The New English Landscape

For more than a decade we – photographer Jason Orton and writer Ken Worpole – have documented the changing landscape and coastline of Essex and East Anglia, particularly its estuaries, islands and urban edgelands. We continue to explore many aspects of contemporary landscape topography, architecture and aesthetics, and in 2013 published our second book, The New English Landscape (Field Station | London, 2013), the second edition of which was published in 2015 and is now out of print.

Tag: Colin Ward

A New World in Essex

The week before last former Essex County Archivist, Victor Gray, gave a splendid talk at the Essex Record Office to launch A New World in Essex: the rise and fall of the Purleigh Brotherhood Colony, 1896 – 1903, which adds a new chapter to the fascinating story of utopian Essex. Thanks to the pioneering work of W.H.Armytage (Heavens Below), Dennis Hardy (Utopian England), Colin Ward (Arcadia for All) , Chris Coates (Utopia Britannica) and Gillian Darley (Villages of Vision), we are only now realising how much the British landscape is marked with the remains and memories of so many experimental communities.

Unsurprisingly, Essex provided a home for many of these, largely because of its proximity to London, a capital with a long radical tradition and concern with social improvement, often based on ‘back to the land’ principles. Nowhere was nearer than Essex where land was cheap and easily accessible. Such radical enterprises were often energised by an influx of refugees from other parts of the world, bringing new ideas of how best to live now and in the future.

The Brotherhood Church was the creation of two dedicated Christian Socialists: John Bruce Wallace and J.C.Kenworthy. The latter was very much under the influence of Tolstoy, whom he had visited in Russia, corresponded with, and for whom he acted unofficially as a literary agent in London. At the end of the 19th century Tolstoy was seen by many as a new Christ-figure, whose preaching of brotherly love, pacifism, and the simple life, gathered hundreds of thousands of converts around the world.

The story of the Brotherhood Church has been confined largely to marginal references or footnotes, but in Victor Gray’s lively and detailed monograph we have the full story of one of the Church’s most intriguing experiments at Purleigh, a small hamlet on the Dengie Peninsula in Essex, where finally members were able to put their principles into practice.

Starting out with premises in Croyden, before moving to a former Congregational Chapel in Hackney, Kenworthy and Wallace eventually managed to raise enough funds to buy land in Essex where, with fellow ‘colonists’, they intended to establish a model community. Which they did for a short while, though not without difficulties. None had any agricultural experience, few even of manual labour itself, but the pioneers worked hard and within two years had managed to build accommodation for themselves and establish a working farm that sold produce to like-minded radicals in the small shops they had in Croydon and Hackney, or to fellow Tolstoyans elsewhere.

Aylmer Maude, the distinguished translator of Tolstoy, as well as friend of Kenworthy, moved close by to Wickham’s Farm with his wife, acting as supporters and friends of the experiment. They took over a large house (now standing empty for decades, but still standing) where they entertained Tolstoyans from other parts of the world, as well as providing Sunday suppers for the colonists. Things went well for a while but then outside events began to distract the work of the small-holding.

Gray suggests that the effect so many ‘foreign’ visitors to the Purleigh colony aroused the suspicions of the locals, a scattering of poor farm workers whose lives had been seriously impoverished during the agricultural depression and who lived very much hand to mouth nearby. These suspicions would have been exacerbated when a small group of Russian peasants in traditional dress, members of a persecuted Christian sect, the Doukhobors, arrived at the colony, having been thrown out of their homeland. Though they did not stay long, it was long enough for the Purleigh colonists to feel a chill wind of disapproval from their neighbours – and probably the interest of the police, since the well-known Russian anarchist, Peter Kropotkin, arrived (with snow on his boots?) soon after. Both the Special Branch and the Russian secret police always followed Kropotkin’s activities with close interest.

Another factor which may had contributed to the slow dissolution of the colony was that J.C.Kenworthy, one of the key proponents of the scheme, was a man who couldn’t stay still, spending increasing time away from Purleigh promoting the cause of ethical socialism. He may not have been in Purleigh when the founding group of colonists decided to expel two new members whom they found wanting in some regard, causing a split which failed to heal. Soon after some of the original group moved to Gloucestershire – two of them walked all the way with their belongings, relying on strangers to give them food, as they had earlier renounced the use of money – and set up a new colony at Whiteway which still survives a century later with some of the founders’ principles still intact.

Seven years may seem a very short time for a new world to last, but its influence was significant. In nearby hamlets other land colonies were established over the next two decades, and the culture of make do and mend self-sufficiency created the conditions for the emergence of the Essex plotlands culture which involved many thousands of people in the decades that followed. Kenworthy took up other New Life interests, including spiritualism, while Wallace helped Ebenezer Howard establish the Garden City movement. Out of the great ‘new life’ ferment of the 1890s, many things grew, still influencing the way we live a hundred years later. In this fascinating study, Victor Gray tells us why.

A New World in Essex: The Rise and Fall of the Purleigh Brotherhood Colony, 1896 – 1903, Victor Gray, Campanula Books, 2019

KW

‘We are not afraid of the future’ The Peculiar People: an exhibition at Focal Point Gallery, Southend-on-Sea, 19 April – 2 July 2016

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Masthead of The New Order anarchist newspaper produced at The Purleigh Colony in Essex, and reproduced from ‘Alternative Communities in Nineteenth Century England’ by Dennis Hardy

There was a packed opening night at this new exhibition at the Focal Point Gallery in Southend on 16 April, and a great party atmosphere too. After decades of embarrassed silence, a rich history of political and religious non-conformism and radicalism in Essex is now being properly acknowledged, in a county that has been the subject of much cynical misrepresentation, but which is here revealed as a key social laboratory for all kinds of experiments in living in the 20th century. The exhibition title takes its name from a Nonconformist sect unique to Essex, The Peculiar People, about which we blogged earlier this year, and the gallery itself has been handsomely re-housed within the state of the art new public library, The Forum.

The tutelary spirit of anarchist historian Colin Ward hovers over the exhibition, for it was Ward, latterly with Dennis Hardy, who initially chronicled the self-built plotland communities and rural communes to be found on the margins of Essex. Ward suggested that they arose there because of a relative proximity to London’s politically volatile East End, but also – following the agricultural depression of the 1870s – land was cheap. The ground plans of the Dunton colony near Laindon are on display, but also included is a rare opportunity to listen to a recording of Ward giving his 1985 lecture, Arcadia for All – A study of the Essex Plotlands.

Close to Dunton, in East Tilbury, the Czech shoe manufacturer Tomas Bata established his model industrial village in 1932, having been persuaded by a local clergyman to come to the aid of the many unemployed in the area. At its peak, Bataville employed over 4,000 workers, many of whom lived in houses supplied by Bata, and designed in a modernist style. Workers were encouraged to participate in company leisure-time activities – outdoor swimming pool, tennis courts, 350-seat cinema and technical college – and even took ski-ing holidays in Czechoslovakia at the company’s resorts there. No zero-hours contracts then. ‘We are not afraid of the future’ was Bata’s maxim, and a selection of plans and drawings of his model town are on display, supported by documentary footage from a film by Karen Guthrie and Nina Pope.

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Credit: Fraser Muggeridge Studio

Along with Bataville, Silver End Garden Village near Witham was another attempt to build an industrial settlement as a utopian community (even if ordained from above, as both manifestly were). Established in 1926 by Francis Crittall (1860 – 1935), a successful manufacturer of metal window frames, the housing was designed in a high modernist style by architect Thomas Tait. The village was almost entirely self-sufficient, and at the time regarded as one of the healthiest settlements in Britain, and is still much visited by architecture students.

The overlap between the socially minded and the religiously inspired was strong in the early 20th century, so it is not surprising that many of the religious settlements featured in the exhibition – Hadleigh Farm Colony, Osea Temperance Society, the Othona Community at Bradwell, among others – were centres for the rehabilitation of those whose lives had previously been blighted by poverty, ill-health, addiction, or as places of spiritual retreat. Wide-ranging as it is, the exhibition only scratches the surface of the dozens of self-sufficient or therapeutic communities established in Essex over the past hundred years, many of which remain unrecorded.

The principal gallery space also includes the work of artists and architects who took a fancy to the Essex scene, possibly because of its rough and ready unfashionability. A large vitrine displays a model by architect Cedric Price for an unrealised 1972 proposal to construct an inflatable roof to cover Southend High Street, along with a number of Price’s bold and expressive drawings. Other exhibits include watercolours, drawings or prints by Edward Bawden, Nigel Henderson, Eduardo Paolozzi, Milly Thompson, along with a generous display of work by poet and artist Henri Chopin.

The folk-modernist spirit of the old Southend Art College is captured in a display of books written and illustrated by Kurt Rowland, who taught at the college, and whose pioneering work in the field of design education became internationally renowned. Rowland may well have inspired the fanzines produced by the Southend Libertarian & Anarchist Broadsheet (SLAB) collective in the 1980s, a number of whom worked locally for HM Revenue & Customs, but, not unsurprisingly, contributed anonymously. Artist Christian Nyampeta completes the exhibition with his fashioning of Gallery 2 as a place for meeting, talking, reading and the exchange of views about the world, complete with striking murals, purpose-built furniture and book-shelves, all combining to create a small salon/library/retreat to which visitors can retire and reflect.

The exhibition is just one element in a longer project being carried out by Focal Point Gallery under the rubric, ‘Radical Essex’, and includes architectural study tours across the county, gallery talks, and related projects such as Matthew Butcher’s ‘Flood House’, the subject of our last posting. It’s a small step for Essex but a large step for mankind.

KW

Ken will be giving a talk at the Focal Point Gallery at 7pm on Thursday, 12 May, 2016, as part of the exhibition programme:

The New Life in Essex: nonconformist life and culture in the 20th century’

Admission is free, but booking essential at http://www.fpg.prg.uk