Lincoln Fun Palace Guitar Making Demo

On Saturday 5th October, I took part in Lincoln Fun Palace.

“Fun Palaces is an ongoing campaign for cultural democracy, with an annual weekend of action every October. The campaign promotes culture at the heart of community and community at the heart of culture. The weekend of action uses the combination of arts, craft, science, tech, digital, heritage and sports activities, led by local people for local people, sharing their own passions and skills, as a catalyst for community-led transformation, with active participation for all ages.”

My contribution was ‘How to Make a Spanish Guitar’.

“Do you know how a guitar is made? How do you learn the knowledge and skills to make a guitar? Where do you start? This session will show you how an acoustic guitar is made and discuss the different ways people teach and learn the craft of guitar-making.”

I took a range of items from my workshop, including specialist tools such as bending iron, circle cutter, go-bar deck, hide glue and small planes as well as all the tonewood needed to make a guitar. I also took the first two guitars I made and a range of books and magazines that I’ve accumulated while doing my research on classical guitar-making. A series of images from my research looped behind me on a display as I talked about the different items I had brought with me.

The two demonstrations were very different: the morning was busy with young children and their parents. There was lots of curiosity and interest from children who didn’t realise you could make glue from animal bone (yuck!) or bend wood on a hot iron (don’t touch!). They stuck wood together with hot hide glue and saw how quickly it grabbed. I planed a bit of Cypress so they could smell wood that had come all the way from Turkey. I showed them spruce felled from old trees in the Italian Alps and demonstrated how to glue struts to the soundboard with a go-bar deck. One of the dads played both the guitars I had brought with me and noted how different the flamenco felt compared to the classical (there’s about 500g difference in weight). I told them about Newark College, which is near to Lincoln, and gave them brochures for the courses in musical instrument making.

In the afternoon, I had just two people visit: a retired couple who had recently moved to Lincoln. Like me, the gentleman had made a few guitars and we swapped notes. He’d learned a different methodology based on Trevor Gore’s books. I showed him how a Spanish heel is made and how the body is assembled around the neck, whereas his method uses a bolt-on neck, so the neck and body are made separately and then joined in the final stages of the build process. It took us both a while to realise that we approached the joining of the body and neck in a completely different way – a reminder that the design of the instrument and the methodology of making it are intrinsic to one-another. Learn one structural design and you learn a methodology that it requires; you make the jigs that make the methodology more efficient, and you learn the hand skills and knowledge that are required to practice the methodology. It’s so obvious, it goes unacknowledged until you come across a different way of doing something and have to deconstruct the process in order to explain it. In doing so, I was reminded about the benefits and limitations of each method compared to the other and in the back of my mind, I was thinking about what it would take to switch approaches.

There are the practical and economic considerations such as having to re-tool in order to change the build process and learn a new method when I still don’t feel like I’ve fully embodied my current approach. There’s also a decision about which of the different craft traditions you want to align your work with. Is it the 19th century workshops of Spain, or Austria, where Johann Georg Staufer used a bolt-on neck, or the C.F. Martin (German and earlier Staufer) method of using a dovetail joint?

When I interviewed guitar-makers across the UK, some people felt quite strongly about maintaining the continuity of the Spanish methods, not only advocating the practical and musical benefits but also identifying with a cultural history of making, an admiration for the instruments it has produced, and identification with past luthiers. Not all makers expressed a strong cultural affiliation though. For some, there’s an appeal to sticking with what one knows best and continually refining it. The word ‘efficiency’ was used sometimes to express such refinement that it had become an art. In the example of the Spanish heel, some makers prefer its elegance and the way it joins the body and neck into a single, undetachable whole.

I went to the Fun Palace simply wanting to share my love of lutherie and the research I am doing with people in my city. I left the Fun Palace having been reminded of the rich conversations that can be provoked by a single technique, tool or piece of tonewood.

Lincoln University Students’ Union Co-operative Ltd

I was looking through some books recently and the flyer photographed below was used as a bookmark by my Dad, when he was a student at the University of Lincoln in the early 2000s.

I knew that Lincoln’s Student Union was once a co-operative, but had never seen any documentary evidence of that period in its history. When I’ve asked people about the early history of the Union, the response has been vague – I may be asking the wrong people.

I was told it was set up as a co-op to meet the obligations of funding between Lincolnshire Co-operative Society and the University during its formation. If you look at the third image below, you can see that a student joined the LSU co-op through the Lincoln(shire?) Co-operative Society – presumably the SU was part of the Lincolnshire Co-operative Society?? It was also suggested to me that it ceased to be a co-op because of changes in charity law in 2006 that caused a conflict between its charitable and co-operative status. Co-operatives are not deemed charities because they are for the benefit of their members, rather than having broader public benefit aims.

Looking at Companies House records, the SU was first incorporated as a Company Limited by Guarantee on 27th June 2007 and referred to as ‘the Charity’, so not long after the change in Charity law in 2006. A note in 2009 explains that it originally derived its charitable status from the University but again due to changes in law, would have to register in its own right as a charity. The articles of association were then changed in 2010, when all reference to ‘the Charity’ is replaced with ‘the Union’ and it became independently registered as a charity on 27th September 2010, apart from its registration as a company.

Anyway, my interest is in the early days of the SU when it ran as a co-operative. All organisations are subject to changes in law and regulation and I’m sure that the shift away from co-operative status in 2007 was deemed the right and possibly the only choice available to the SU. It raises the question about whether more recent changes in UK co-operative law (2014) and the emergence of Union Co-ops, offers a return to co-operative status. Aside from legal status, a co-operative is characterised by its adherence to the values and principles of the international Co-operative Identity Statement.

A co-operative is an autonomous association of persons united voluntarily to meet their common economic, social, and cultural needs and aspirations through a jointly owned and democratically-controlled enterprise.

Changes in the articles of association could be made to reflect the spirit of co-operative values and principles, even if it were not a co-operative in law. As a democratic organisation, this would be something for its members to decide upon.

If you have any further information about the period when ULSU was a co-op, please do get in touch.

A co-operatively run 'Social Science Centre'

UPDATE (01/02/2011): This idea is now developing into an autonomous Social Science Centre. Click here for the website.

The university has a staff suggestion scheme that rewards good ideas from staff. I’ve just submitted a proposal to the university for help in setting up a Social Science Centre. This is based loosely on an unsuccessful bid to HEFCE that we made a couple of months ago to develop an ‘academic commons’ of sustainable, co-operatively run centres for higher education, somewhat based on the Social Centre model. Initially, as you’ll see below, we’re proposing that courses are run in existing public spaces, with a view to buying or renting a city-centre property further down the line. Attached to this (preferably on the premises) would be some kind of co-operatively run business (I like the idea of a decent bakery – you can’t buy real bread in Lincoln), which would bring in an income to help cover running costs and act as a way to connect with local residents apart from and beyond the educational provision of the Centre.

Anyway, here’s a brief overview of the idea which we’re keen to develop over the next year. If you’re interested and in Lincoln, then a few of us are meeting In Lincoln at 5pm on the 25th September to discuss the practicalities of this idea further. Members of the Cowley Club and Sumac Centre will be there to talk about their experience setting up their respective Social Centres. Email me for more details.

The proposal is that the university support the development of an independent Social Science Centre in Lincoln. The Social Science Centre will offer credit bearing courses in Sociology, Politics and Philosophy, programmes not currently available as part of the University of Lincoln’s portfolio. A key aspect of the Centre is that students would not pay any tuition fees. The Centre would be community based, utilising already existing public spaces in Lincoln, e.g., libraries, museums, schools, community centres. The Centre will be ran as a co-operative, involving local people in the managing and governance of this provision. The courses will be provided by academic members of the co-operative on a voluntary basis. The role of the university will be to provide accreditation for the programmes and an advisory role in establishing the centre as well as an ongoing supportive input. There will be no direct ongoing costs for which the university will be liable. An important principle for the Centre is that it is sustainable and, for that reason, the number of students will not exceed twenty in any academic year. It is intended that this model of sustainable, co-operatively run centres for higher education will act as a catalyst for the creation of other centres for higher education.