Margaret Morris, here serving headdress delicacy,

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erstwhile artist & educator, led the way for much health and well-being.

Here, also, is the MM form in action (and thanks to Jo Tyler for the clip location)

Gamin dance stylist, Blanche Ostrehan, a Margaret Morris devotee and dancer, taught class at Morley in the 30s.

In the early 2000s, for the delectation of our student body, we’ve dance artists such as Hopal Romans teaching Horton technique, Adrian Look teaching German Tanztheater, and Sushma Mehta teaching Kathak.

Take a look at dance at Morley!



June 24, 2017


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Captain SKA

May 29, 2017

Syncopate, point & counterpoint…walk that bass line




January 3, 2017

New Year wishes….lots of good stuff to think of, e.g. Why am I so gay?

Great advocacy!


With some 30 odd days to go before we see if all this tomfoolery is going to be allowed to stick and while we watch another system rebirth itself under the banner of a made-up B word, I think a little motivational boogaloo is called for.

Hit it Ann  ~ Let’s make this happen!


June 10, 2016

Tim Taylor, performer, theatre maker and teacher, has broad experience as an interdisciplinary artist. His skills, interests and experience derive from his involvement in many different creative genres, including musical theatre, art dance, comedy sketch, straight drama and song recital. As a performer, he has worked with and for such practitioners as Lucy Bailey, Martha Clarke, Luke Dixon, Matthew Hawkins, Bill T Jones, Michael Keegan-Dolan, Jacky Lansley, David McVicar, Ian Spink, Jane Turner, Ultz, David Pountney, Sian Williams and the Kosh. His current work also includes managing the Dance Department at Morley College in Lambeth, South London.

Here I Am

April 24, 2016

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Hurrah for Tara!



More wildness….

March 14, 2016

Betcha wanna do it too!


March 14, 2016

Bartabas at Sadler’s Wells, accompanied by contemporary flamenco dancer Andrés Marín

…the art of Francisco de Zurbarán

…the music of Tomás Luis de Victoria

Movement and presence; sadness and ribaldry; honour and defiance; horses and men and dance: contemporary and ancient!

Public Relations

February 18, 2016

Back doing the thing – Saturday, February 27th!

‘To date, the Corbyn epistles – scribbled in longhand or tapped out on a tablet computer – have not proved mesmerising. When Labour MPs take their seats in the conference hall next Tuesday, most will be resigned to amateur hour, and some will be hoping for disaster. As even those close to Mr Corbyn concede, his first week did not augur well.’

Golly! But just how gleefully Ms Riddell ponders the woeful image of fingers a tippin’ and a tappin’ out text on that old Corona! Surely the type will be illegible, the syntax impenetrable, the ideas a blur of crazed postulation…such fun!

And, my goodness, but what sports ~ Ms Riddell and chums!

‘Writer Michael Bracewell presents an unusual and provocative look at the life and legacy of Oscar Wilde. With contributions from Stephen Fry, Neil Tennant and Tom Stoppard. (1997)’ – iPlayer

Fun to see the fashions of the late 90s…didn’t think that we’d change. We haven’t so much – bit by bit though. Michael Bracewell’s elegant rock’a’billy takes things back. He was going back, further: So, Sgt Pepper took a hold of a frock-coated freedom, Harry Nilsson channelled the American Standard of the 1930s, the New Romantics Rossetti and others.

Oscar Wilde – not only good, not just very good, but great! Omnibus explore and make a good fist. Delicious to see the mean ‘Dilly dives and base taverns referenced with that slightly breathless – if mindful – tone of the straight world that looks on – dazzled yet safe and at a distance; Bosie Douglas and the lads of the darkened lanes brought rakishly to life as ghosts in a 90s Soho; the note of the cautionary tale clinging faintly to the deftly-crafted narrative: the story of a figure whose greatness is born as much from the art of his being as from the substance of his work. We have the man, his art, his love, his iconography, his pain and his paradox. We also have the Who, Bowie, and Elton – modern dandies, modern heroes; we move from situated urban to the Victorian at point / counter-point between the 18 and 19 hundreds. Fin de siècle sympathies linger in the studied, endearing passage of Bracewell’s sojourn. Then, he still as of 97, had a poster of Wilde on his wall, with Bowie’s long gone he tells us. His is a sincere passion that’s clear enough amidst his careful insouciance.

Tom Stoppard wonders if instead of offering the ‘disservice’ of seeing Wilde as a gay hero, we ought rather to see him as a hero for us all. In 2015, I’d wonder what purpose such differentiation might serve?