping his owners solving crimes. He became so popular he gathered a huge ‘cult’ following and today, yes you have guessed it, there is a ‘I Love Asta’ official website. He was especially cute when Mrs Asta had puppies, that included one wholly black.

Toto was lucky he didn't have to sing

Toto from the Wizard of Oz with Judy Garland also won many hearts, and was a lucky dog in that he didn’t have to sing.  Then there was one of my favourite of all movie dogs that slobbering slithering huge Hooch from Turner & Hooch. He was busy upstaging a youthful Scott Turner, a neat obsessive police investigator played by Tom Hanks. Hooch is witness to a murder and when he moves into Scott’s home it is total mayhem.

Snowy is companion to comic strip favourite Tin Tin. He is a terrier with a taste for Scotch, whisky that is, as well as a talent for mimicry. He provides comic relief for a master, who is an optimist and his friend Captain Haddock, who is the biggest cynic of all time.

Talking about cynics, what about Jack Nicholson with that fabulous Brussels Griffon terrier in the 1997 movie “As Good As it Gets”.

On TV just recently, I couldn’t help but watch it and laugh aloud all over again.  They looked so alike that it was scary. It hit home as I have a dear friend who has a Griffon – and they are just adorable dogs.

Eddie was another smart pooch, who starred alongside human friends in the TV series Frasier. He was one problematic terrier, who reputedly received far more fan mail than stars of the show Frasier and his brother Niles or Dad Martin, to whom Eddie belonged.

Other talented TV dog heroes include Inspector Rex, a German Shepherd who lives at  home with his detective handler at Vienna and is always saving the day, while indulging his passion for the people he works with and, ham rolls. Protective by nature with intelligence, speed and strength despite being bred originally to herd and protect sheep, with their owners Shepherds are wonderfully gentle.

I understand Rex well because the only dog that I ever owned personally (my kids really owned all the others even though I bathed and fed them) was a long haired German Shepherd named Chelsea. She was a truly superb animal, who was as faithful as she was true, guarding me with lots of love and with her life. She did not come along as a very fetching puppy until after my three sons had left home.

Going jogging in Centennial Park at Sydney with her each morning was a real treat. She also came to work with me most days. I always felt safe and secure when she was at my side. When I moved in 1999 I had to find her a new home as it was not possible for her to be with me where I was going. The people who took her lived in the country too. Six months later they called because they knew I would be anxious. They told me she was having a lovely life on their farm near Tamworth, where I had spent much of my time during teenage years. This helped me to settle, because I knew it was beautiful countryside and that she was obviously happy.

A friend who lived at Mt Tambourine outside Brisbane used to bring her beloved Shepherd for me to mind at St Johns Cathedral if ever she had to come to town.  From the Archbishop to the Receptionist everyone enjoyed her visits. I know she lost her darling dog recently and understand just how bereft she must feel. Shepherds seem to have a sixth sense about their owners, for whom they are very loyal and wonderfully affectionate.

What is it about dogs at all. They quite often seem to be part of the programming of our DNA. They have ever changing expressions that can tear out the most hardened heart and turn it to mush.

My ‘grand dog’ of the moment is a two year old long haired Daschund named Reggie. As a puppy Reggie became a celebrity of sorts at Sydney when his mother won a competition with a splendid photograph of him, that was put to good use on the cover of the Centennial Park ‘Dogs in the Park’ brochure.

These days when I arrive in town to visit, or specifically to mind him while his parents are away, you can see the look on his face change immediately. He hangs his head and goes off to sulk in his bed near the door, because he now associates my arrival with the removal of his parents.

It’s a conundrum for us both, and it usually takes a day or two for him to met morph out of his sadness to eventually land on my lap, or lie next to me on the leather lounge. Begrudgingly he finally accepts I am not about to leave anytime soon and gives in, but with very little grace.

When his parents do finally return, all is forgiven as he leaps around happily with a huge smile all over his face. At that point I usually am blessed with a lick of approval and then a truly withering look that says, now get out of here.

Reggie is a far cry from some of the other dogs who lived with my growing family. Lady came along when I was pregnant with my first baby.  She was a golden labrador, with huge brown eyes that leaped with love for the people she lived with and, most especially for her very favourite treat, Minties.

Where are those Miinties? - A lovely Lab hot on the trail...

When my sons were growing up and we had birthday parties Lady would lead the charge to find the lollies on the Mintie trail that led to a present. She beat them ever time, eating all the Minties on the way, paper wrapping included.

The boys all learned to walk hanging onto her collar and she was also their ally in mischief and when having fun. She would creep in quietly to sleep on the foot of number one son’s bed, and got away with it, because it was just too hard for any of us to refuse her anything really. After Lady went to the big dog kennel in the sky we were all gutted.

At the time a bachelor partner of my husband’s firm had just bought his first terrace home in Sydney. He had purchased a golden cocker spaniel dog, whom he called “Honey”. You can understand why when I tell you that he trained it to meet him at the front door each night to take his shoes upstairs to his bedroom and then bring down his slippers.

She was one sweet dog, the most stunning looking spaniel – truly beautiful, with a coat that was just like rich golden thick honey.

She informed our next choice for a doggie companion for the kids Jasper, the black grey and white cocker spaniel. He was very very beautiful, but as he grew to adulthood we began to slowly realise that something was very wrong. He was quite literally mad. He would try to burrow through the floor by tearing a hole in the linoleum. He would also attack the back door, trying to tear it to pieces rather than learn to go through his dog door. And there were many other traits that were truly terrifying.

He learned that when the boys came home from school in the afternoon in summer and jumped into their swimmers they were going out the backyard and into the pool. Spaniels love water and so immediately he would tear through the house ahead of them, out the door and dive head first straight into the swimming pool, where his frantic excited clawing put them all in mortal danger.

He spent so much time on his lead attached to his roomy kennel with these, and other crazy actions that we were all in despair about his wellbeing. So we sought advice from the Vet, who after much inspection, and introspection advised putting him down. He believed that he was ‘inbred’. We said we would sleep on it for a few days and shared our horrible decision with those around us.

A friend who lived in the country would have none of it. She offered a solution. She believed he only thing that Jasper needed more room to run around frenetically. So she took him to live out in the hills faraway on her very large farm. However after a few weeks she phoned one day in huge distress and demanded we take him back. She had locked him in the garage the night before to stop his continual baying at the moon. The next morning they found that had completely removed all the paintwork off the side of her husband’s prize Porsche. Enough said.

You would have thought that as a family we had by now learned a lesson and be happy to just remember how lovely our beautiful lab Lady was. It seems our luck with dogs was not working. But no, we gave into weeping children and that was when the most divine liver and white spotted Dalmatian -Rusty came to stay.

He was simply gorgeous, but when he was about 15 months old we moved into a new house on the north shore in Sydney, where just like Superman, Rusty decided he needed to leap tall buildings in a single bound, as well as the six foot high side fence to his spacious garden and yard.

He was looking to sow his wild oats it seems. Castrating a male dog in those days was still frowned upon. As I lived in an all male family (3 sons and husband), it was a ‘touchy’ issue that had not yet been resolved. In the meantime the local council ‘dog snatchers’ proved just how smart they were. When this passionate pooch decided it was time to go on patrol to find a girlfriend, and at all odd times of the day, they soon learned to sit outside and wait for him, and arrest him. Entrapment of dogs it seems was legal.

In leafy Killara the council were very strict about such a thing as you breaking out of your house and roaming the streets looking for love, if you were a dog that is. We all hated the idea of tying him up all the time, as we had provided a huge chunk of the garden, a very smart house and tons of toys for his amusement.

After we had been fined increasingly huge sums of money by the council and were lined up to go to court at great cost the next time, it became quite obvious to us all that he needed more room away from those who would take him down.

The lovely people who came for him had recently lost their Dalmatian in an accident and their 11 year old son was fretting. So it seemed the perfect fit as they also lived on acreage. They came to fetch Rusty in a ‘vintage’ ambulance and he left in great fashion and style. As we waved him off we all got together for a pow wow and firmly decided our family doggy days were over.

Of all the movies my sons saw about passionate pooches Lady and the Tramp by Walt Disney had the biggest impact when they were little in the 70′s, despite it having been made in 1955 when I was 11 and had impacted on me.

The down and out bitza scruffy mutt called Tramp, was busily hob nobbing with his upper east side society Lady girlfriend, a delicious golden cocker spaniel. (we had named our golden dog ‘Lady’ after her). She was completely captivating and so entirely disarming that you just couldn’t help falling in love with her too.

The values and lessons she taught the dashing Tramp were very poignant. Then there was Jock the wise and good Scottish terrier, who looks after them all, including the Siren Peg, a puffed up high prancing Pekingese pooch that spent a lot of time in the pound. Then, co-incidentally from our original Knight story, Tramp has a great friend who is a bloodhound. He’s called Trusty, because of his tag of always being ‘reliable and true.

Re mastered for the Digital age, Lady and the Tramp is to be re-released on February 7th 2012. It will no doubt win many hearts and minds all over again.

Tramp, well he’s from the wrong side of the tracks and the relationship he has with Lady echoes that human condition where opposites attract.

Lady sees only the good in her handsome hound. He’s her knight in shining armour, the one who always keeps her safe and takes her on incredible adventures, usually unheard of for a passionate pooch from the posh side of town.

Images of dogs in literature, art and entertainment demonstrate the love and respect we humans have for our canine pals. They prove conclusively that for us, and for a long long time, dogs been always been far more than pets.

Carolyn McDowall, The Culture Concept Circle 2012

Lady and the Tramp Diamond Edition Trailer

http://www.youtube.com/watch?v=ZNEk6TRbTEo

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Archibald Knox and Liberty of London are names inextricably linked, especially when we consider the up swell of indigenous British design at the beginning of the twentieth century.  “Advanced” design (as it was referred to at that time – we call it Modernism), stemming from the historical revivalist principles of William Morris, the pre-Raphaelite Brotherhood and the Aesthetic Movement, was starting to appeal to a wider audience. Arts and Crafts Movement designers and the Guilds were happy to provide for them. Into the centre of this expansion stepped Arthur Lasenby Liberty, a far-sighted and hard-headed businessman with a flair for sniffing out new artistic trends and capitalising upon them. By 1875 his emporium on London’s Regent Street was already brimming with Oriental metalwork and lacquer, exotic Eastern fabrics and “mediaeval” German pewterware.

He was certain he could do better by manufacturing and designing at home, and cast around for suitable designers. In his net he caught Archibald Knox, and a great partnership was born, albeit one rarely acknowledged publicly. Business was business for Liberty, and his designers were not expected to have a profile themselves. This, however, suited Knox – a man of extreme self-effacement and with a dislike of public attention. Knox was a Manxman, born in 1864. His life on the Isle of Man, a stronghold of Celtic lore, was to have the most profound effect on his life as a designer.

Time, an enemy for us all by Archibald Knox

As a child, and a budding artist, Archibald Knox was powerfully impressed by the illustrative aspect of Celtic culture: the fine carved stone crosses scattered over the island; the intricate “lacing” and colour of illuminated manuscripts such as Ireland’s ninth century Book of Kells; the entrelac sinuous twistings of ancient Celtic metalwork like the famous Tara Brooch and the Ardagh Chalice, viewed on visits to Dublin.

Rare Liberty & Co Pendant by Archibald Knox

He was a solitary boy, but made friends with an artistic circle of much older local painters. At Douglas Grammar School, he was introduced to archaeology and the study of earlier cultures. Picking up sea-tumbled semi-precious stones on local beaches – jasper, greenstone, coral – led to his later inspiration to set these simple stones into his silverwork.

Despite its small size, the Isle of Man was fortunate to have a vigorous and “venturesomely modern” Art School in Douglas. Archibald attended from 1878, when he was 14, until 1884. He specialised in the study of the “Design of Historic Ornament”, and passed with such distinction that he remained as an Art Master until 1888.

For the next 11 years, Knox occupied himself with illustrations for articles, many written by himself, which expanded knowledge of the Isle of Man’s history and its Celtic ornament. He sketched and painted watercolour landscapes prolifically, although these charming paintings were for his eyes only. In an interesting early collaboration, Knox worked with Baillie-Scott, an English designer recently moved to Douglas, who was to gain a reputation as a major arts and crafts architect and furniture designer. This contact linked Knox to a much wider exposure to European design and, perhaps as a direct result, in 1897 he accepted a teaching post at Redhill School of Art in Surrey, on the mainland.

In the same year that he moved from his island home, Knox also began designing for the Silver Studio, run by the young Rex Silver in Hammersmith, West London. From the Silver Studio, Knox’s first designs for Cymric silverware were sold to Liberty’s.

By 1900, Knox had become the principal designer for all of  Liberty’s “Celtic Revival” metalwork and jewellery ranges. The Cymric line was for silver, and the Tudric stamp was reserved for pewter pieces, but both metals were treated by Knox in a similar manner. His characteristic knotted, entrelac, soft-edged designs (often embellished with enamels or polished stones) became one of Liberty’s mainstays. The fluidity and daring of some of these marvellous objects produces a strong, almost visceral response. These are not designs of the intellect, despite their careful and controlled planning.

It is the soul which responds, recognising the fundamental connection with Nature potently expressed through Knox’s stylised designs. His pieces become instantly recognisable after only a short association.

By 1909 it seemed that the prevailing Liberty style was on the wane, since cheap copies by other firms were detracting from its initial impact. In any case, Knox was by this time teaching full-time at Kingston School of Art. He resigned abruptly in 1912 after criticism of his teaching methods. His life then became a rather sad series of displacements – from Philadelphia, to other parts of Pennsylvania, and to New York, searching for suitable employment and never really settling.

The years of the Great War saw him back in his beloved Isle of Man, working as a censor in an Alien Detention Centre. He returned to his old school in Douglas to teach in 1920. Painting and travel to Italy consumed his spare time until his sudden death in 1933 at the age of 69. His tombstone, naturally, is of his own design – a glorious interweaving of flowing lines around a Celtic cross in the cemetery at Braddon.

© Frances Laverack 1994 – 2012

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Since the beginning of civilization humans have sought to adorn and decorate themselves, and the Chinese were no exception. Inspired by the beauty and variety of the birds and animals around them they sought, from the very earliest times to emulate these seemingly perfect creatures by first adorning themselves with their pelts and plumes. Then with increasing sophistication to embellish the clothes and accessories they wore, finally establishing by the time of the Qing dynasty (1644-1911) a highly-stylised and visible social and political hierarchy. This was based upon their perception of the intrinsic characteristics of these creatures and famously epitomized by the bird and animal rank badges of that era.

Unsurprisingly perhaps, headgear and hairstyles evolved in the most spectacular manner, and the crests and head plumes of the birds the Chinese encountered provided inspiration over the centuries for an astonishing variety of hats, crowns, tiaras, hairstyles and hair ornaments. Drawn by their iridescent beauty, many races and peoples have used feathers as adornment or accessory, and the earliest humans, including the Chinese, probably initially sought to decorate themselves using entire feathers from the bird; we are all familiar with pictures of races right up until modern times such as the Papua New Guinean tribes, which continue to do so.

It is only the Chinese however who evolved beyond this to discover a way to incorporate the colour and sheen, which they so admired in the beautiful feathers, into something far more wearable, sophisticated and elegant (Hartman, R., 1980, p80). The most highly-prized of all as seen in the short poem above were the flashing iridescent turquoise and blue feathers of the little halcyon, or kingfisher bird, at that stage plentiful in China and in fact, in most of Asia. As can be deduced from the date of Ch’en Tzu-ang’s poem, the use of kingfisher feathers appears well-established at that stage and they were clearly already highly valued as much, if not more, than gold.

Excavations of T’ang dynasty (A.D. 618-906) tombs have revealed tiny kingfisher jewellery pieces, which were probably used more in the manner of gems or decorative items, and there are descriptions of a dying king from the Han dynasty (206 B.C.-A.D. 220) detailing his private chamber in which there were “kingfisher hangings on jasper hooks” and “bedspreads of kingfisher all seeded with pearls”(Hartman, R., 1980, p76), apparently from the manner of their description not necessarily unusual objects for the time.

Beverley Jackson in her extensive book on the subject of the use of kingfisher feathers recounts a marvelous episode where the indefatigable English author Oswald Sitwell is musing upon the glory that was Angkor Wat, and concludes, somewhat amazed, that such glories in a country with few resources such as ancient Cambodia must have been provided by one thing only – the enormous trade in kingfisher feathers for the insatiable Chinese market (Jackson, B., 2001, p5). This rather startling observation provides some insight into the ubiquity and popularity of the exquisite objects, and certainly no museum collection of Chinese dress is without at least one or two examples of this art

Indeed kingfisher feathers were employed with dazzling effect in a large variety of items for personal adornment including not only hair ornaments but crowns, wedding head-dresses, bracelets, nail guards, brooches, earrings, pendants and occasionally even larger objets d’art such as screens and tableaux. Although it is evident that kingfisher decorative items had existed for many centuries, they were at their most spectacular when used to decorate women’s hair ornaments, and this was an art form whose artistic culmination was reached in the Qing dynasty when the Manchus took control of Imperial power.

Although they sought to enforce Manchu customs and language from the beginning of their reign in 1644, by the time of the Qianlong Emperor (c 1736-95) the ruling Manchus were increasingly concerned that not only were the ethnic Han Chinese continuing with their own style of dress, they were also influencing Manchu style. Subsequently in 1759, the “Illustrated Precedents for the Ritual Paraphernalia of the Court” (Huangchao liqi tushi) was published, ostensibly in an effort to unify the country but in reality of course to control and impose their rule upon the Han(Garrett, V., p10). Under this system, clothing was divided into official and non-official wear, seasonal wear, styles, and colours, all based on rank. As women held no official role in the court (other than occasionally acting as regent, most notably the Empress Dowager Cixi) their rank was determined by their husband’s⁴.

Subsequently their dress, hairstyles and even their hair ornaments were very formalised so combined with the immense wealth and leisure time these women enjoyed, the art of dressing the hair and ornamenting the subsequent confection reached new heights – literally in the case of Manchu women, who sought to develop increasingly towering styles. Combined with her extra physical height, floor-length robes and 4-6” platform shoes, the Manchu court female was an imposing figure, and made the shorter-statured, bound-footed Han Chinese woman look girlish and doll-like by comparison(Johnson, B., 2001, p61).

Naturally in this era no woman of rank or wealth, Manchu or Han, did her own hair; in the case of the Manchu woman if a hat was not being worn for an official occasion, the preparations for this coiffure could take some hours, especially with the higher ranking princesses and empresses of the court(Princess Der Ling, 1911, p67). In order to keep the elaborate structure in place, a gel-like substance was used called pao bua, derived from soaking fine wood-shavings from a special tree in hot water until a sticky jelly was obtained. This was then combed through the hair which was then styled. In the case of Han women, unless their husband was a mandarin at the Imperial court this style would have simply been in the fashion of the day, often a simple coil or two braids at the nape of the neck; very few ornaments were used, often just fresh flowers or a couple of small pins.

In the case of Manchu women however it was a much more complex process and the gelled and combed hair was then wound around elaborate frames made of horsehair; according to the dictates of her rank a number of different types of styling followed, the best known of which is the liangpa tou “two handle ends” seen in many portraits of the day including the Empress Dowager. Against this towering backdrop (further augmented in the late Qing by a similar structure made of black satin), numerous beautiful objects such as sheng (combs), zan (hair slides), chai (hair pins) and buyao (hair ornaments) could be displayed, along with fresh and artificial flowers, pompoms and tassels (Garrett, V, 1997, p76, Hartman, R, 1980, p90, Jackson, B, 2001, pp61-63)

The hair ornaments themselves could be functional or decorative, serving to either help hold the hair in place in the case of the very large hair slide known as bianfang which essentially supported the two side buns and was often decorated on one side with a large hanging tassel which swung as the wearer walked, or in the case of smaller pins and ornaments be displayed entirely for their beauty and workmanship. The variety of materials used along with the kingfisher feathers included gold or silver (depending on wealth and rank), pearls, precious and semi-precious stones notably unfaceted rubies and sapphires, tourmalines and carnelians, the highly-valued Peking glass, coral, jade or jadeite, mother of pearl, and sometimes in the case of dangling hair ornaments (liusu) brass figures such as fish.

The ornaments themselves came in a huge variety of shapes including birds, animals, insects, flowers and other plant life including fruit and gourds, children or small figures, auspicious symbols including the shou “long life” and shuangxi “double happiness” symbols, shapes such as the Eight Precious Objects and even in the case of larger crowns and tiaras, small still life scenes depicting court life or famous scenes, however the most popular themes were butterflies, bats, dragonflies, grasshoppers, fish and gourds(Garrett, V, p19-35, Hartman, R, 1980, pp76-80, Jackson, B, 2001, p97) The reason for these choices was several-fold, for apart from their intrinsic charm and beauty these motifs held another type of significance. The Chinese language is rich with homophones, words that sound like one another but have different meanings, with the result that saying one thing can evoke something entirely different, sometimes humorous or for the superstitious Chinese, auspicious.

Well-known examples of this include “happiness” fu and “bat” bianfu, “prosperity” yu and “fish” yu, or interesting combinations such as “butterfly” and “gourd” guadie mianmian creating a rebus meaning “offspring for eternity”. Other motifs had their own inherent meanings, such as peaches and pomegranates (fertility), paired ducks (marital happiness) cranes (immortality) and lingzhi mushrooms (longevity). Because of this there resulted a strong visual vocabulary, almost a type of ‘visual shorthand’, so that the use of certain animals, insects or symbols would result in a piece that was not only able to be admired for its exquisite workmanship, but also had great meaning for the wearer and all those around her and usually connoted her wish for a happy and fulfilled life, preferably with many sons (Hartman, R, 1980, pp76-80).

It can be understood in the light of this that the Chinese of this era wore jewellery for different reasons to us today, usually more for aesthetic reasons or the enjoyment of the wearer, or as a practical means of storing their assets, rather than actually showing off wealth. In addition, the choice of background metal was again stipulated by formal decree, and gold was generally only permitted for ornaments for the ladies of the Imperial court or the very wealthy.

Whatever the metal it was wrought into an astonishing variety of shapes, often three-dimensional, and was frequently worked as filigree; quite frequently design elements such as stems, branches and leaves were fashioned with a springy copper ball so that they trembled when the wearer moved or walked, adding to the charm and beauty of the final picture(Jackson, B, 2001, p85).

While it is certainly acknowledged that the art of working with kingfisher feathers is one of China’s traditional handcrafts (Yuan, H, 2006, p97), the actual construction of the pieces themselves has been the subject of some conjecture. What is known is that thin sheets of gold or silver were formed into the desired shape with the appropriate ridges in the design being fashioned with a tiny hammer and a surrounding lip then being attached, much in the fashion of cloisonné(Hartmann, R, 1980, p76). The pieces of feather were then painstakingly laid in place and then affixed with adhesive or glue.

The method of fixation may have been variable depending on the way the piece was constructed and has been variously describedas eithercovering the entire finished product with a glue-like substance(Jackson, B, 2001, p53-54) or affixing each piece individually, as in a fascinating eye-witness account of the timedescribing how individual feather filaments were dredged through the glue before being laid flat upon the metal surface(Jackson, B, 2001, p50) What is agreed upon is that the glue must be invisible, and not discolour the feathers at all.

The exact composition of this glue is not precisely known although it was most likely a combination of adhesives derived from both animal (hide) and plant (seaweed) sourceswhich would have been plentiful and readily available at the time. The feathers themselves also appear to have been used in a couple of different ways to create the jewellery. One technique, by far the slowest and most painstaking and most likely that used for the Court jewellery, involved the method described above whereby individual feather filaments were laboriously attached side by side until the piece was covered and a solid lacquer-like effect was achieved.

Alternately and possibly as demand for these objects grew, a different and no doubt slightly more efficient technique was employed with larger sections of actual feather being attached. This may also have been used for larger pieces. What is certain is that with the inevitable intermingling of the ruling Manchus and the Han Chinese women, demand for these pieces grew as every women in China wanted one of these covetable and fashionable items. In addition the increasing influx of Western visitors combined with the aesthetic of the Art Nouveau movement in Europe made these pieces desirous beyond Chinese shores, and demand eventually outstripped supply with the eventual hunting to extinction of the little kingfisher bird in China.

Fashions then changed and with the advent of the sweeping social changes that were to befall China, this art, like so many others, was lost. The last factory producing these items commercially closed in Canton in 1930(Hartman, R, 1980, p78), and although reproduction items are still produced in China and the Philippines today, the items are generally inferior and do not use genuine kingfisher feathersbut rather dyed feathers from other birds(Jackson, B, 2001, p53).

What is so remarkable then is that the appreciation of, and delight in these beautiful little objects endures in both China and the West, and even in such a changed world as ours the fact that we can still admire and desire these little gems, and the very fact that so many pieces of this extraordinary art form still survive today is a tribute to both the skill of the artisans and the timeless beauty of the pieces themselves.

Guest Author: © Dr Sheena Burnell Shanghai 2009 – 2012 **Ch’en Tzu-ang (661-702) Translation by Paul W. Kroll

Dr Sheena Burnell is an anaesthetist currently living in the East. She began collecting Chinese objet d’art and Japanese ukiyoe (wood block prints) in the 1980s. Her shift in focus to Chinese dress accessories dates from her first visits to Hong Kong in the early ‘90s. This led to an expanding interest in women’s and children’s dress accessories in general and more recently kingfisher hair ornaments. Sheena appeared on the Australian ABC program ‘Collectors’ in 2007, with her collection of bound feet shoes and related objects.

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2. Chinese Ceramics – ‘Knowledge Comes from Seeing Much’
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New Style Steel Casements Crosby Street Hotel - photo by Suzanne deChillo

Windows are not something we really think about on a daily basis. They are just there and we take them for granted. They let the light in, reveal the sun shining, reflect relentless rain when it is falling and the ever changing colour of the sky as well as the multitude of events continually happening on the street or the water outside. Evolving from a slit in the wall of a formidable defensive stone Keep to shoot arrows at enemies, ‘wind eyes’ as they were known in ancient times, have evolved through a series of interesting varieties to offering us an eye to the whole world within our vision, and all that lies beyond.

It was with interest that I read an article in the New York Times claiming that casement windows have now become a classic. And, that they are being installed in many new and renovated New York apartments as part of a contemporary architectural revival, which pays tribute to pre-war World War II buildings. NYTimes journalist Jonathan Vatner reported ‘that it was mostly down to one guy, Cary Tamarkin an architect and developer sometimes referred to as “the window guy,” because of use of distinctive casement windows in the apartments he develops’.

Although typically more expensive than conventional windows Tamarkin also said casement windows are ‘rooted in traditions of authenticity.’, which is a most intriguing statement or is it simply spin? It seems most of the window guy’s projects are in neighborhoods filled with warehouse buildings, that he converts into apartments and sells for over two million a pop so that people can “live comfortably amid their settings.” We all have choice and if what he is providing fits your dream and needs then it is certainly about the art of fine living. The fact remains however it happens, or why, the fact that someone is bravely reverting to quality opening windows must surely be good news. And if they are casements, then they are an attractive option.

Typical early English Tudor casement windows - great handmade red brickwork too

Casements are a window that allows the flow of air to be regulated easily and are a very pleasing feature, if well made. Casement windows that opened out were the norm in Europe and England for centuries, that is until the up and down style of sash window was invented around 1670.

They usually contained leaded glass in small panes at first, which became larger as time went on and glass making techniques allowed for larger panes to be produced. They were more usually hinged on the side, and opened inward allowing the occupant an uninterrupted view of the world.  The windows were also covered by functional exterior shutters, which opened outward.

This productive pair was a winning combination for centuries allowing air to circulate easily while keeping the heat of the sun out on a stinking hot day.  Casement windows made a come back in the late 20′s and 30′s in Art Deco pleasure palaces and skyscrapers but then they went out of contention following World War II with the re-emergence of the sash and all new fixed ‘picture’ (plate glass) windows.

Just the fact they are putting windows that open into any new multi storied building structure again anywhere must be a plus. For those living in apartments, or working in buildings where windows are fixed and rely only on air conditioning, it must be a liberating thought. I don’t know personally how they stand it.

French style casements and window boxes in Bleecker Street at New York where they have traditional curved 'stone headers'. Photo by Benjamin Norman

Sleeping or living with fresh air circulating for me is an absolute, but then here in Australia we are blessed with a good quality of air, even in out largest cities, which many other countries of the world don’t enjoy. And, for that we should always give thanks.

If we are to cut down on our use of energy so that it is effectual, in terms of the environment, then surely windows that open, like casement windows, must come back into contention with contemporary developers and fixed windows and air conditioners phased out.

Sara Lopergolo, a partner at Selldorf Architects in New York remarked to Vatner  at the New York Times ‘that the casement window was of interest today because “it breaks down the scale of a window opening. It frames views.” “It has a resonance with people, a character that people retain as something that belongs to an old world,”

Architects need to take responsibility by considering the way a view faces, the trajectory of the sun, winter and summer, as well as study the prevailing winds a little more before they make a decision on what windows to include in any buildings, not just high rise. There are many gurus of design blithely guiding all our futures so we must not be complacent but vigilant and, give them hell if they stuff up.

Stegbar Casement Windows Australia

Part of the reason for the resurgence that has made casements a classic (of acknowledged excellence) is obviously a romantic view, as well as the fact that once again in the last five years especially, window technology has improved yet again and, significantly.

Quality steel casements are now being manufactured with the label ‘energy efficient’, which means they stand up to rigorous tests relating to building codes.

New French style casements, that were historically wooden,  grace a building in Bleecker Street, New York and are made from quality steel. The design origins of the building are based in European classical architecture and so the casement windows suit it well architecturally, with its detailed curved stone headers, deep overhanging classical cornice and, the French essential projecting attic rooms.

But manufactures warn windows are complicated devices, made ever the more complicated by the fact recommended window types vary by climate.

Prior to ordering any sort of window, a classic or otherwise, you need to inform yourself about what kind of window is right for both your climate and your needs. It is no use having a fashionable French number that you cannot open simply because it faces the way gale force winds blow in your part of the world.

Claude Monet's Window at Giverny, courtesy Elizabeth Murray

If they face the more gentle breezes and the ideal north east in the southern hemisphere and south west in the northern, then a casement window, which goes from ceiling to floor, that is hinged on the outside, has no center mullion and when open allows an unobstructed view is certainly a very attractive option. Especially when you can open them up and easily attend to your herbs planted in a window box outside.

Casements + fresh herbs + French cuisine will obviously improve quality of life.

Carolyn McDowall, The Culture Concept Circle 2010 – 2012

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Roman fresco with banquet scene from the Casa dei Casti Amanti (IX 12, 6-8) in Pompeii

In western society we are inheritors of a legacy from Ancient Greece and Rome that despite the passing of over 2500 years is still potent. Through their ideas the desire to capture the essence of fine living was born. Today that art of living has evolved since the development of the domus in European antiquity to a residence in America and Australia, through a diverse and special mix of peoples and their cultures.

Ancient Greek gastronomy developed out of a practice of sacrificing domestic animals to a variety of gods. Afterwards, as one would expect in a democracy, the carcasses were equally proportioned and sold at market. During the fifth century before the Christ event herbs, spices and honey were added to heighten taste.

As documented in the literature of this period, cookery was considered a very important skill, because the Greeks understood it to be one of the basic arts that sustained human life. Romans of the first century embraced Greek ideas and art forms with great passion. Roman orator Cicero [106 BC -43 BC] believed that ‘to style the presence of guests at a dinner table’ lay at the heart of Roman civilised life ‘because it implied a community of enjoyment, a convivium, or ‘living together’.

Reconstruction of the Octagonal Room - Emperor Nero's Domus Aurea

Following the decline of the Republic and ascent of the Empirical system at Rome a shared meal became a vehicle for display, ostentation, rank, hierarchy and for flattering and influencing people, in a setting they could exercise the art of conversation. Roman Emperor Nero (37-68) enjoyed fine living with great gusto. When he entered his just completed residence, the Domus Aurea (or Golden House, built in 64 AD, he is said to have proclaimed, as he gazed upon its many splendours, words to the effect, ‘now at last I can live as a human being’.

Author of a first century best seller Satyricon, Gaius Petronius (27-66 A.D.), was Nero’s advisor in all matters of luxury and extravagance (his unofficial title was arbiter elegantia). He described guests arriving at a banquet as being requested to remove their shoes at the door, have their hands washed in iced water, no mean feat prior to refrigeration, while their toenails were trimmed to the sounds of a chorus singing. Perhaps today we may consider the last just a little excessive.

We do know that Nero’s guests reclined, along with their host, on couches enjoying conversation and cuisine prepared by chefs, who achieved some fame. His vast banqueting hall revolved in harmony with the rhythms of day and night, the ceiling opening to reveal the heavens as perfume and gifts showered onto guests.

The advent of Christianity created a challenge for those at the top because by now there was a well-established tradition of fine living throughout the Roman world.

The Apostle Paul struggled to attend gatherings where rich men and their friends were served different food and drink to those of a ‘lower status’. It was a dilemma he felt he could not resolve so in the end he decided the wealthy had better eat privately.

Paul advised the Corinthians [1 Corinthians 8: 9, 10] when asked should they eat meat sacrificed to idols by suggesting they should be careful about exercising freedom of choice in case it became a ‘stumbling block to the weak’. And, that if what he ate caused his brothers to fall into sin then for his part, he would never eat meat again. Powerful words with a meditative deep inner meaning that reflect Paul’s strength of mind and purpose.

There is a huge gap of reliable documentation from the fall of the Roman Empire in the fourth century, when the demise of eating in a reclining position also came about, until about the fourteenth century in Europe. Communal living by Christian monks and nuns meant communal eating, often to strict rules of silence, with an aim of feeding the soul.

Prolonged periods of peace also meant the aristocracy gentry and merchants could establish great houses in the countryside and along with it invented the concept of ‘eating outdoors’ or, having picnics, which became something new and exciting as described by fourteenth century French nobleman Gaston Phoebus Gaston III of Foix and Gaston X of Béarn (1343-1391).

He summarized his life’s achievements: “I have delighted all my days in three things. The one is arms, the next is love, and the other is hunting.” He added, “There have been far better masters of the two former than I am.” Such humility, is definitely to be applauded.

For Kings and noblemen of the fourteenth century hunting was so much more than just a sport. It was a game of chance in which the thrill of the chase was far more important than the desire to put food on the table.

An artful aristocratic diversion, the hunt ended with man proving he held power and sway over the animal kingdom. A complex event involving strategizing for success with highly valued, well trained dogs and fighting fit falcons hunts were often held on religious days.

They started with a feast for breakfast, as well as an analysis of the droppings of the potential prey to ensure it was both fit and worthy to be hunted at all. Then the hunt was on. The glorious day ended with everyone joining together in a celebratory meal and fittingly Phoebus himself died, as he should, during a bear hunt.

Fifteenth century Florentine author and philosopher Marsilio Ficino 1433 – 1499 revealed his thoughts about a meal that it ‘embraces all the parts of man, for it restores the limbs, renews the humours, revives the mind, refreshes the senses and sustains and sharpens reason’.

Throughout the fifteenth century in Italy dining at table was strongly symbolic of a good society one in which strong social relationships were forged, ideas exchanged and mutual respect established.

In England by the sixteenth century the head of a powerful household sat at the head of his table facing a fanciful portal crowned with trumpeters who heralded the exact moment the food, led by the marshal of the hall carrying a white staff appeared.

At the grandest banquets, a household officer on horseback emerged from underneath a screen that protected guests from draughts from the doorway and rode into the hall to announce that dinner was served. What fun.

At Hatfield House, home of the famous Cecil family, the ornately carved screen was crowned with the Cecil crest and family motto Sero Sed Serio “late, but in earnest’, surely one of the best mottos of all time.

Its painted decoration and a great panoply of decorative devices had been plundered from Turkish rugs and old Medieval manuscripts imposing a visual richness.

If a house during the Tudor period in England, included a Long Gallery hung with portraits of the family, famous patrons or friends it was the mark of a settled and civilized house; an Elizabethan magnate could contemplate their character or otherwise be inspired by their virtues. Owning such a house became important to practicing the art of fine living.

By the beginning of the seventeenth century the French court changed its philosophy from an ideal based on chivalry to one of refined manners.

The most influential teacher of architects in France during this period was Germain Boffrand. He revealed ‘the character of the master of a house…can be judged by the manner in which it is arranged, decorated and furnished’.

By now the art of fine living embraced a well-planned sophisticated garden as well. At Vaux le Vicomte Louis La Vau 1612-70 [architecture] Charles Le Brun 1619-90 [interiors] and Andre Le Notre 1613-1700 [gardens] spent five years building a chateau designed by the three for the glory of one, their patron and illustrious client the Minister for Finances, Nicolas Foucquet. It is at his Chateau, Vaux le Vicomte, that the French classical style was born.

Le Vau, Le Brun and Le Notre created this extraordinary ‘palace of the sun’ as described by the ancient Latin poet, Ovid for his patron, Apollo, The Sun King.

Here at last was the perfect place for a man of substance and his family to dwell; large, imposing, but not huge; with painted wood panelling, colourful carpets, painted illusionary ceilings, carved and gilded furniture, fabulous ceramics, superb textiles all made for the most splendid of man-made environments.  I know that when I visited to view its splendours I could have easily moved straight in. It was not over ambitious, but comfortable, cleverly disposed and in keeping with its times.

At Vaux le Vicomte Foucquet practiced the art of fine living well, eating his meat from a service that included a new fancy fangled invention called the fork, without fearing the accusation of depravity still associated with that practice only a few years earlier.

The publisher Charles de Sercy described Vaux’s gardens in 1652 as the place where ‘Foucquet made art and nature engage in a pleasant contest’. The genius of Le Notre lay not only in his invention of a new style, but in his absolute mastery of a repertoire widely used, at least in its many parts.

It was bringing them together in a controlled harmonious form that was not only pleasing but also a perfect place in which to practice the art of seduction.

Vaux was built for the enjoyment of the countryside while not giving up the pleasures of the city…something England did not emulate at this time as they concentrated on building country houses for sport and display, rather than as a place to practice the art of conversation.

The Baroque style from Vaux le Vicomte became a potent force that influenced the whole of the western world when guided by Louis XIV, he began expanding his father’s hunting lodge nearby the village of Versailles using the combined talents of Le Vau, Le Brun and Le Notre.

The Kings of France lived in the chateau of Versailles, which became a centre for political life from 1682 until 1789. It is today an amazing place to visit with its some 2,300 rooms and over 60 staircases. In its day it cost the equivalent price of what we would pay now for a modern city airport. It was an object of universal admiration in its time, enhancing French prestige on the world stage.

France’s appearance and way of life changed forever during the reign of Louis XIV the Sun King. Many great towns throughout France underwent metamorphosis and the landscape altered forever as Louis XIV devoted himself energetically to all his building projects. Today little remains of his other splendid palaces at Saint-Germain and Marly?

Well cursed as an extravagance when it was under construction, and accused of having ruined the nation at the time of the revolution, the chateau at Versailles stands today as a monument to French achievement and the many milestones reached in its historical and cultural journey.

Over the years since it was finished the Hall of Mirrors at Versailles has reflected many great moments in the history of the world. At the time Colbert, Louis’ 1^st Minister and master of ceremonies used it to launch the Royal Mirror Company. Its success gave considerable momentum to the glazing industry in France and increasingly the public became aware of the decor possibilities of a mirror. They enhanced the art of living well.

Despite all of the work Louis was to complete at Versailles it was always called le Chateau, (which means Gentleman’s seat) never le Palais, remaining the home of a young man, grand without being pompous, full of light, air and cheerfulness just like a large country house.

According to the Oxford Dictionary the term enlightenment means to be free of prejudice, ignorance or superstition. Grand Tourists of the eighteenth and nineteenth centuries in Europe were busy discovering the ruins at Rome and an expansion of knowledge revealed that ancient artists and writers had been accustomed to free expression, with religion and honour paramount to society’s daily existence.

This revelation affected the social and moral values of many European societies who were travelling in ever increasing circles in ‘search of the truth’. They began striving for aesthetic perfection wanting to emulate a new ideal; classical perfection.

As a result small temples in a landscape became focal points for those wanting a place of ease and repose.

By the turn of the nineteenth interiors as described by Jane Austen in her novels, presented an image of a sublime world. China, glassware and silverware displayed the family coat of arms proving to those who sat at table with you that your lineage was not only important, but also could be traced to ancient (the inference was more important) times.

Simple white starched linens with drawn thread work were surmounted by elegant vases made of glass, filled with fresh flowers picked from the garden loosely, but consciously arranged and placed on great tables. These were made from the new rage timber, mahogany with their elegantly fluted legs inspired by the columns from a Greek classical temple.

Women’s dresses emulated Greek statuary although some, endeavouring to appear like the goddesses on Greek temples by wetting their dresses, succumbed to pneumonia… because by now death was preferable to not being seen as part of a fashionable scene involved in the art of fine living.

William Morris (1834-1896) self-professed leader of the modern movement said ‘If I were asked to say what is at once the most important product of Art, and the thing most to be longed for, I should answer, a beautiful House’.

Building a house in the country made to appear as old and as venerable as the countryside itself, was what everyone was striving for. If you couldn’t build one you clamoured to be acquainted with those who owned a wonderful old pile. The aim was to affect an invitation to join a country house weekend where the art of pleasure was a very serious business and the art of fine living practiced with confidence and style.

‘Life without industry is guilt, and industry without art is brutality’ said English author and art critic John Ruskin 1819 – 1900. He resented social injustice and the squalor that was a direct result of the ‘greed is good’ mentality that accompanied the unbridled capitalism of the Industrial Revolution. His influence on the next generation of artists and craftsmen who led the way toward establishing Le Style Moderne was to be profound.

The agricultural depression of the late nineteenth century removed land as the chief source of wealth in England and by 1901 the money to pay for a country house had to be made in urban centres of trade or, somewhere else in the Empire, like Australia, where the English style and way of life had been transported. World War 1 marked a great divide in the age of the moderns bringing artists face to face with an alternative; either a clean sweep or hope of a reformed society, or alternatively the retention of a privileged art in the service of an elite and moneyed class.

After WWII a focus on art and design coming together again was rejuvenated. At Sydney, the unofficial capital of Australia, a quiet revolution in the art of living well has meant that its interior designers have finally come into their own. Stunning textiles instead of paintings are appearing on the very best walls. Smart eye-catching antique carpets are teaming brilliantly with wide plank nailed timber floors.

Despite the GFC, storm and tempest, floods and fire most owners remain optimistic. Good old Petronius, with his eye for detail and best in life, would have loved the whole concept of a one stop shop and having access to a fabulous design resource like Residence Australia.

During the last decade those who have set the scene for an art of fine living have reinterpreted late nineteenth century European Modernism with great enthusiasm, making it appear all brand new.

Great interiors today are innovative, convenient, comfortable, aesthetically pleasing, technology savvy and above all energy efficient. Sustainability, recycling and quiet elegance have become hallmarks of an interior that will both inspire and nurture its occupants, so that they can enjoy an art of living well.

Carolyn McDowall, ©The Culture Concept Circle 2011, 2012

*Quote by Aristotle (384 – 322 BC)

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Dimity Hodge, Head of Women in Leadership at Westpac said recently “Jo is not only the fashion elixir – she is an elixir of life. She is like a breath of fresh air guiding us all in fashion and style. Her passion is contagious – she wants us all to feel and look the best we can. She is stylish and creative and she just knows what works – for everyone and every body. She’s the best!” Dimity says

Jo Bayley is a Sydney girl, born and bred and we first met when she was in her early teens. With a keen eye for fashion from a young age, Jo could be found making clothes for her dolls in every spare moment. She began hairdressing at that time, developing her career in this field now spanning 25 years.

Travelling through Europe extensively has ignited the passion for fashion, style and exotic locations, and she particularly enjoyed working with menswear at London in the late 90′s. Jo also devotes much time and energy to volunteering for Look Good Feel Better, which is a social profit institution that runs workshops in hospitals nationwide. Look Good Feel Better helps women going through cancer treatment to learn about skin care, makeup, and how to best use hats, scarves and wigs.

Jo believes fashion can be the elixir we all need to take the boredom out of everyday life. And anyone can be fabulous armed with the right tools (shoes, hot dress and iconic handbag!)

Jo will be providing tantalizing tales of style, travel and fashion, here in Australia, and the rest of the globe. She says ‘Life would be so boring without a bit of escapism. Lusting over the perfect shoe, an idyllic island holiday or, that fabulous little black dress can make the day seem so much brighter’. It’s good to have her on board. I am sure that like me, you will look forward to her many musings.

Carolyn McDowall, The Culture Concept Circle 2012

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Gustave Klimt, leading artist of the Vienna Secession - Judith 1901 Oil on Canvas

The industrial revolution of the nineteenth century as it progressed rapidly changed the face of the western world. By the beginning of the twentieth century in Europe, England and America immense wealth generated a youthful society, one who had very different priorities and objectives than their parents or grandparents. They were clamouring for the best that life could offer. Their aspirations and expectations were different, their views less dogmatic, manners much smoother, prose lighter and morals and codes of conduct easier. At the time England was indisputably the greatest and richest nation in the world with no rivals seriously threatening its trade and industry. The upper and middle classes were enjoying supremacy.

Life without industry is guilt, and industry without art is brutality author and art critic John Ruskin 1819 – 1900 declared. A moral guide or prophet, if you like during the latter years of the nineteenth century in England Ruskin resented social injustice and the squalor that was a direct result of the ‘greed is good’ mentality that accompanied the unbridled capitalism brought about by the Industrial Revolution. His influence was profound on his both his contemporary colleagues and the next generation of artists and craftsmen. They would lead the way towards establishing Le Style Moderne.

Window from Hill House by Charles Rennie Mackintosh

Vienna’s art world in the latter years of the nineteenth century, finally accepted the leadership role of the United Kingdom. in the world of innovation and design. Arts and Crafts leader William Morris and Scottish creative Charles Rennie Mackintosh fought to combat goods produced by machines by championing hand manufacturing. Charles Rennie Mackintosh cultivated a rigorous formal economy of design, which appealed to members of the newly established Viennese Secession.

They were a group of primarily young artists, painters, sculptors and architects in Vienna who seceded from the prestigious Kunsterhaus (Artists House) to set up a Society of Austrian Artists – the Vienna Secession. in I897. It included painted and illustrator Gustav Klimt. His brilliant individualism would dominate the era and his paintings set a stylistic tone that would resonate in far off places. His paintings lining the grand ascending staircase of Vienna’s Kunsthistorisches Museum reveal his movement towardthe hallmarks of a style that would become known as Art Nouveau.

The Secession staged their first exhibition in March 1898. Their aims were purely aesthetic and founded in Coffeehouse culture and the decorative arts magazine The Studio, which was devoured in all the capital’s stylish cafes.

Detail of the Secession building in Vienna, constructed by Joseph Maria Olbrich. It is one of the best known examples of Secessionist style of modern architecture.

Members of the Secession Otto Wagner, Josef Hoffman and Josef Maria Olbrich were so impressed by Charles Rennie Mackintosh’s austere aesthetic they invited him to come to Vienna and exhibit at the eighth Vienna Secession exhibition, which he did to critical acclaim.  Secession artists by their very nature were all fierce individuals striving to create a new style, one that would inform and help to imagine the future.

Vienna was struggling to leave behind its reputation for conservatism and the impact of the repressive political climate of their immediate past. Its citizens eagerly sought to embrace contemporary ideas and change under the influence and leadership of its artists, intellectuals and scientists.

Josef Hoffman in 1905-11 designed the Palais Stoclet in Brussels for Belgian industrialist Alfred Stoclet. It was a Villa built for a private financier who ‘wanted a large house, he loved the arts and gave us an entirely free hand’ said Hoffman.

It has been described as a universal, complete, flawless masterpiece of a thousand years of architectural history.

Gustav Klimt and Josef Hoffman combine to produce the design and style of the Palais Stoclet's Dining Room

Modernism demanded a distinction between interior architecture and decoration and a preference for open planned living.

Modernist interiors were meant to be devoid of applied decoration. They seek to concentrate solely on geometry, uninterrupted lines and form.

At the Villa Stoclet the Dining Room contained murals by Gustav Klimt and furniture by Josef Hoffman. Harmony governed every facet of this total work of art and it became the extreme statement of Viennese avant-garde design.

It was ambitious, an accomplished achievement of the Wiener Werkstatte, (Vienna Workshops) founded by Hoffman in 1903. A strange astonishing edifice it might have come from another planet, it was in fact transposed far from the city of its conception to a setting, which is still alien to it. It exemplified in embryo the major features of the coming Art Deco movement of which it was one of the great founding monuments.

During the late nineteenth and early twentieth century rivals America, Germany and Japan threatened Britain’s manufacturing power. At home industrial unrest, growing feminist and socialist movements were part of a general, and protracted crisis. The population of the United Kingdom was 41.5 million in 1901, twenty percent living in poverty. Emmelline Pankhurst founded the Women’s Social and Political Union in 1903 and it gained an international focus for militant action in the campaign for women’s suffrage. In Britain the Children’s Act of 1904 finally banned employment of children between nine at night and six in the morning.

A most profound influence in the UK and in America would be that of the long established system of French education in design and architecture at the Ecole des Beaux Arts at Paris. Its style of education was introduced into Britain amid scepticism, resentment and open hostility early in the twentieth century. Rejected previously, the Ecole’s approach to architecture laid heavy emphasis on distinct, formalized planning.

This is a school of design education founded that had no parallel in any other European country. It aimed at being and became a centre for intellectual debate about architecture during the eighteenth and nineteenth century. Its teaching program was conceived as a preparation for the design of public buildings.

Tutors taught architects to work up their designs through a series of project stages. They employed the classical orders in the required ‘correct proportions’, but only once the plan was fully developed. The aim of every student was to win the prestigious Grand Prix de Rome established by Napoleon through the Academie des Beaux Arts, so they could spend a year studying in that city.

In England the Ritz Hotel on Picadilly is in the ‘Beaux Arts’ style. In America, the Biltmore Estate (pictured) was designed by the first American educated at the Ecole des Beaux-Arts at Paris, Richard Morris Hunt. His ‘French Chateau’ style house for George Washington Vanderbilt II, ate up much of the family fortune, installing such new innovations as electricity, which at the time was not even in the area.

The population of Britain in 1800 was 10 million. In 1881 it was 31 million and by 1911 there would be 11 million more to house, and the resultant prosperity was enjoyed most of all by the affluent middle classes. Within the years from 1895 to 1906 more buildings were built than ever before in Britain’s history. Speculative developers, who employed both run of the mill, designed houses, hotels, offices and factories and talented architects in an attempt to invent a new sought after British style. They were the ones who held sway.

Idealists such as William Morris in the latter part of the nineteenth century had championed good design for the poor and had been overwhelmed by the fact it was only those of affluence who could afford to buy what he had to offer. Would that he was in Inala at Brisbane in 2002, to see part of his vision achieved in the revamping of 50′s housing commission bungalows.

The King Edward VII Galleries at the British Museum are the most elegant of all the Beaux Arts influenced Edwardian classical buildings at London. They won a knighthood for their architect Webb J.J. Burnet. While great public buildings were passing through the decade of the High Baroque the Neo Georgian style in architecture was also being revived heavily in the suburbs.

This was a decade where the expansionist and imperialist features of the previous century were displayed to excess, one in which the political tensions and economic frailties of the present century before World War I became apparent. Radical change was required.

Spanish draughtsman, painter and sculptor Pablo Picasso (1881-1973) was a dominating figure of early twentieth century French art. He, with French painter Georges Braque (1882-1963) founded classical Cubism. Braque working with Picasso from 1908 to 1914 to explore cubism thorough its various phases. When their association ended Picasso designed costume and sets for Diaghilev’s Ballet Russes. He was above all an innovator.

His portrait of Olga avoided illusionist realism, which he achieved by flattening the figure against its background. Picasso’s first wife Olga Stepanovna Khokhlova was a Ukrainian-Russian dancer.

She is one of the many women who shed their restricting corsets, cut their hair, raised their hemlines and set out to find what feminine freedom and being modern was all about following World War I.

World War One marked the great divide in the age of the moderns. The upheaval of war brought artists face to face with an alternative, either a clean sweep or hope of a reformed society, or alternatively the retention of a privileged art in the service of an elite and moneyed class. The streamlined success of the style Art Deco would be one answer, at least until World War Two, which would change the face of the world forever.

At London in the year of the second Olympic Games held in England the Victoria & Albert Museum, undoubtedly the world’s greatest museum of art and design, is hosting an important exhibition that encompasses the period between the first ‘austerity’ games held in London in 1948 and the games of the all new austerity age in 2012.

Innovation in the Modern Age (31st March – 12th August 2012) will explore British design in the interim and the tension in England between tradition and modernity, conservatism and contemporary design and the economic, political and cultural forces that have shaped its evolution.

Vienna also has many plans for 2012, namely to inspire its guests from all over the world with harmonious diversity.

They have announced 2012 is their Gustav Klimt year and there are two exhibitions of his works opening in February.

Klimt´s key paintings will set the stylistic tone for his world-famous work from about 1900 onwards. They are at the center of a show “Gustav Klimt at the Kunsthistorisches Museum“.

“Klimt: Up Close and Personal. Images, Letters, Insights” at the Leopold Museum will focus on the artist´s numerous travels as well as the the fact that he incorporated his impressions and observations during his travels into his paintings.

The styles that made up the Modern Movement are known as:
Arts and Crafts 1875-1915
Art Nouveau (1880-1910)
Wiener Werkstatte (1903-1933) and Bauhaus (1919-1933)
Art Deco (1920-1940)

Carolyn McDowall, The Culture Concept Circle 2012

NB: The dates are but a guide as all styles, as they rise and fall, overlap each other.

Related posts:

1. The Power of Art and Design in the Modern Age at Vienna
2. EVOLUTION OF ART, DESIGN & STYLE
   Course Outline
3. Archibald Knox, Liberty of London and Modernism

Modern manners, codes of behaviour, decorum and rules of etiquette matter in every culture and society – they illuminate and respect the human experience. Observing manners when out and about in society is ‘cool’, even in a casual setting. It is all about established conventions of morality and about developing, and being sensitive to, a fine sense of decorum. Whether you agree or not the guidelines are there. They have been honed over a very long period of time as society has met morphed from being bullying brash, uncouth and uncaring to being bold, beautiful, courteous and concerned.

A common concern in the past and present is avoiding the embarrassment of social stigma. Obsessions about how we look, what we weigh, what we eat, what we are wearing, what others are wearing, how our hair is arranged, what restaurant we eat at and the modes of transport we choose would suggest that we have, as yet, not been released from such burdensome worries. The tradition of honouring and respecting others socially, or culturally, is a matter of good form. While not immediately obvious, there are many forms manners take and simple ways of offering respect to each other; most especially to those younger or older than us. Etiquette implies an observance of formal requirements governing many types of behaviour in all societies and all cultures. Considering others should be simple, right and proper behaviour in any society, and under all circumstances.

Many people are asking what has happened in the last decade or so to good sense and courtesy? Why is it that so many people seem to flounder about offering continual offense to others? Why is it that some parents and teachers are not reinforcing good behaviour patterns in their children that make life pleasant for all?

One thing I do know is that if children haven’t learned the common courtesies of life prior to becoming a teenager, then it becomes increasingly difficult for them to acquire them as they grow older. They need to learn how to be in-society, because it is important for their success and happiness throughout their life.

How we conduct ourselves in any arena should align. Hiding false behaviour behind a veneer of ‘being professional’ is never acceptable. What and who you are at home, in the workplace or when you are out and about should be seamless and naturally effortless, because it is an aspect of who you are. And that is as true for an executive as it is for a tradesman, a man in a mine a woman in a dress shop. It is about respect of self – codes of behaviour and manners matter.

It is good to see that so many sporting bodies are fiercely maintaining and reinforcing young players respect for each other. It helps children to learn how to accept difference. Organized sport provides valuable team building experiences, that are important for any child as it means considering and respecting others and their point of view.

Reinforcing Codes of Best Practice in Youth Sport is very important

By value adding manners into the milieu such as remembering simply to say please or thank you, to stand on public transport for someone older or in more need than you and yes, even opening the door for someone else. Whether it is a man or a woman who performs this simple task is all about courtesy, and nothing to do with gender issues.

A habit that offends many in public is when people yawn or sneeze all over everyone else without covering their mouth. This reflects their blatant disregard for others but most especially, it is about halting the spread of airborne diseases.

Picking your nose, spitting, urinating or farting in public, or being crass and coarse when you are out and about is always ugly. There is no two ways about it. This might sound ‘nit picking’, which is another practice among humans that was outlawed eons ago, and in many ways it is. But underpinning the details add up to society being in harmony.

Then there is acceptable etiquette designed for contemporary use, such as that surrounding mobile phone use, which is still in its evolving process.  Technology has produced many tools for making our professional and personal lives easier, but they are just that tools that we can and should control.

Breaking societies rules can command respect, but only if there is a genuine belief you are doing the right thing and not offending others. Having a mobile phone go off in the middle of a funeral service, under any conditions is quite simply inexcusable.

Society is not easy today because there are more and more people on the planet. Considering others has become a reality part of the here and now, as well as the future. For those unsure of what the rules are it can seem daunting. The higher up the scale you go too they often seem to be part of a secret code understood by only a select few.

This is in many respects true. As leaders in society move in ever-ascending spirals up the ladder of success they constantly re-invent the rules to test the mettle of those wanting to ride along with them, to join them or, above all to keep undesirable elements out.

Rising above one’s station in life may be encouraged in community, but in high society it is still not admired. In the 21st century unless you can bring along impeccable credentials and a fine reputation with you then you will find that admission is not easy.

This is true in the corporate life of executives, managers and office workers, all of whom form ‘cliques’ within cliques. Those who have reached the top of the spiral don’t really relish the idea of going back down.

Accessing them once they are up there ‘where the air is rarefied’ in reality will often prove difficult. Those at the top put in place mechanisms that help to keep them safe. Trying to break in can be a mighty task.

For those people who survived the Great Depression and World War II fear became integral to their lifestyle and their code was ‘survival’. However their children were brought up when confidence was returning and ‘self expression’ encouraged. It became a necessary skill to acquire to aid career success.

The Christian ethic that had held sway for nearly 2000 years had long demanded obedience of the Law of Moses. The main tenets of faith-included ten rules that said we should honour our father and mother, not do murder, commit adultery, steal or bear false witness against our neighbour.

The really big one was ‘you shall not covet your neighbour’s house, your neighbour’s wife, his servants, his ox, his donkey, in fact anything that is your neighbour’s. This was serious stuff.

An ox and a donkey at the time were among a man’s most prized possessions. The first was a beast for burden to help him earn his living, the second had strong legs and a stoic heart to carry him far. So if we transpose that into something we understand today, like someone stealing our identity, lives and possessions, then we might begin to understand how serious it was, and still is.

The law system governing western society were based on these first rules of society and its ideas and they remain relevant.

Following World War II when man’s inhumanity to man reached a zenith the aftermath saw enormous change in basic values as the rules governing politics, work, religion, family and sexual behaviour were re-interpreted and re-invented for a whole new age.  Many Christian laws and rules of behaviour from the 1960’s onward disappeared to re-emerge as part of a new code for a society that considered itself non-religious or sceptical.

During the 1970’s, 80’s and 90’s the ‘baby boomer’ generation led change. The period saw the rise of a so-called creative class, which contained thinkers, scientists, architects, engineers, artists and artisans. All over the world they combined to transform every day life and the economies of our cities. They cast off their religious affiliations, set out to raise community spirits, attract investment in commodities, consumerism and economies and in just fifty short years changed the world.

According to leading American public intellectual Richard Florida, the cities that appeal to a ‘creative vanguard prospers best in an economy driven by inventiveness’. Talent, technology and tolerance became the new black for the new age.

Having an ability to make choices redefined how people behaved, made love and went to war. With wealth came a desire to enjoy other aspects of life, including ease of travel. Being able to fly around the world in a day meant that parts of the world, about which little was known, were suddenly opened up not only to an influx of visitors, but also to public scrutiny on both a local community and global community scale.

Coming up close and personal with other cultures people had only read about in books, was in many ways a confronting experience. Especially if they didn’t understand its language, specific rules or codes of behaviour.

When my family was traveling in Egypt in 1989 our guide informed us about how confused her people were. They were crowding around a television set at night in their energy efficient mud houses along the Nile, topped with a new fangled television antennae watching glamorous Hollywood star Joan Collins, with her co-stars in the soap opera ‘Dynasty’.

Joan, bless her, was often clothed in a skin tight glittering sequin dress, with her face made up heavily, her hair carefully coiffured and her ears drenched in diamonds. As she stepped into a chauffeur driven car as long as a city block, with people opening and shutting doors for her along the way they sat wide-eyed in wonder.

While in the west, being used to such spectacles we may have taken this all in our stride, the people watching in Egypt included women with a veil covering their faces whose lives had been, at least up until that time, very simple and protected from such worldly influences.

Our guide, whose father was a minister in the government had been educated in Europe and was alarmed at what observing typical western ‘behaviour’ might mean for an Egyptian family in the long term and how it might change their centuries old culture.

Change in a progressive society is always constant, yet it is something we all endeavour to resists because it is also something that first and foremost, always invokes fear. If there is to be change, then it must be about improving society for all, not about change for changes sake.

In the 80′s and 90′s advances in efficiency for the growing technology market meant that people all around the world who had never seen a computer, a telephone or home appliances before were now involved in making them for everyone else. So they began to question why such technology was not available to their culture and society. They wondered how they could acquire the trappings and things that would make their life easier too.

Sharing information on the Internet, especially in the last two decades has rapidly changed the ideologies of world cultures and codes of acceptable behaviour. It has also changed views on how society deals with great and sudden changes.

An example: in our time is that many people have still not come to terms with England’s Prince Charles having an affair with another woman, when he was married to the public’s favourite, and most popular Princess Diana. That it impacted on his relationship with the woman who was in the eyes of God and the law his wife, seemed not to have fazed him at all, until there was a public outcry.

The behaviour of taking a mistress was one prevalent among aristocrats in Europe for over three centuries. For a man to secure a mistress in seventeenth and eighteenth century Europe there was an unwritten rule that she must be married and cuckolding a husband looked upon as a person of nobility’s right.

By the time of Edwardian England, and post World War 1 in Australia this type of behaviour had filtered down to wealthy merchants and upper middle class people. World War II would change many attitudes towards acceptable codes of behaviour in many societies and cultures after it was over.

While he has had many accomplishments in his life Prince Charles will one day have to face up to swearing to uphold the laws of the Anglican church if he wants to be King of England. This has been a done deal for centuries.

In the past however he has said he will only swear to be a defender of ‘all faiths’, which many people would see as admirable. Interestingly however many faiths I know about frown upon, or condemn adulterers. Some even relieve them of their lives. As England is today a rapidly expanding multi racial society the Prince might face more opposition than he is counting on.

When the time does come it will be about how he has caused a huge shift in the succession, as well as the high regard and respect for the English monarchy so excellently forged by his mother over the past 60 years. In her Diamond Jubilee year she must be busy reflecting on the future.

While the public may have seemed to have ‘forgiven’ her son’s indiscretions and seemingly moved on, crunch time will come if he wants to make his former mistress Queen. While forgiveness for people’s failures or indiscretions should be at the top of all our agendas, surely such a decision, if allowed would seem to make a mockery of whole idea of what ‘royalty’ is and should be about; setting the example of a code of honour for people in society to live by. Everyone expects their leaders, whether in a palace, country, corporation or community to rule by example.

Royalty and its offshoots, including Governor Generals, Governors and their like, all have an ultimate responsibility to society, whether its members like it or not. If it forgets them then the danger is that society may judge them very harshly. They may even decide that they are no longer relevant or needed, as they did at the time of the French revolution or more recently in some countries around the world, where despot rulers have been torn down off their pedestals.

It has become very evident, at least over the last two decades, that society does not like either a prince or a priest who breaks their trust. Society also does not like a man who abuses his children or beats his wife and, vice versa. Yet these were behaviours, hidden for years behind a veil of silence, only became appalling and unacceptable to society once they were known.

Everyone wants to see happy couples and families who trust and respect each other.  Taking those we love for granted, or treating our families or workplace colleagues badly will never be acceptable in any society, culture or company. It is simply not acceptable for a woman to knowingly sleep with another woman’s husband or vice versa, whatever the circumstances. Unless the person has freed themselves of their vows, sacred or secular, misconduct is just simply that.

As our world becomes more and more overcrowded conduct, manners and behaviours will be and remain huge issues of concern. In Australia, as in America modern society was originally founded on the tenets of the Christian faith. Today, having pursued ambitions more in line with society during pagan times, when the art of pleasure, self aggrandisement and greed is good were popular themes, points of reference such as ‘do unto others as you would do unto you’ seem in the main to have been forgotten. This was a simple credo my grandmother’s generation lived by.

There are many official observances, performed by government officials for and on behalf of the many. A code of ‘ethical’ behaviour regarding professional practice, or action among members of the medical and law arenas are bound up in trust between client and patient just as between priest and confessor. This behaviour is similar to what should happen between a mother, father and child; but so very often this seems to be the first intimate trust broken with sometimes-dreadful consequences.

Sharing family decisions is important. No matter how small your children are if you are making a decision that will affect all the members of the family, then a good idea is to hold a ‘family conference’ and ensure that everyone knows the facts that led to the decision taken. This valuable method is one children can learn through from an early age. It teaches them about how a democratic, considerate, caring and well mannered society works.

Respect for self and others starts within the family fold and grows. Whether that family is a private or professional one, like a modern prince and his children or a giant corporation. Children and adults of all ages need to understand that when they make significant decisions, that it is not just about them as individuals, but about family and friends – all those in their circle who will be affected by that decision now and in the future.

Carolyn McDowall, The Culture Concept Circle 2012

Related posts:

1. Changing Politics, Policy, Practice and Human Behaviour
2. The Culture Concept Circle – You Tube Channel
3. Health, Wealth, Wit & Society during the Age of Elegance

Fete de la Musique Brisbane 2008 - Musical Chairs - courtesy Brisbane City Council - Photograph Antoine Matarasso, Studio Matarasso

Access Arts at Brisbane provide support and encouragement so that people with disabilities can be involved at ever level of both corporate and community life, including providing practical advice to bands and dance teams. The popular TV show GLEE out of America is helping by providing an invaluable role model for the up and coming and contemporary generation for that of ensuring that the arts sector is, and will always remain inclusive.

In 2002, during its annual School Holiday Children’s Program, organizers at St John’s Cathedral at Brisbane provided a Braille Trail for children to learn about and understand how it would feel to be blind. Putting on a blindfold, and following the trail only by touch, was a very humbling experience for all who participated. The volunteer team running the event encouraged mums and dads and grandparents, as well as the volunteer Cathedral guides and staff to take part. The guides, who introduced people to this stunning international tourist attraction until this point had not really come to terms with how to go about delivering a tour inclusive of everyone in the community.  It made them think about how they would deliver a tour in a magnificent stone built Gothic style cathedral filled with awesome architectural features and brilliantly coloured stained glass to someone unable to see. And, they learned a great deal about how to make the stories they were telling come to life through words and touch alone. It was a great challenge for them to understand and know how to be inclusive.

Well known Brisbane based vision impaired performer Peter Vance often sings with Brass Roots live

Access Arts are both professional and experienced, able to help us all understand how to provide practical help and assistance for those suffering from disability or disadvantage without patronizing them or, treating them any differently than anyone else. With over twenty years of experience the social profit organization Access Arts is based in Brisbane. It works in partnership with Queensland arts and cultural organizations to support a high level of accessibility and disability awareness within the arts and cultural sector.

Access Arts encourages equal access to the arts for all people. They offer flexible training programs and consultancy services to both corporate and community groups. They also provide support and encouragement so that people with disabilities can be involved at ever level of both corporate and community life, including providing practical advice to groups like bands and dance teams. Popular TV show GLEE out of America is helping by providing an invaluable role model for the up and coming and contemporary generation for that of ensuring the arts sector is, and will always remain inclusive.

Watch GLEE – Its My Life Confessions Video and Read on

http://www.youtube.com/watch?v=og_8Trt_nTs

Kids drawing to the sound of music in Queen Street Mall, Brisbane 150 Celebrations Big City Draw 2009, courtesy Brisbane City Council - photograph Antoine Matarasso, Studio Matarasso

Who should participate and would benefit the most from a disability training awareness program?

• artists and arts and cultural workers
• educators delivering arts and cultural programs
• customer service staff – in all areas of delivery
• CEOs, producers, managers and administrators working in arts and cultural organizations
• architects and developers and their construction teams

Training is delivered by people with disabilities wherever possible. This is because having lived the experience they can go beyond the theoretical providing practical insights and information so that your organization can ensure you can ensure access to all peoples.

Participant feedback suggests these strategies increase enjoyment and relevance for all.

Benefits include

• increasing the confidence of artists, arts workers and customer service staff
• asking questions of experienced trainers who have a “lived” experience of disability
• receive information on a range of disabilities and practical tips on how best to assist
• an excellent team-building exercise.
• increases your capacity to deliver inclusive arts and cultural projects and events
• ensuring programs are relevant to your individual needs

Drawing to music with Brass Roots Live Queen Street Mall, Brisbane 150 Celebrations Big City Draw 2009, courtesy Brisbane City Council - photograph Antoine Matarasso, Studio Matarasso

Disability awareness programs are delivered quarterly by Access Arts at Brisbane-based venues.

Meetings with corporate clients such as architects and developers can also be customized.

Commission an Audit and be Aware

Access Arts will come into an existing workplace or event venue and provide a comprehensive analysis and audit to ensure that everything is in place for you to help those experiencing disability and disadvantage have a good experience.

Access Arts CEO Emma Bennison, captivating hearts and singing out loud to help those experiencing disadvantage and disability

This unique organization has a compassionate CEO Emma Bennison who has a broad range of experience in managing key arts and cultural projects in partnership with organizations and communities across Queensland, nationally and internationally.

In 2007, Emma established Inclusion Fusion (IF), an A Capella quintet comprising Access Arts staff as a means of enabling her staff to remain connected to their artistic practice whilst promoting the talents of professional artists with disabilities.

Emma,  a professional singer/songwriter has a Bachelor of Music from the University of Queensland. She performs with her husband in a piano/vocal duo and has released a CD containing original compositions and covers. Emma is also a composer, arranger and private vocal teacher and facilitates vocal workshops.

Together with her team of excellent workers and volunteers at Access Arts, Emma is removing barriers to arts and cultural participation for those experiencing disability. They are providing excellent Training Programs for you and your teams to participate in at very reasonable rates. The money expended is tax deductible, but more importantly is an investment in the future of all Australians.

Access Artsis proudly supported by the Queensland Arts Council.

Angela Jaeschke, an angel and General Manager at Access Arts

Queensland Arts Council - creative in communities serving a statewide network of community organizations and providing access to funding, advice and resources

General Manager Angela Jaeschke arrived in Australia in August 2004 as a student placement. Angela was tour manager of the Sound Circles tour to Japan in September 2005, taking 13 people to run Sound Circles workshops over 21 days at the NGO Village of World Expo, Aichi, Japan. With a background in music, Angela plays the double bass in the Brisbane Philharmonic Orchestra and was a member of the Queensland Youth Orchestra for a number of years. Angela has a degree in Social Science (Human Services) from QUT.

Your Community or Corporate group can benefit by working with Access Arts. Be sure to call today.

Contact CEO Emma Bennison or General Manager Angela Jaeschke
Nationally on : 07 3844 5897
Local on: 1300 663 651

ACCESS ARTS
ABN: 82 066 160 761
Queensland Arts Council Building, 8 Lochaber Street, Dutton Park Q 4102  www.accessarts.org.au

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1. Peter Vance & Access Arts
2. StreetSmart, helping those experiencing homelessness
3. Bibliotheca Alexandrina – Faces, Muses, Arts and Culture