The Umbrella Poets

According to Martyn Richards the Umbrella once boasted over a thousand poets…


In the late 50’s and early 60’s the Umbrella was known for it’s quality literary journal UMBRELLA to which Philip Larkin had contributed an article (as you may have seen already on another post on here).


POETS ON TOUR
The Umbrella’s Poets on Tour programme brought to the Umbrella club poets and writers such as Pete Morgan and Steve Morris (in conjunction with the Birmingham Poetry Festival), Brian Patten, Julian Mitchell, Antonio Byatt, Hugo Williams, Vernon Scannell, Dave Ward (Liverpool Poet).


POETRY COURSES
In terms of lectures and workshops there were Extra Mural courses provided by Birmingham University.



POETRY AND EXPERIENCE was an example. A 10 week series tutored by Paul Dunkley, MA, studying poems taken from little magazines and national poems. The poems were analysed according to their structure and the experiences implicit in them. The aim was to appreciate the rich and varied developments of English Poetry in this century (20th) and to explore the importance of practical criticism in understanding the poems. The course was for both writers and those interested in expanding their personal sensibilities and appreciation of poetry.

THE UMBRELLA POETS
C 1971, the Umbrella Poets met in the upstairs room at Queen Victoria Road and a monthly basis. It’s likely that the group had been going quite a while but my main interest was music at the time and writing song lyrics. Al Docker (who also organised the band nights) wrote lyrics too and joined in one of the sessions. We were about 19 at the time and the group was mostly quite a bit older than us and on his suggestion I went to a group session the following month. We both received a warm welcome and found encouragement. I had recently branched into poetry from writing song lyrics and shyly tried out a couple of poems. It was really the first time I’d read in public (albeit a small group session) but it was the beginning of something for me.


John Hewitt

I can’t remember all the names but John Hewitt seemed to be leading the group. John was the most Seamus Heaney, Derek Mahon and Michael Longley. Between 1957 and 1972 (when he retired) he was Director of the Herbert Art Gallery & Museum and involved with the Umbrella club. I didn’t realise at the time what distinguished company I was in at the time. Other members were Terry Watson (an English teacher at King Henry V111 Grammar School and a mainstay of the Umbrella club), Geoff Pegg (Poet, musician and broadcaster) whose chapbook Knotted Sheets had just been published by Outposts. Norman Wheatley and John Leopold (both singer songwriters and poets) and some of the others mentioned in the Knotted Sheets post on here.
significant Irish poet to emerge before the 1960s generation of poets that included.


AN IRISHMAN IN COVENTRY 1958 

by John Hewitt


A full year since, I took this eager city,
the tolerance that laced its blatant roar,
its famous steeples and its web of girders,
as image of the state hope argued for,
and scarcely flung a bitter thought behind me
on all that flaws the glory and the grace
which ribbons through the sick, guilt-clotted legend
of my creed-haunted, godforsaken race.
My rhetoric swung round from steel’s high promise
to the precision of the well-gauged tool,
tracing the logic in the vast glass headlands,
the clockwork horse, the comprehensive school.
Then, sudden, by occasion’s chance concerted,
in enclave of my nation, but apart,
the jigging dances and the lilting fiddle
stirred the old rage and pity in my heart.
The faces and the voices blurring round me,
the strong hands long familiar with the spade,
the whiskey-tinctured breath, the pious buttons,
called up a people endlessly betrayed
by our own weakness, by the wrongs we suffered
in that long twilight over bog and glen,
by force, by famine and by glittering fables
which gave us martyrs when we needed men,
by faith which had no charity to offer,
by poisoned memory, and by ready wit,
with poverty corroded into malice,
to hit and run and howl when it is hit.
This is our fate: eight hundred years’ disaster,
crazily tangled as the Book of Kells;
the dream’s distortion and the land’s division,
the midnight raiders and the prison cells.
Yet like Lir’s children, banished to the waters,
our hearts still listen for the landward bells.
………………………..
At the time the Umbrella Poets were performing at various Community centres and schools and were down to perform in Airport lounge, University of Warwick Annual Arts festival. I had already intended to go to the festival and was pleased to be invited to join them on stage. Outside of Airport Lounge things were quite lively, students, musos, hippies gathered as events took off all over the campus, street theatre, Pinter plays etc. Inside Airport lounge the room was full of students squat on the floor and totally silent. On stage the Umbrella poets sat on chairs in Tuxedo’s or smartly dressed. I was 19 with long blond hair and patched up jeans and hippy boots. I was invited to sit with them but as it was my first time performing to such a big crowd and my material untried and feeling out of place coupled with the silence that accompanied every piece read even if it was humorous, I opted to sit on the side of the stage rather than on a chair on the stage, as I was invited to do. Soon my time came to read and I read to poems. Not a sound from the audience who seemed to be paying attention and no clapping (or even booing) just respectful silence. I decided to get out of the room as quickly as i could. I had no idea if my poems had gone down well or not. As I walked through the crowd to the door, two girls called me over and gave me some favourable feedback. They were the girlfriends of a band I’d put on at the Umbrella – Fresh Maggots and they had recognised me. I spent the rest of the night with them and helped them try and get a gig a the University for Fresh Maggots – a Nuneaton duo who combined progressive acoustic songs with the addition of electric guitar and other instruments. They had just made an album for RCA Neon ( now a cult album). 

I didn’t continue to be involved with the Umbrella Poets as songwriting was my main interest at the time but later in the 80’s when I moved to Teesside, I became more involved with the writing and poetry scene as a Creative Writing tutor for WEA and Leeds University adult education and organised poetry performance events at local arts centres and edited poetry magazines. The early experience at the Umbrella club became a starting point for me. Later, interviewing Liverpool poets Brian Patten and Roger McGough, they recalled their early experiences of performing their poetry. Universities were the only place to read and they also experienced the respectful silence of these sessions, moving instead to jazz clubs and then rock clubs where they pioneered their Pop poetry performance styles. here the environment was totally the opposite, in order to reach the audience you often had to shout your poetry and be more direct in order to get their attention and combining poetry with music was one way to do it.

Poetry and Folk Sessions
These were popular at the Umbrella and took various forms over the years.
Early sessions was organised c 1970 by Geoff Pegg and Norman Wheatley and also singer songwriter John Brown who formed the folk duo Toadstool. Some of the blurbs read –


“Poetry and Folk – A session for poets and folk singers, where new ideas may be read or sang, and discussion is encouraged. Not for performers only – you can listen if you do not wish to take part.”


“A folk based session featuring a guest folk group from Coventry called Toadstool, whose members include John Brown, who is no stranger to the Umbrella club. there will other singers, musicians and poets present at what should be a very enjoyable evening of poetry and folk. Look out next month for an event featuring a well-known poet.(Could it be Roger McGough?). (April 71 – Umbrella Programme).


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Geoff Pegg’s Knotted Sheets – Poetry at the Belgrade Theatre

In 1970 Geoff Pegg was one of the leading poets at the Umbrella Club and Chairman of it’s Drama and Literary Committee. In that year his chapbook of poetry – Knotted Sheets – was published by Outposts.
Now a presenter on Cumbria’s Community Radio Station Indigo http://www.indigofm.co.uk/presenters/geoff-pegg.htm


In order to promote the book and involve a range of Umbrella poets and singer songwriters, Geoff organised Knotted Sheets at the Belgrade Theatre in 1970 with over 30 contributions from nine poets or songwriters. here is the programme along with the biographical details.


THE COVENTRY ARTS UMBRELLA CLUB PRESENTS…KNOTTED SHEETS
At the Belgrade Theatre 1970 – Title taken from Geoff Pegg’s booklet of poems.

POEMS & SONGS AUTHORS
1 What I can’t Properly Understand – Terence Watson
2 Communicate – Rosalyn Dack
3 Caroline Smith – Charles Fogg
4 There Should be – Norman E. Wheatley
5 The Visit – Rosemary Bull
6 Locked In – Terence Watson
7 Summer poem V1 – Geoff Pegg
8 Dinosaur’s Lament – John Leopold
9 Twenty tons of TNT – Geoff Pegg
10 News at Ten – Geoff Pegg
11 The Tragic Roundabout – Geoff Pegg
12 Imagine a Cave – Terence Watson
13 The Battle of Trafalgar – Terence Watson
14 Two’s – Norman E. Wheatley
15 An Another Thing – Terence Watson


INTERVAL


16 I’m Sorry – Norman E. Wheatley
17 Ice Cream Van – Norman E. Wheatley
18 Dark Red Shirt – Norman E. Wheatley
19 The Forty First shade of Green – George Desmond
20 Simplicity of a seven Day Wonder – Geoff Pegg
21 Skinhead Calypso – Norman E. Wheatley
22 Poem for the tender of the Grave of Dylan Thomas – Mark Richardson
23 Peacocks Mating Season – Warwick Castle – Rosalyn Dack
24 Mind…For Hire. – George Desmond
25 Summer Poems V – Geoff Pegg
26 Did You have a Nice Christmas – Norman E. Wheatley
27 Summer Song – Geoff Pegg
28 How Her Hair Falls – Terence Watson
29 Summer Poem III – Geoff Pegg
30 Julia – George Desmond
31 Goodbye Now – Geoff Pegg
Performers –
Lynda Bellingham –
Paul Becque
Sheila Ferris
Michael Hadley
Jeffrey Holland – Director – Chistopher Honer


AUTOBIOGRAPHICAL NOTES

Geoff Pegg

Geoff Pegg
An apprentice draughtsman at B.O. Morris Ltd., and the current chairman of the Drama & Literary section of the Umbrella Club. Apart from individual poems being published in magazines, he has had a booklet of poems published which bears the title of today’s recital; Knotted Sheets, which is available at the door. Born in Coventry in 1950, Mr Pegg collected the material for this performance. ( additional information 2011) – Geoff was a DJ for the Walsgrave Hospital Radio in Coventry and a musician too and now a presenter on Cumbria’s Community Radio Station Indigo http://www.indigofm.co.uk/presenters/geoff-pegg.htm

(A more recent biography of Geoff Pegg from http://www.2qt.co.uk/authors/geoff-pegg/)  
Born in Coventry in 1950, he left school at 16 to become an apprentice design draughtsman, entering local industry in much the same way as his forbears who worked in most of Coventry’s various specialisms – weaving, watchmaking, cycle manufacture and car production.

After finishing the apprenticeship he trained to be a teacher because of a yearning for something more than existed in factory life, graduating in 1975 as an English and Drama teacher.  After five years teaching in Nuneaton he moved to a job at The Queen Katherine School in Kendal, becoming Head of Drama and staying for 26 years until early retirement beckoned in 2006.

Norman Wheatley

Norman Wheatley

A poet and songwriter whose contributions at the Umbrella Clubs Tuesday poetry and folk session have been invaluable. He has excellent wit as can be seen from the poems included today. He has written several songs, one of which, Skinhead Calypso, is again in this selection. At present he is taking a communications course at college.
Terence Watson
A qualified schoolteacher and one of the strengths behind the Umbrella Club at the present time. He serves on the committee of the west Midland’s arts Association and has his own personal style of poetry. In the Battle of Trafalgar he shows he can also produce highly effective sound poetry. This poem is one of the highlights of today’s performance. More on Terrence Watson and his new poetry book here 


Rosalyn Dack
Ex-secretary of the Coventry poetry society, Miss Dack shows that she too has a very individual style in which her words possess tremendous strength of image. Communicate is a very good example.


Charles Fogg
A writer who has a deep insight into today’s problems. His recent work (from which today’s piece is chosen) shows excellent imagery when dealing with sex, drugs, illegitimacy etc. These poems are mostly lengthy , but Mr Fogg’s skill is such that the effectiveness is always captured perfectly.


George Desmond
By trade a maintenance electrician, George Desmond has written literally hundreds of poems and is now a respected poet in the city.


Rosemary Bull
Another schoolteacher, Miss Bull has an MA and a BA. She recently returned to the city in which she grew up. An ex member of the Coventry Poetry Society, which regrettably is now a thing of the past.


Mark Richardson
Another Coventry poetry Society member who since its breakdown has switched his attentions more seriously to the Umbrella Club as an outlet for his work. Mr. Richardson is a poet who takes care to be sure each word in his poems are to his satisfaction. The result is a very solid style of poetry.


John Leopold
The writer of the other song, Dinosaurs Lament. A talented songwriter and guitarist who takes personal preference to the 12-string variety. His songs are apart from anything produced by other writers and they use some excellent chord sequences.

TWENTY TONS OF TNT
(written on learning that for each person on this earth there is the equivalent of twenty tons of TNT and rising)

By Geoff Pegg

The nuclear stocks are growing
With piles of TNT
There’s twenty tons for you
There’s twenty tons for me.

Who will pres the button,
Who will light the fuse,
To start the bloody confict,
Which everyone must lose?

When all the bombs have fallen,
In one great holocaust,
Will the deaths be measured
In twenty tons of force?

The countries are building piles
Of death and TNT
There’s twenty tons for you
There’s twenty tons for me.

So everyone be happy,
Enjoy life while you can,
Don’t worry about your twenty tons
Don’t let it spoil your plan.

For cigarettes are burning,
with flames of TNT
There’s twenty tons for yu
There’s twenty tons for me.

SUMMER CAME SUDDENLYby Geoff Pegg


Summer came suddenly,
surprising the bare-branched trees.
The eternity of grimly faced frosts
has at last been turned through its
cycle; the blossom overflows from
the top heavy heights of a painted
fruit tree; the shadows on the garden
are clearer and more defined.

Summer came suddenly,
easing through the winters
half-opened shutters; relaxing on the
atmosphere in a swinging cradle;
opening doors for the desparate lovers
with no place to go: grafting daily,
looking in vain for a shift in energy.

But as summer came, so summer must go,
leaving the tiring sun to give us
only occasional comfort; leaving no
explanations as to the crime of an
exiled season forced to live in winter.

Geoff Pegg – 1970 – From Knotted Sheets.

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Humpoesic Happening

Earlier in 1970 / 71 I had organised some of the band nights and co-organised the proposed 2nd Music Marathon. In 1972 I got an invitation from Julian Adams who was now a committee member, to organise some Folk Poetry sessions during the summer of 1972.


This was my first go at organising an experimental mixed media event. I’d been going to Liz Lovatt’s (Heather Lovatt (Varney)) Folk and Poetry nights at the Umbrella and had just mastered enough guitar to accompany myself with poems and few songs. These were my first gigs. The Umbrella got me started on so much!
I was surprised to find the Umbrella had put my name of the posters. The Umbrella advertised it as a ‘Trev Teasdel Folk Night’. This was the first time my name went out on on any posters! I had therefore to make it a bit special, a bit different!.

In the main it was a continuation Liz’s folk poetry nights but I was beginning to mix things up a bit, experiment. I didn’t know what I wanted but I wanted ‘different’ and thought it might have to be the people that came that would make it different. The main result of ‘different’ came in an acoustic jam session – inviting people to jam around me reading a poems and playing guitar. Then came the idea that they had to play an instrument that they were unfamiliar with (and good musicians can usually get something out of an unfamiliar instrument but they wouldn’t play what they were used to playing – it would be different – stretching. It didn’t matter if it didn’t work – I set it with the audience that this was experimental. It kind of worked and I distributed percussive instruments to the audience and told them they had to join in. Some of the percussive instruments weren’t instruments at all, well they were when we employed the objects as such! Chair backs, boxes, books -anything. It was all getting a bit incoherent and people were disappearing fast! I began to think it had all failed and that people were leaving in disgust. When it got really sparse – I went downstairs in despair only to hear a jam in the coffee bar. I figured they were setting up a rival event! Just as I entered the room, they all rushed upstairs passing  me by. Confused and curious I followed only to discover that ‘Bin’ – a jazz drummer who was a regular at the Umbrella .The session inspired an idea to organise the percussion in a really creative way. Instead of banging on any old way – it was all co-ordinated and inspired. The breaking of the mould had inspired them to do that. Everyone really enjoyed it and the gap between audience and artists had been transcended.


I couldn’t say that it would happen everytime but it certainly was a ‘Humpoesic Happening’. The term Humpoesic was invented by me for a competition in Record Mirror in 1969. The Scaffold wanted a word that  described what they did -ie Music, poetry and humour. I made the word up from those words. You could extend the word into Humpoesictry! I never sent it in but later used for this event and another I did when I moved to Teesside in 1980.



For the second one we had some singer songwriter friends. Musicians from the Birmingham Streetpress / Streetpoems tried to come through but were thwarted by transport problems. Several musicians I shared a cottage with out at  Shilton joined in – Dave Lewis, Steve Brimstone (Derek’s son), and Nigel Clark of Cardinal. I’d met Nigel at the Butts tech – we were both apprentice electricians. He put music to and sang some of my earlier lyrics.


Although the Streetpress guys never made it,they did set up some Streetpress gigs in Moseley and Digbeth which I used to do open mic spots at.






Here is one of the poem I did to music – it was the counter part to one of Lyndie B’s both written in Birmingham in a communal house.


Dance candle dance for me,
Let me see you pirouette
and jump high in the air.
Graceful turns and flickers
in time to the sounds of Cohen.
Burn your way into frozen hearts
and melt the hate within.
Dance candle, dance for me
before the light is gone forever.
Before we lose our sight
to live forever in the darkness
of our blackened hearts.
When at last you die exhausted.
We live on in memory of your love
and dance for you in life.
Dance Candle, dance for me
and give a little light to the world.


Lyndie B.


TACE IS LATIN FOR CANDLE


 Lo…the flame flees and flickers like a bee
Catapults its message – ‘Mute’
Casts shadow harlequins in a scene for silhouettes.
Commands the voice of grievance to perpetual sleep
For a word would blemish the skin of serenity
and silence slays battalions of hate.
Lo, TACE IS LATIN FOR A CANDLE


Upon the straying steeds of days sable deeds
Rides with spurs of peace
Aphrodite’s flaming police.
Yes we have fenced with words, fed the eagles not the birds
While love hides behind
the shield of hate’s battlefield
and the tempest of our wroth writhes
with the pangs of peace
Proud victory smirks the flames
Lo – TACE IS LATIN FOR A CANDLE


Trev Teasdel (Birmingham 1971) – (Poem performed with guitar


SOME OF THE PREVIOUS POETRY AND FOLK SESSIONS


Heather Lovett (AKA Liz Lovett / Varney) organised regular Poetry And folk (or unplugged sessions – before the term was coined) from 1971. The first of these were in the Umbrella Theatre and then upstairs.


These were my my first experience of performing – I’d just about learned to play guitar by the autumn of 71 and did a few T Rex covers – Cosmic Dancer and Cat’s Steven’s Sad Lisa and had begun accompanying my poems on guitar. Singing my own songs began around that time.


An earlier session was organised by Geoff Pegg and Norman Wheatley. (Geoff Pegg was chairman of the programme committee). Tuesday Evenings.


Some of the blurbs read –
“Poetry and Folk – A session for poets and folk singers, where new ideas may be read or sang, and discussion is encouraged. Not for performers only – you can listen if you do not wish to take part.”


“A folk based session featuring a guest folk group from Coventry called Toadstool, whose members include John Brown, who is no stranger tot he Umbrella club. there will other singers, musicians and poets present at what should be a very enjoyable evening of poetry and folk. Look out next month for an event featuring a well-known poet.(Could it be Roger McGough?). (April 71 – Umbrella Programme).


In November 1971 BRUCE NORRIS (who became a poetry editor for Hobo  for a short while in 1973) organised FOLK AND POETRY CONCERT  on Sat 6th November.


“A folk music and poetry concert will be held in the lounge of the club on Saturday 6th November starting at 8pm promptly. Performers should be present at 7.30pm to make final arrangements. The following club members and friends will be singing or playing; Norman Wheatley (guitarist, singer and poet) Alison Lovett – Folk Singer, Jim Burland – Guitarist, Bruce Norris  – Poet. There Will a charge of 10p for attendance at this concert..” (Umbrella Programme.).

A special Folk and story telling with shadow puppets concert was held Monday 13th November 1971 with
MAGIC LANTERN featuring Taffy Thomas, Peter Coe, Sheila Thomas, Christine Coe. at St. Mary’s Hall – near the Golden Cross.




UMBRELLA FOLK CLUB


C 1969 – 70 Saturday night was the always popular traditional style Folk Club night.


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Concerning the Umbrella (Constitution)

 This sheet the essence of the constitution of the Coventry Arts Umbrella Ltd – A company limited by guarantee and not having share capital set up in 1968 and registered as a charity. The Umbrella had of course being going since 1955 but obviously achieved charitable status in 1968. This may have coincided with them achieving West Midlands Arts funding – I’m not sure. This site gives details – http://opencharities.org/charities/255821 It ceased to be one in 2001 according to this site.


It’s charitable objectives were
” Charitable objects   

TO PROMOTE, MAINTAIN, IMPROVE AND ADVANCE EDUCATION AND IN PARTICULAR TO RAISE THE ARTISTIC TASTE OF THE COUNTRY AND TO PROMOTE ENCOURAGE AND INCREASE THE APPRECIATION AND UNDERSTANDING OF THE ARTS GENERALLY, AND DRAMATIC ART, MUSICAL ART, LITERARY ART AND VISUAL ART IN PARTICULAR. (FOR FURTHER DETAILS SEE CLAUSE 3 OF MEMO. & ARTS.)” 

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Recovering the Umbrella

The premises at 18, Queen Victoria Road, Coventry had been condemned and a redevelopment plan put into motion. Unfortunately the redevelopment plan didn’t include plans for the relocation of the Umbrella Club in suitable premises. The building was finally demolished either at the end of 1972 or in 1973. Organiser Terry Watson and the committee struggled to persuade the local authority to help relocate the Umbrella and this document is one of the circulars that Terry put out in the campaign for new premises. As he says, it was the first time the Umbrella had been homeless since 1955. 


For a over a year the Umbrella held its meetings in CCVS (Coventry Council of Voluntary Services) (Henry West was both on the Exec and head of CCVS at the time or otherwise held events at the Royal Navel Club off Spon Street. Eventually, by 1974, the Umbrella moved into the Charterhouse but not without pain. The hippy bandscene wasn’t to be part of it – to please the council I believe. In 1973 I set up Hobo Magazine and in 1974 Hobo Workshop at the Holyhead Youth Centre to replace what was lost from the Umbrella. The Umbrella supported this move with an offer of the use of their duplicator and Henry West was instrumental in facilitating us via the Holyhead Youth Centre and the mutually beneficial support of his detached youth worker Bob Rhodes. (More of this in the post Hobo Workshop)

Here is Terry’s petition for the ‘Recovery of the Umbrella Club – 1973′

RECOVERING THE UMBRELLA

If you walk along Queen Victoria Road from Queen’s Road towards the city, you will notice on your right hand a long, narrow demolition site, a gap like a missing tooth.

This gap leaves an empty space not only in the city scene but also in many people’s lives, for until recently it was the site of the premises of Coventry’s Umbrella Arts Club.

For the first time since 1955 the umbrella has been left without premises of it’s own.

It was like no other organisation, it provided opportunities for development of latent abilities in creatively minded people.

Many case histories could be cited of individuals who, having joined the Umbrella, attracted by it’s atmosphere or its activities, discovered in themselves hidden talents which they never imagined existed.

This happened at all age: there is a man of seventy who will tell you with great enthusiasm how he took up oil painting as a result of Umbrella contacts; but mostly the Umbrella catered for the 18 – 35 age group, of which the leisure welfare is not officially so well served as in the case of older or younger age-groups.

Take the case of the young man, Michael, who inclinations has been vaguely directed towards what one might call the seedier aspects of Coventry’s night life, who on contact with the Umbrella began to develop an interest in the way the club organised its activities, became an elected voluntary officer and after considerably improving his position in the firm he worked for got married (through a friendship made a t the Umbrella) and eventually moved down to the West Country where he and his wife are running a most successful guest house and riding stables. He will readily admit that it was the Umbrella which gave his life meaning and purpose at a critical stage.

Or consider Dorothy, who was, as they say, a girl at risk at the time when she drifted into the Umbrella club for a late night coffee. She was curiously fascinated by some paintings which happened to be displayed on the walls, was prompted to ask what went on in this place, consequently attended one or two drama group meetings, subsequently helped in a determined and increasingly efficient manner with some necessary typing, courses, and eventually got herself a university place and achieved considerable academic success. She will described how the Umbrella opened her eyes to undreamed of possibilities for the development of her life.

Time and again the Umbrella has acted as a catalyst for unexplored potential.

It was a context which in many subtle and almost undefinable ways stimulated people to think creatively. It made them rethink their life-patterns. It made them sometimes discontented, and then provided satisfaction in its own activities, or prompted them to begin a quest for fulfilment elsewhere.

One basic factor was the permanent availability of the place itself, providing an ambience neutral except in so far as it was permeated by an interest in the arts, not obtrusively so, but pervasively there in the décor, displays and activities.

This permanent meeting place drew people together in various ways, producing a cross-fertilisation of ideas, always with the possibility of making things actually happen.

It is not the writer’s intention to stress unduly the socially therapeutic value of the work of the Umbrella: it was a spin-off of the method and never deliberate policy. It is far from the truth that members or visitors should be looked upon or regard themselves as ‘cases’.

New arrivals were struck by the openness of conversation and the ease of social contacts. This was often remarked upon. People were accepted and accepted each other as unique individuals whatever their work or life situation elsewhere might be.

If the Umbrella is so desirable, what then is the problem? Just the provision of a place. Since 1955, until recently, the Umbrella has rented property from Coventry Corporation, first at 97, Little Park St. and then 18, Queen Victoria Road. Now it has not been possible to find suitable alternative accommodation, with the inevitable march of redevelopment, and the Umbrella meets occasionally in a hired room, which is not at all what it is about.

It needs a place to meet regularly, suitable to be made into a reasonably attractive social meeting place with a modest coffee bar, and a room for talks, discussions and the playing of music, with facilities for the display of pictures and other art objects, with an area for the carrying out of necessary administration functions. It’s good if it can be open late, so that it is useful if it can be near central transport facilities.

Some people call this kind of place an arts centre, but this terminology can lead to confusion with things of a related but different kind, such as the plush arts faculty of the University of Warwick, desirable but objectively very different in function.

So what can we call it? What better than an ‘Arts Umbrella’

Terry Watson (Organiser of Coventry Arts Umbrella Club) c 1973
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Umbrella Programmes 1968 – 1974

Click on the link below to open the pdf file containing copies of the Umbrella club programme 1968 – 1974. You can either view the programmes or go into the menu and save the pdf file to your computer free. These programmes cover some of the time at !8, Queen Victoria Road and in 1974 at The Charterhouse.

The pdf file does not contain the full set of programmes for this period – only those I still have in my personal collection but it does give a good insight into the type of programme the club presented back then.


Some of the Coventry Arts Umbrella Programme sheets between 1968 – 1974 on pdf –

 
 Download the PDF HERE via Google Docs. 






Tovers the wide range of events and activities of the Umbrella. However not all of the programmes are in this collection. You’ll find more in Coventry Archives at the Herbert Museum in Cov. 


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Umbrella Art

Heather Lovett (Varney)’s Art Exhibition Notice

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Umbrella Film Club

Advert from Umbrella Magazine between 1959 – 61

Some of these films have been re-shown recently at the Lanchester gallery in Coventry – Shadow Codex event

Lanchester Gallery Project (LGP) hosted a weekly film night as part of the exhibition OUR SHADOW CODEX. Each Wednesday, LGP screened a programme of rare films and video in the gallery. The selection is drawn from Alan Van Wijgerden’s collection and the original 1960s programme of the Umbrella Film Club. The Umbrella Club was initiated in 1955 by Coventry City Architects Department to encourage the appreciation and practice of arts. Van Wijgerden is a local video artist and documentary maker, who over the last three decades has methodically recorded the political transformation in Coventry. The cinema architecture has been incorporated into the installation build.

…………………………………………..
http://lanchestergalleryprojects.org.uk/project/our-shadow-codex-film-club/

OTHER FILMS SHOWN AT THE UMBRELLA CLUB INCLUDED –

During the Transcendental Cauldron 31st Oct -2nd Nov 1969 –
Scorpio Rising – Director Kenneth Anger 1964
Relativity – Director Ed Emshwiller 1966
Sins of the Fleshapoids – Director Mike Kuchar 1964

OFF – ON  10 minute supporting short directed by Richard Bartlett

See the Transcendental Cauldron post for more details on these films.

Many more if you look through the Programmes pdf file (on another post here)

From the current Umbrella Website, a sad on the demise of Malcolm Curtis
” Malcolm Curtis, who many of you will remember as the live wire behind the film group, responsible eventually for shooting the film ‘Under the Umbrella‘ for the 10th anniversary in 1965. He kept the film group going till the Club became non-viable in the mid 70s.”
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Summer with Monika – “One of the early films shown at the Umbrella at Little Park Street.

Summer with Monika (Swedish: Sommaren med Monika) is a 1953 Swedish film directed by Ingmar Bergman. It sparked controversy abroad for its frank depiction of nudity, and along with the film One Summer of Happiness from the year before, directed by Arne Mattsson, it started the reputation of Sweden as a sexually liberated place.

The film made a star of its lead actress, Harriet Andersson. Bergman had been intimately involved with Andersson at the time and conceived the film as a vehicle for her. This marks an important shift in Bergman’s portrayal of women on screen; the sexual objectification of Andersson is evident throughout the piece and subsequent works. The two of them would go on to make several other films together, even after their romantic relationship had ended, most notably Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), and Through a Glass Darkly (1961).”

(From http://en.wikipedia.org/wiki/Summer_with_Monika )


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DEVILISH TIMES AT THE COVENTRY ARTS UMBRELLA

One of the memories I and some others like Chris Jones have, is of the Umbrella seances that happened about 1970. I never took part in one but i remember this particular night –


One Saturday night, late after the pubs had closed and all the events of the Umbrella had finished except for the progressive disco in the upstairs room, with DJ’s Al and Steve Varney, there was a seance in the coffee bar downstairs. The DJ’s played a selection of the latest albums such as taste, Pink Floyd, Black Sabbath, Led Zepplin to a small hippy crowd.

However on this occasion the coffee bar was the scene of a seance. There had been a few around that time, after midnight discussions in the coffee bar! There was a smallish group, some regular some not. Some participants had been rumoured to have been possessed. It was a bit scary – I never joined in!

Sometimes the DJ’s upstairs engineered the music to be at it’s most scary – turning up full, for example, Pink Floyd’s Careful with that Axe Eugene with its harrowing screaming midway and playing Black Sabbath. The participants downstairs were not shaken however – the music was familiar to anyone who frequented the Umbrella on a Saturday night.

At some stage I went down stairs and was tinkering about on the piano and Al Docker’s drums in the middle down stairs room. Anyone coming to the Umbrella and going to the coffee bar had to go past the door and I would see them. It was nearly 2 am in the morning and unlikely that anyone would come into the Umbrella at that time and I was bleary eyed by then. Suddenly I was sure i saw the devil walk past towards the coffee bar. Ok I thought – it’s late at night and semi dark – no I couldn’t have seen the devil – time to go home get some sleep! – and yet I distinctly remember it had horns, and devil’s tail and fork –  a very conventional devil I must say! At first there was no sound so I did wonder if it had been my imagination and wrote it off  as a trick of the night!

Meanwhile things were getting very tense in the coffee bar with screams followed by calming voices of the occupants. They were calling up Rasputin – this was apparently quite dodgy. Then suddenly there was a devil of a collective scream that made even the drums shudder. I rushed into the coffee bar to see what had happened. Sure enough there was the devil in all his glory, tail and horns and people rushing past to the toilet in a great hurry!
It transpired it was an actor from the Belgrade Theatre who had heard on the grapevine about these seances and was a nonbeliever. So raiding the Belgrade’s costume department, he decided to illustrate the point! Being an actor his timing was superb. After I’d seen him go past – he waited in the ‘wings’ as it were until just the right moment – and when he heard them calling up Rasputin and the glass had become animated – he stepped into the room. It was the stuff of Oscars! 

After that lights went on, coffee was made and the most heated of discussions ensued. I was mighty glad that it was an actor and that I hadn’t been seeing things and i think there was a great feeling of relief all round.

I think they stopped after that!
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Umbrella Club at the Charterhouse, Coventry

In 1974 the Coventry Arts Umbrella Club operated in the Charterhouse off the London Road, Coventry. Activities at the Charterhouse are covered in the Umbrella Programmes in another post on this blog.

The following photos are from an article int he Coventry Evening Telegraph in the 70’s
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