Thursday 29th September 6.30pm – 8.30pm
For pupils currently in years 5 & 6 and their parents.
If you would like to see the school, other than during the open
evening, we have appointments available W/C Monday 19th
September. Please contact the school office for an appointment
We look forward to meeting you. 
A surprisingly good harvest in the end, but it heralds a difficult winter, fears Tarrant Valley farmer James Cossins
This year’s harvest of cereals, oilseeds and beans was completed in record time, finishing just a month after starting when it normally takes two. Yields were surprisingly good, especially for the wheat, when you consider how little rainfall we had during the growing season. Obviously the record amount of sunshine made the difference. Our biggest fear towards the end of harvest was the risk of fire in the fields we were working in.
The combines were meticulously cleaned off each morning – any build up of dust around the engine could start a fire. There were several days when fires could be seen all around by mid-afternoon. On one occasion I thought Blandford Camp was on fire, but in fact it was a stubble fire near Pimperne.
We completed harvest without a major incident, although we had a roadside verge fire near Ashley Wood Golf Course which burned a small amount of stubble; the cause is not known, but probably a cigarette from a passing car.
No forage crops
The cattle side of the farm has been far more challenging – milk production has suffered a little in the heat and dryness.
With little or no grass growth over the last few months and very little rain to speak of, we have had to supplement the cattle’s feed, initially using baled silage and hay from last year or barley straw to keep them satisfied.
We are just beginning to feed some of this year’s silage to the herd. We will have to monitor the feed stocks carefully to make sure the milking herd doesn’t run short of the best silage.
We also rely on forage crops such as turnips to outwinter some cattle. These crops have been sown for about a month now, but there’s little sign of germination. They may have to be redrilled – or maybe we just wait for rain. Whatever happens, it is going to be a challenging winter for our stock. One option may be to sell some, now that we are TB free, before our next test in November.
Being sucked dry
Prices of energy are back making the headlines. With fertiliser prices closely related to the energy price we have managed to secure some of next year’s fertiliser, which has already been delivered. More will be needed but who knows what price it will be, or if it will even be available?
One of only two fertiliser plants in the UK has shut and we may be more reliant on imports, which is never good news.
The river Tarrant which flows through the farm is now completely dry. The last time this happened was in 1976, when most of the fish were removed before it dried up entirely. I do wonder about the effect on our local area of the water extraction from the bore holes at Shapwick, Sturminster Marshall, Black Lane near Blandford and at Stubhampton at the head of the Tarrant. Many millions of litres of water are being removed every day, not only supplying the local area but also being pumped further afield. I will monitor closely when the Tarrant decides to flow again. It rather feels at the moment like we are being sucked dry.
And finally
On a positive note it was great to spend a day at the excellently-organised Gillingham & Shaftesbury Show. Judging by the car parks, it must have had near-record attendance.
Sponsored by Trethowans – Law as it should be
Edwina Baines talked to Ursula Leach, known for her spare and richly-layered paintings of Cranborne Chase and the Blackmore Vale, in her Iwerne Minster studio.
The distant horizons of Cranborne Chase have long been a source of inspiration for famous artists including Lucian Freud and Elisabeth Frink. This vast, ancient landscape is built of rolling chalk grassland and escarpments, ancient woodlands, downland hillsides and river valleys, each with a distinct and recognisable character.
For most of her career artist Ursula Leach has drawn on the Chase for inspiration, but a move to Iwerne Minster five years ago has led her to explore the hedgerows (or lack of them) and different agricultural practices in the heart of the Blackmore Vale.
Better out than in
In the light, airy studio in her garden on a recent hot summer morning, she told me that although she continues to draw, she does not paint so much in the summer, as she prefers to be outside. She cycles around the Vale and walks with ‘my naughty mongrel Cloud’ – a dear little dog with a touch of Plummer Terrier. Ursula can access both the Chase and the Vale from her studio. It is on these excursions where an idea for a painting emerges. ‘Something will catch my attention in a glance. It’s no good going out looking for something. When I’m outside walking and I start to draw, it creates an appetite and I make masses of quick sketches to create an idea for a painting.’
Ursula draws attention to stunted and isolated hedgerows and the vast monocultures of modern farming methods. She wants the viewer to gain a different perspective of the landscape which is ‘revelatory rather than accusatory’ and to question our relationship with the natural world.
Vivid blocks of bright oil colour are used to bring landscapes to life, suggesting current agricultural practices and the gradual effects of climate change. The simplicity of the forms and use of the almost fluorescent colours within her work are intended to elicit a strong emotional response in the viewer.
‘I was always a country girl’ Ursula tells me.
She was brought up in a Yorkshire village until the age of nine when the family moved to Hampshire. But at an even earlier age, a painting she fell in love with in the art room at school decided her on a future career.
Following a course in fine art, where she was ‘taught how to look’, Ursula returned some years later as a mature student to Farnham Art College (now the University of Creative Arts) to follow a printmaking degree.
A ten year period of mainly printmaking followed, starting with very large monochrome etchings. But a desire to use colour made her search for another method of making prints. Carborundum is a gritty substance which, when mixed with PVA, creates a rough surface on the printing plate. This holds a lot of ink, and makes for rich velvety colours when inked up and printed. An initial base of colour is applied to the paper ‘to set the mood’ and the plate is printed with a very heavy Hunter Penrose etching press.
‘It’s hard work’ Ursula admitted, but the vivid results are well worth the effort. However, a desire for even more vibrant colours resulted in a return to painting.
Ursula is now planning a series of black and white drypoints. ‘It’s all about line, and it’s fun to experiment.’ Drypoint is a method that involves scratching an image onto a plate with a pointed tool. The incised line or area holds the ink and creates the image.
A competitive world
Ursula’s painting career really took off in the 1990s when she started selling prints in London. She had a lucky break after showing a large work at one of the UK’s most important art competitions – the Hunting Art Prize exhibition at the Royal College of Art. Subsequently, she received a letter from a woman who wanted to include her work in a new London gallery.
Ursula’s sound advice to young artists is ‘Go in for competitions! Keep at it. It’s a very competitive world now but it’s not a competitive activity. There’s so much luck involved.’
In 1996 Ursula was elected to the Royal Society of Painter-Printmakers, one of the world’s premier printmaking organisations. All of the society’s members are practising professional printmakers, elected after a rigorous selection by a panel of their peers. Their home is at Bankside Gallery, next to Tate Modern, where they hold regular exhibitions showcasing the best in contemporary printmaking.
Ursula says ‘if you live in the country it’s harder to meet both your audience and the major galleries.’ Currently her work is also shown at the Oliver Contemporary Gallery in Wandsworth.
A new exhibition is planned at Black Swan Arts in Frome with six other artists who live and work in Dorset and Hampshire. Group 7, as they are known, are all long-term practitioners who have a strong commitment to the media of drawing, painting and printmaking.
Another solo exhibition, at The Art Stable in Child Okeford, is in the pipeline for 2024. Hedgerows in the Vale may develop into the focus for this show, so look out for Ursula out cycling or walking with Cloud, camera and sketchbook in hand, examining the local field systems.
‘For me it always come back to colour in the landscape which catches my eye’
Find Ursula on Instagram
@ursulaleach01
Baffled by the exam system and what those grades actually mean? Kingston Maurward’s Principal Luke Rake has an explanation for all us confused ones
The summer holidays usually mean a quieter time for newspapers, with Parliament in recess and editors scrabbling around during the “silly season” with things to fill their column inches (not The BV of course), but not in this exceptional year, with the Ukraine war, the drought, the energy and cost of living crisis and the Tory leadership battle.Thankfully, the annual release of GCSE and A Level results (and a load of other qualifications one never hears of, but more on that later) provides a glorious opportunity to fill space with images of leaping young people, and the strong suggestion by many papers – particularly The Telegraph – that the only people who did A levels were girls (don’t believe me? Just check the coverage to see the innate media bias). The successes of strong A Levels from boys, or of students studying for qualifications such as BTEC and City & Guilds (of which there are more), simply disappears into the ether.
This year was notable for the changes that were required after the teacher-assessed grades during the pandemic, and the resulting shift in grade proportions during the process. It also highlighted again the changes in the last few years – what on earth is a Grade 8 or a 7 anyway? How does it compare to what we may have done when we were at school? And this year there were also questions about why the proportions of teenagers getting top marks had gone down.
Last year was different
First things first. GCSE grades changed a few years ago to allow for more fairness and accuracy at the top end. The number of students gaining the highest grade was continuing to increase (why this happens in a minute) and so the system was changed, alongside shifts under then Secretary of State Michael Gove to remove coursework from large numbers of subjects and move to more ’traditional’ end-of-year examinations.
Perhaps surprisingly, this more old-fashioned approach to having just examinations – coming with its own stresses and strains – has actually been shown to be a fairer system for students from lower income families, and thus more suitable to enable social mobility.
Interestingly, coursework generally favours more affluent students who have better home and support networks and availabliity of private study space. This is important, as it helps explain the big shifts during the pandemic. The scoring system for GCSE changed to the one in the image on the left – any student with a 7 or above has clearly achieved great things. But then, by the same token, so will a student who has struggled with academic study and gets a 4, which is the ‘gateway’ level at 16. For those of us even older, this Grade 4 is the same as an O Level C or CSE Grade 1.
But why were the grades increasing? The usual red-top arguments are that the exams are getting easier. A similarly silly rationale is that students are getting brighter.
More sensible views would note that, as new examinations systems come in, it takes time to really understand how to deliver them, not only for the test but beginning to prepare students as early as year 7 (that’s the first year of secondary school!). It is also worth noting that the examination bodies are businesses. They operate in a competitive market, so if, for example, one board gets a slightly higher proportion of students who achieve a 9, that perhaps provides them with some greater appeal. Schools can – and do – switch boards from time to time.
Most importantly, though, the grade boundaries are set by the boards themselves, and this shifts every single year. Thus, the exact same exam score may elicit a different grade in different years. This profiling (or norm-referencing) enables the exam boards to control precisely the proportion of students who get a certain grade and prevent wide swings. As such, it’s entirely within THEIR control what happens, not the kids’.
Why the big shifts?
During the lockdown periods of the pandemic, students (including my own children) were unable to sit exams and as such were awarded grades according to school-assessed performance measures. These were then aggregated by the exam boards and then, importantly, normalised by the Department for Education using the now-infamous algorithm. This caused a huge surge in top grades, and also significantly also favoured the more affluent and independent schools.
This is because the system was hard-baked into a sociological process where students were being assessed on what they had already done and the confidence of staff on how they may do. There is bias all over this, most of it unconscious. Teachers routinely over-estimate student grades and ability (which is why predicted grades are treated with a massive pinch of salt at A level by the universities). This was particularly noticeable where students came from affluent families, which is why those students have this year, proportionately, seen the largest reduction in the top grades.
Schools cannot improve equality or change the background of their students. They have enough else to do, and they do it brilliantly.
As a result, the whole grade system fell down, as the usual processes to manage the proportions of students at each level weren’t in play. They needed rebalancing this year through a proportionate shift back, down to nearer 2019 levels of performance. They will almost certainly need one more year of rebalancing, and then we will return to the usual process where the number of passes and top grades incrementally improves by 0.3% or so every year – until we have another step-change in how students are assessed. I’m on the 15th Secretary of State for Education in my career – another one will be along in a minute, so it’ll always be changing.
A final thought for those of you with children, like my own, who sat A Levels or GCSEs this summer. Their grades will undoubtedly be lower than had they received centre-assessed grades two years ago. Those grades will thus be competing in the work market for jobs in the future.
It really isn’t, and was both completely predictable and entirely avoidable. Gavin Williamson was clearly asleep at the wheel.
However, in the long run, it is unlikely to make a permanent difference, although this requires time to be sure. Grades tend only to be used as staging posts at certain times, and as such the competition tends to be from the same peer group (getting into Uni for example). If you’re over 30, when was the last time someone asked about your exam grades?
Skills and attitudes
What’s far more important is the range of skills young people develop around the hard grades – and this is what is most important now. Students need to be getting jobs, doing volunteer work, exercising, socialising and getting as many strings to their bows as possible.
Your CV gets you an interview, your attitude gets you the job.
For those of you who got your grades this summer – don’t worry, whatever they are. I know plenty of people with top grades and Oxbridge degrees who are far less happy than those without and who work in trades, and they are also frequently less financially secure. Yes, you really need to get your maths and English, which is why if you’ve not yet got a 4, any sixth form or college will make you resit and continue teaching you those subjects. Outside that, though, there’s more that matters.
There is a world out there beyond the mundane path of GCSE > A Level > University. It’s actually the one most people take, whatever the mainstream media likes to tell us.
The path you take is something only you can choose; just enjoy the journey.
The 26 mile Jurassic Coast Mighty Hike takes place on the 10th September in aid of MacMillan Cancer Support. Joining in this year is a local team from Rose Engineering, a family-run engineering and construction company: ‘We wanted to raise money but also to raise awareness of the wonderful work Macmillan do. It’s a bonus that it’s getting us all a bit more active as well!’, said Tom Rose, Managing Director.
The facts are sobering; three million people are living with cancer in the UK, and it is increasing each year. MacMillan Cancer Support aims to help everyone with cancer live life as fully as they can, providing physical, financial and emotional support.
The Rose Engineering team have been training across the hills of Dorset over the past few months, committed to being fully prepared for the hiking challenge.
‘It’s going to be a tough challenge but we’re all training hard in the lead up to it. The amazing coastal views will push the team on.’ said Rupert Hayes, Operations Manager.
The Mighty Hike will take hundreds of walkers on the marathon-length route (see it here) from the starting point at Lodmoor Country Park in Weymouth, along the South West Coast Path and through the Dorset countryside to finish near Corfe Castle. As any local walker knowns, the terrain along the coastal route contains plenty of steep hill climbs – and despite expectations, going down again is never much more fun than climbing up for tired legs.
‘We’ve received some great support from local businesses and individuals who have sponsored our team, but we still have a way to go to reach our target. If you can support us, and MacMillan, please do visit our JustGiving page to make a donation. We’d be so grateful.’ said Anita Beaumont, Marketing Officer.
13th September 2002
In loving memory of a dear daughter and sister. Love from Mum, Vivian and family
The energy bill
Is there any help on the horizon to mitigate the energy bills? How do we survive?
I literally don’t know.
My contract just came to an end, and my renewal offer to fix a rate for the next 12 months is over £700 a month. It is … ridiculous. I’m struggling to understand that it’s actually real, and not an admin error.
I’m a single parent to two. I work full time. I’m not on any benefits. My teens have part time jobs. We do OK – but how am I supposed to just whisk up an extra £500 a month?
I keep searching and hoping, but there seems to be no answers or help from any quarter. The government are silent – SILENT! – during a national crisis that is genuinely more frightening than any I can personally remember.
And if one more person tells me to get thicker curtains or to turn off appliances I’m not using, there may be bloodshed.
John Farrer
Sherborne
Our missing MP
I always enjoy Simon Hoare’s contributions to The BV – I admit I’m an ‘undecided’ voter but have always considered North Dorset lucky in their representative, and value his opinion and thoughts. But I can’t help but notice that he has been Missing In Action a few times in the last few issues.
Understandable occasionally – yet I have observed he doesn’t fail to appear in a certain fortnightly printed title under a similar name.
Can it be that he values the readers of that paper more? They will, inevitably, be the older demographic, and therefore we all know they are those most likely to vote.
The BV is by far the superior publication in terms of reporting and content – and when I stopped to speak to you at the G&S Show (you did an excellent job on the show magazine, by the way) I saw the stats board in your marquee; I know The BV’s circulation to be considerable. You only need to follow your social media to see your instant connection with your readers.
And yet Mr Hoare doesn’t appear to value The BV enough to commit to a regular contribution?
Or perhaps it is your (what I presume to be) naturally younger, more digitally-conversant readership – who we all know are less likely to make time to vote, especially when we are all so disenchanted and disenfranchised with politicians – that he feels no need to engage with?
Interesting.
And possibly rather foolish.
Dr Charles Mathews
nr Sherborne
Our missing government
What is happening with our zombie government? We have had weeks of this beauty pageant of two candidates. Our alleged caretaker PM is off on holiday (again). Meanwhile, inflation is at the highest rate for 40 years. Wages are so universally low they are unlivable, and we face a winter of increasing strikes (those old enough will remember how much fun that wasn’t in the 70s). Our energy bills are so eye-watering it is impossible to grasp the reality of them.
Local businesses are already closing down – the domino effect has begun, many many more are holding on by their fingertips, but there’s no way they’ll stay afloat when their current contracts run out.
The times are not ordinary.
We need an extra-ordinary reaction to them.
Why was our government allowed to simply wash its hands of the whole energy crisis and say ‘not my job, love, wait for the next guy’?
Why is the country looking to a powerless Martin Lewis for guidance?
I am so angry at them all.
Shona B
Nr. Shaftesbury
Truss and Sunak
Thank you for your coverage of Liz Truss and Rishi Sunak visiting Dorset. It was an interesting and balanced article (contrary to what one person amusingly seemed to think on Facebook, before admitting they’d not actually read the article in question!), and it should have allowed us to gain a small insight into their responses to a few pertinent rural issues.
Sadly by following their summer campaigns more I see their responses were simply their cookie-cutter ‘right, we’re in the country so we need to talk about how great farmers are’ responses. Genuine insight into what our next prime minister may do for deprived rural areas and deep-seated planning issues feel further off then ever.
Tom Brady
Verwood
What a travesty that a residential home is closing in Shaftesbury due to the inability to fill beds and thus keeping finances viable. Working in the NHS and trying to admit very ill people to overcrowded hospitals, we are informed time and again that there are no beds because there are no available placements to discharge people to.
There have been eight empty rooms at Pepperell house. How can this be? Why have these rooms not been filled? Why is there not a long waiting list as there is in other care establishments?
Of course I don’t know the answers to these questions but would it not be worth a public enquiry to see if this hugely valuable resource could not be kept open?
I imagine it has been a difficult task for the trustees to negotiate the pandemic but there are other willing volunteers who would step immediately into the trustee roles that the present trustees are vacating. Is it not worth having another try to keep Pepperell open?
Shaftesbury has an ageing and ever-expanding population. Residential settings for our elderly (soon to include all of us) and especially affordable ones are like gold dust. They should not need to be closed down, they need to have priority status.
And the above does not begin to address the devastation to residents and families who are losing their homes with such short notice. No doubt it will be nigh-on impossible to find other suitable accomadation, let alone a new ‘home’ which is what Pepperell most certainly is for its very elderly residents. A safe home and an established community .
Dr Katherine Gowing
by email
May I thank you for your frank honesty in your editor’s letter this month?
I too am an overweight middle-aged mum (there are a lot of us out there), and your letter really struck a chord.
Why was I sitting at home waiting for the right body before I braved the outside world in some sportswear?
I’m not as brave as you; contact sport is defitely not my thing. But I DID used to love cycling – so I pulled the bike out of the shed and hit the road, lycra-clad wobbly thighs and all.
And it was brilliant!
I’m so angry at myself for forgetting how much I loved it. Yes, OK, I couldn’t walk for two days afterwards – but I was soon back on it again, this time with my teenage daughter alongside me.
It’s become a regular evening mum-and-daughter activity, just for an hour, and we’re both loving it.
My aching thighs thank you.
Charlotte L
Blandford
I should like to express many grateful thanks to Laura and Ian of Swallowcliffe who came to my aid after a nasty fall outside of Tesco Shaftesbury on Saturday August 12th. They finished my shopping and escorted me home. I am glad to say that such great kindness exists. Ever grateful.
M. Forster
Shaftesbury
Join Wayne for a fascinating event to celebrate his explosive new novel Picture You Dead, the latest Roy Grace thriller from the number one bestseller Peter James.
Much loved by crime and thriller fans for his fast-paced page-turners full of unexpected plot twists, sinister characters and accurate portrayal of modern day policing, Peter James has won more than 40 awards for his work, including the WHSmith Best Crime Author of All Time Award and Crime Writers’ Association Diamond Dagger.
In Picture You Dead, readers discover the darkness that lurks around every corner in the latest instalment of Peter James’s award-winning detective series, which is now a major ITV programme starring John Simm as Roy Grace.
Harry and Freya, an ordinary couple, dreamed for years of finding something priceless buried among the tat in a car boot sale. It was a dream they knew in their hearts would never come true … until the day it did.
They buy a drab portrait for a few pounds for its beautiful frame, planning to cut the painting out. Then, back at home, they realise there seems to be another picture underneath – and it’s a stunning landscape.
Could it be a long lost masterpiece from 1770? If so, it could be worth millions.
One collector is certain it is genuine. He is someone who uses any method he can to get what he wants and will stop at nothing.
Detective Superintendent Roy Grace finds himself plunged into the unfamiliar and rarefied world of fine art.
Outwardly it appears respectable, gentlemanly, above reproach. But beneath the veneer, he rapidly finds that greed, deception and violence walk hand-in-hand.
And Harry and Freya Kipling are about to discover that their dream is turning into their worst nightmare.
‘Sinister and riveting … Peter James is one of the best British crime writers, and therefore one of the best in the world.’ Lee Child
Tickets for the talk in Sherborne are £5 from Winstone’s or online here. The ticket price is redeemable against the book
All Floyd’s 2022 tour comes to Dorset this month; faithfylly recreating the classic Pink Floyd anthology in the meticulous detail now expected by All Floyd fans. Delivered with stunning visuals and world-class sound system (surround sound in selected theatres) the 2022 tour builds on the successes of previous tours to both astound and impress even the most hardened of tribute act doubters…
‘Number after number turned out immaculately, note-perfect, complete with backing singers and that wonderful, rich throbbing sound that Floyd fans will be familiar with. Messers Mason, Gilmour, Waters, Wright and Barrett would have been proud to hear their music so faithfully rendered. Close your eyes and they could have been in the room. They weren’t, but they could have been.’
This is a show not to miss, a spectacular and honest display of Pink Floyd’s rich musical legacy featuring tracks from Meddle and the iconic Dark Side of the Moon through to The Division Bell.”
rday 1st October at The Barrington Theatre, Ferndown. Tickets £19.50 direct from the venue here.
