Dave Ellwand

I work freelance, taking advantage of early retirement from work in a local government setting.

I had extensive experience in management, training, development, monitoring and reporting in play, youthwork, community & adult education. I was strongly committed to this work, but I did not fit with the local government institutions for which I worked. To some extent, as a survival technique, I played with ideas and projects. It was innovative, but it was also enjoying the idea of playing while still respecting the well-being of colleagues, managers and learners. I stood back a little from the corporate ethos and house-styles, observed, looking for alternative,  ethical and creative approaches. I learned from work in other parts of the world, particularly the Commonwealth nations and Europe, wondering how we can make a difference by changing what we do, how and with whom. The additional outside perspectives made it easier to see what was under my nose – a great many skilful and talented  people, working hard, under-recognised and with similar frustrations to my own.

I learned a great deal also from 12 years of inspecting the leadership, quality and impact of learning and skills for adults, their families and their communities and of multi-disciplinary, multi-agency children’s centres in this country. In these inspections and in training or consultancies, I found many people with passions, working ethically and with dedication and commitment to the beneficiaries of the services they provide. Many  organisations fail to sustain, nurture or support this with appropriate leadership and management. Those insights and experiences are a lot to reflect upon and build from, including even the bad ones.  The reflections on that explicitly underpin the consultancies, mentoring and brokering I provide.

I also have a passionate involvement with performing and visual arts, trees and landscapes, which refresh and inform my freelance work as well as providing a way in which I can engage with communities and environments. I had explored music as a personal therapy, then, still as something very personal, as a relief from the frustrations of working for an uncaring, anti-creative,  life-sapping and ill-led public authority. Now, with greater independence in my work, I am more able to share music with others.

My freelance work currently includes  consultancies in music production, adult education, in learning and skills and in children’s centres. My work at the Shrewsbury Centre of the University of Chester contributes to 3 trans-national projects of research, consultancy and teaching about the social and intellectual well-being of older people, including for those caught up in serious life changes or being facilitated to mentor young people. A fourth trans-national project, BreakDown/BreakOut, maps and values projects around people on the margins of employment. These projects focus on their social enterprise, creativity and on the benefits to the community, such as gains in health, integration, self-worth and autonomy of action. Other European collaborations include gamification to explore motivation, innovation, societal relationships and enterprise, urban forests and orchards.

a link to Education Consultancies

I’ve a separate listing here for some of my other work, much of which has grown out of deeply held passions:

working with music with roots;  writing and making programmes about music, food and communities;

managing projects; producing and performing;

making concerts, sound installations and surprises in cherished spaces such as museums & forests;

providing consultancies for arts, heritage, environment & cultural organisations;

working with trees and landscapes – from conservation and development of wildlife habitats to researching and creating sustainable food, drink and treen production in woodland, orchards, parks with the fruits and materials that trees provide;

mentoring people who put their hearts and souls into work with people and supporting their resilience;

telling and collecting stories;

developing play, oracy and creative work with children and their families.

All this extends my passions into the work I do and for which sometimes I get paid. It keeps me busy, provide a series of valued social interactions and is a source of fulfilment and occasional enjoyment. Yet it has a significance for me that goes far beyond that. These activities define who I am and what I value in a way in which my former and formal work never did. They are also a source  of nostalgia,* of opportunities for deep reflection and, in troubling times, a source of hope. This understanding has helped me work with people who have lost parts of their lives which they had come to feel had defined their place in the world.

All these contexts and contacts for my current work are, from one viewpoint, all over the place. But there is something they have in common, that they shine a light on changing but vital concepts or expressions that capture our human values, myths and beliefs and which can guide our actions. These concepts wind through our communities, languages, heritage, food, art, music, stories and the making of our homes and gardens, as do the words we use to describe them. Some of these connect, some contrast but I have a chance to reflect on this mix of elements. This is giving shape to a longer project for me, that researches, formulates and documents those principles we hold in common and which have value as measures of and remedies for alienation and powerlessness.

*expression ‘used first in 1688 by Johannes Hoffer (1669 -1752) as a term for a serious medical disorder of soldiers away from home. nostalgia or mal du pays – also known as mal du Suisse “Swiss illness” or Schweizerheimweh “Swiss homesickness,” because of its frequent occurrence in Swiss mercenary soldiers,  who in the plains or lowlands of France or Italy were pining for their native mountain landscapes. Symptoms were also thought to include fainting, high fever, indigestion, stomach pain, and death. ‘ (from Wikipaedia article “Nostalgia”

The word is coined from Homeric and Classical Greek  (νόστος, returning to a homeland; άλγος, pain or longing.) Now it’s commonly a more wistful term – used often as an unrealistic and over-emotional looking back at idealised elements of the past. It’s still a good word to use in association with heritage and community, when exploring people’s understandings,  meanings, values and perceptions. Some of these are real, some imagined or dreamed, but that sense of a baseline in the past or in their home territory provides some powerful forces. Currently it is easy to suggest that people are increasingly and in an accelerating way experiencing a dislocation from their roots which an earlier generation are thought not to have felt.

So “nostalgia” has an element from its original meaning, its impact is a death of part of our past and our souls, with serious awareness of what we are losing from our interrelationships with the natural and human worlds. It’s not just about missing something which you’ve left behind. It’s realising that even when you come back, what’s there has changed,  gaining an otherness.  There are simultaneous several versions of that something which can’t be reconciled: what you’ve lost from your world-view and your self-view: the idealised memory of it which you hold still; what it’s become while you’ve been away; what experience or memory of it are held by significant others and what it actually was in the context of the original time and space. All these have taken separate paths, all hard to realise and hard to reconstruct as a source of strength in combatting rootlessness, powerlessness and cultural exile.

“ νόστον δίζηαι μελιηδέα, φαίδιμ᾽ Ὀδυσσεῦ: “