Val Rumbol (née Bishop) and Pat Field (née Millar), 1976
From 1974 to 2024 – a trip back in time
When Pat reached out to organise a 50th reunion for a group of UWE Bristol alumni, I knew we were about to witness something special. This group of friends has stayed connected since their student days, studying HND Business Studies (International Marketing and Languages) from 1974-1976 at Bristol Polytechnic.
Pat’s original HND Business Studies (International Marketing and Languages) leaflets from 1970s
Their gathering was a celebration of enduring friendship, personal growth, and shared memories.
Walking through the bustling Frenchay Campus on an autumnal Friday morning, they marvelled not only at the expanded facilities but at the vibrant energy that seemed to mirror their own student days. This was the first time they had stepped foot on site since graduating in 1976. Finding what may have been their old lecture theatre was a true highlight—bringing back flashes of memories of long-ago classes and youthful ambition.
Frenchay campus, 1976
“We knew there would be lots of changes and developments to the buildings and the educational opportunities, but we were really blown away by what we saw, especially the Business and Law School. It was so impressive! The quality of materials used, and the thoughtful design have resulted in a fantastic place to study. Lucky students of today!”
Patricia Field, UWE Bristol alumni and reunion organiser.
Lifelong friendships
We reminisced about their student years, looking through some old photos at bars and various meet ups spanning the past 50 years.
Park Street 1975
They recalled their first year at Unity Street – now a block of flats in the centre of Bristol – and how much has changed. Pat and her husband, Ian, recalled those days fondly. As a lifelong friend of the group, Ian proudly claims an unofficial ‘honorary alum’ status.
Unity Street Polytechnic building, where they studied in their first year
Despite their busy schedule, the group even fitted in a group zoom call with a course member in America, Martyn Holland.
Successful careers
The course led them all to careers in global companies using both the international marketing and the modern language elements of the course. They all went on to work with major brands in marketing, advertising, marketing research, computing, retailing, the travel industry and publishing.
It was great to hear how their time at UWE Bristol prepared them for their working lives, with real-life experience incorporated into their learning– reflecting the university’s long-standing commitment to applied learning and career readiness.
As we said our goodbyes, it was clear that while the buildings and times may change, the bond these friends share remains as strong as ever. It’s a reminder of how formative those university years can be and how friendships forged in lecture halls and student bars often last a lifetime.
Alumni Gail Davies, Valerie Rumbol (neé Bishop), Patricia Field (neé Millar), Rose Adderley (Alumni Engagement Manager), Jane Wood, Jennie Emmerson (neé Lane) on Business and Law School forecourt.
“Thank you so much for making our 50th reunion visit to UWE Bristol such a wonderful occasion. We all thoroughly enjoyed our opportunity to reminisce about our lives at the Poly so many years ago.” – Patricia
Reunion attendees:
Patricia Field (neé Millar)
Gail Davies
Jennie Emmerson (neé Lane)
Valerie Rumbol (neé Bishop)
Jane Wood
The group would welcome contact from other members of their 1974 cohort. Please get in touch via alumni@uwe.ac.uk
Blog written by Rose Adderley – Alumni Engagement Manager
Planting trees at Coldharbour Lane (Dr Bolland in the hat) 1973
Dr Robert Bolland was the first director of Bristol Polytechnic (1969-1974). Fifty years after his death, the values he built our institution on still endure. We look back at the life of Chemist and Educationalist Dr Bolland and find out more about how he influenced the early days of what was to become UWE Bristol.
Dr Bolland
Widening participation
“Throughout the years since Polytechnics came into being Dr Bolland made many contributions to the development of their educational philosophy…These contributions were characterised by a deep concern for social justice”
Bristol Polytechnic News, June 1974
Students who had to overcome obstacles to study were of particular concern for Dr Bolland. Under his leadership, opportunities were created at the new Polytechnic for people from all social backgrounds to access education.
The building of Bristol Polytechnic at Frenchay, 1972
These deeply felt convictions were born out of his own experiences. His career spanned diverse educational settings, and he cultivated an inclusive perspective. From his involvement in the Scout movement to his role as Lecturer at Makerere University College in Kampala Uganda, his horizons were broad. He also worked as a chemist whilst he studied for his first degree, giving him an appreciation of a hands-on approach.
Dr Bolland was passionate about opening-up alternative routes to qualifications and committed to offering part-time courses, and sandwich courses that integrated academic study with work. These principles of widening participation and practice led courses set the tone for the ethos of Bristol Polytechnic.
His ongoing gift
Dr Bolland’s inclusive approach continues to underpin our strategy. Today our equality, diversity and inclusivity vision drives UWE Bristol’s work to remove barriers to education.
We offer placements, internships, live case studies and consultancy projects to provide practical learning experiences for our students. Our ambitious apprenticeship programme combines on-the-job training with academic study, echoing our vocational roots as a Polytechnic.
But the legacy of Dr Bolland can be felt throughout the University, not just in our approach, but physically too. Dr Bolland donated money in his will to support the progression of Bristol Polytechnic.
His gift supported the development of the Bolland Library on Frenchay campus, and is remembered through a bust, sculpted by Ernest Pascoe, Head of Fine Art at Bristol Polytechnic, Bower Ashton School of Art.
Dr Bolland bust, by Ernest Pascoe, sited in Frenchay’s Bolland LibraryBolland Library, 1970s
The generosity of donors like Dr Bolland continues to impact students now. Donors give funds for capital projects, support student and alumni business ventures and provide funds for valuable grants supporting student led projects or individual hardship grants. Find out more about supporting us through the UWE Bristol Fund.
Dr Bolland and his wife at his farewell in 1969 from the University of Bath
More on Dr Robert Bolland’s life and career…
Robert William Bolland was a chemist and dedicated educationalist whose career qualified him admirably for the post of the first Director of Bristol Polytechnic, a role he held from 1969 to his death in 1974.
Born in Newcastle-upon-Tyne, he was educated at the Rutherford Grammar School and College of Technology. On leaving school he studied part-time while gaining practical experience on the analytical staff of a firm of manufacturing and analytical chemists.
At 28 he had achieved the position of Chief Chemist and had graduated as an external student of London University with a BSc (Special) Honours Degree in Chemistry. His PhD (London) was to follow in 1946. He was elected an Associate of the Royal Institute of Chemistry (RIC) in 1938 and was awarded the Fellowship in 1947. From 1943 – 45 he was employed by the Ministry of Supply undertaking research on ‘Gassing of Aluminised Explosives’ and ‘Sealing Compounds’.
In 1945 he was appointed Lecturer in Inorganic and Physical Chemistry at Leeds College of Technology and two years later to a similar post in Uganda at Makere University College, Kampala. A period of secondment to the Institute of Education, London University and further teaching at Makere was followed by a return to the Rutherford College as a Senior Lecturer.
He moved to the Bristol College of Technology in 1955 where, as Head of a Department of Chemistry and Biology, he showed his ability in administration. Over the following years he played a significant part in the policy and academic decisions which elevated the Bristol College first to a College of Advanced Technology, and later to the University of Bath where he became the first Professor of Chemistry and Head of the School of Chemistry. His return to Bristol in 1969 as Director of the Polytechnic seemed to follow almost naturally.
He entered fully into the professional life of chemists serving on the North East RIC Committee and later at Bristol where he occupied the Chair of the Bristol and West Section. He was elected Member of Council in 1960 and served a two-year period as a Vice-president chairing the Examinations Board and the Publications Committee. He was a founder Governor of the Further Education Staff College at Blagdon and an External Examiner to the new University of Botswana, Lesotho and Swaziland.
When the Centre for Music (CFM) relocated this year, they found a box of posters and programmes stretching back to 1990s, showcasing a rich history of talent.
Music, theatre and dance can make us laugh and cry, draw us together and give us new perspectives. Over the decades, thousands of alumni and staff have been uplifted and enriched by events staged on campus or in a local performance space.
Memories like these stay with you. Did you love music in your student days? Do you remember a special gig or performance that moved you? Did you bond with fellow performers through a production? Is your show in our image archive?
Here’s a brief history of the CFM (formerly the Centre for Performing Arts) to jog your memory.
1980s
The CFM’s history reaches back to the 1980s when UWE Bristol was still Bristol Polytechnic. Originally named the Centre for Performing Arts (CPA), it operated from E block on Frenchay campus. The CPA helped students from all over the institution and beyond put on theatre productions and concerts as well as organising workshops, and helping people find a room to practice.
CPA street theatre troupe, Bristol Polytechnic Handbook 1981 – 1983
1990s
By the 1990s the CPA set up in the vacated Sports Recreation Centre, converting squash courts into rehearsal areas and sweaty changing rooms into practice spaces. The first dance space with full mirror wall was created and the CPA built an impressive collection of orchestral instruments for students to play.
Anything Goes poster, signed by cast
1993 – 2018
As part of the celebration of UWE’s new university status, the CPA established a full orchestra, classical choir and musical theatre choir plus smaller groups playing classical and jazz.
Large scale musical theatre productions became a yearly highlight running for several nights at the Redgrave Theatre, Clifton. With full sets to build, the CPA set up a workshop on campus building everything, including the monster plant (in several sizes) for Little Shop of Horrors.
The CPA put on classical concerts in the city, started a Big Band and a gospel choir. Every room in the building was furnished with a piano. The CPA grew to be an established and much-loved part of UWE Bristol life for students, staff and the community.
Hot Mikado 2007
2018
Building on this remarkable legacy, in 2018 the CPA changed its name to Centre for Music. It’s activities were expanded into commercial music, launching a hip-hop festival, battle of the bands and teaching for complete beginners.
A DJ booth and simple recording studio was created and laptops with music software were made available for any student to use, enabling more students and staff than ever to participate.
2024
Overwhelmed by demand, CFM relocated to the beautiful Farmhouse at the heart of Frenchay Campus. It now provides more music spaces and an even bigger dance space.
The Farmhouse, new home of the CFM
“CFM cherishes its roots. UWE Orchestra and Big Band are attended by more students than ever. ‘Sing for wellbeing’ sessions added to the gospel and classical choirs, and a brand new UWE Brass Band launches this year, plus a full programme of concerts and workshops each year.”
Wake The Tiger has recently opened a huge extension to it’s immersive reality Amazement Park ®. We spoke to our alumni and staff working there to find out more about the immersive technology scene, why it’s popular and the serious message behind the experience.
What is Wake The Tiger?
From a quiet corner of St Phillips in Bristol, Wake The Tiger takes you through a portal into an incredible imaginary world. You’ll emerge two hours later from an adventure in another dimension.
It’s an immersive out-of-this-world experience unlike anything you’ve seen before. A self-guided walk through a labyrinth of sensory spaces, designed to transport you into another world where you are an active player in an unfolding story.
What is meant by ‘immersive reality’ and ‘immersive technologies‘?
“Virtual reality, immersive theatre, interactive technology, escape rooms, and gaming all have a lot in common. These kinds of mediums directly involve the audience, their audiences do rather than watch.”
explains Fi Nicholson, UWE Bristol alum and Creative Assistant at Wake The Tiger.
The Dazzle room
“There are many different types of immersive experiences, some are location-based experiences, and some use digital technologies to stimulate spatial environments. Regardless of their form, all immersive experiences share the common goal of evoking the sensations and emotions of ‘being there’.”
Sophie Shaw, Creative Producer at Wake The Tiger and Events lecturer at UWE Bristol.
From innovative virtual technology to intricate hand-made creative art installations, motion triggered soundscapes and interactive projections, Wake the Tiger embraces all means to weave their story and transport you far from a mundane reality. Watch this short clip.
Why do people love this kind of imaginative play?
“I find imaginative play a lovely way to get audiences to break out of their comfort zone and embrace something different. Not only are they learning something new about themselves, but they are generally more receptive to being open-minded in general.
Personally, I enjoy pure escapism that lets me forget the real world!
It is an inherent human instinct to play! People are born to laugh, be silly, and be weird, we just grow out of it and start wearing suits and ties. Experiences like Wake The Tiger offer a way to tap back into our childhood imaginations. We give audiences permission to open their mind and relax into silliness.”
Fi Nicholson
The Aetheria room
We live in a chaotic, stressful, and at times frightening world. Immersive experiences give people permission to play. Audiences are enveloped on all sides – you can get lost, express yourself creatively, and have a transformative experience, all in a safe space.”
Sophie Shaw
The Cosmic Kitschen
What if it’s all a bit over stimulating?
Some people love heightened sensory spaces and sound and visual stimulation, but not everyone. Wake the Tiger have designed the experience to be as accessible as possible.
“Our ‘sensory sensitive sessions‘ are for people who could potentially find a visitor attraction overwhelming when open to the general public. They may prefer less people and an environment where any sensory stimulation is managed, including the lights and sounds.”
Abbie Baker, UWE Bristol alum and Marketing Manager at Wake The Tiger
What’s the deeper meaning and why are visitors searching for funga?
Visitors arrive into the alternate world of Meridia, a place devastated by climate and societal breakdown due to industrialization and mass-consumerism.
The ‘Guilds’ work tirelessly to restore Meridia’s ecosystems and conserve its remaining flora and fauna through wild experiments. Their ground-breaking experiments reveal the transformative power of funga.
The Mycelium Room
“The underlying message is that transformation is possible. Even in the darkest of times, hope remains. Our world may be damaged and depleted, but we have the power to heal it.
We use the creative process to raise awareness of real-world eco-activism initiatives. A recent example is the Flora Fauna Funga campaign for greater fungal inclusion in conservation policy.
We proudly gave funga a central role in the story in the Dream Factory and use the term ‘funga’ within the narrative to honour its equal importance with flora and fauna.”
Sophie Shaw
More on the creative technology scene in Bristol…
“The immersive and interactive tech scene is thriving! And very welcoming.
Pervasive Media Studio has recently announced Undershed, a dedicated space to bring immersive art and tech to the masses opening this Autumn.”
Fi Nicholson
Bristol’s leading creative technology scene is harnessing the power of extended, augmented and virtual reality technologies. Immersive Arts – led by UWE Bristol with Pervasive Media Studio and Watershed – is a new programme funding artists looking to break boundaries and map frontiers in these new worlds.
Our short film
When we met Fi and Abbie and they showed us around Wake The Tiger, we made this film too. Hear them talk more about their career journeys and take a look inside…
The fallen statue of slave trader Edward Colston is among the items on display at M Shed’s newly extended exhibition about the history of protest in Bristol.
Black Lives Matter marches in June 2020 saw protestors pull down the statue and throw it into the floating harbour. It was then temporarily housed at M Shed whilst a survey asked the city what should happen next to the statue.
Alumni and staff from UWE Bristol were at the centre of these debates and decision-making processes; being represented on both the We Are Bristol History Commission – responsible for the public consultation, and the working group at M Shed – which fed into the development of the protest exhibition, including the display of the statue.
Professor Shawn Sobers, Associate Professor Estella Tincknell, Dr Roger Griffith MBE, Dr Edson Burton MBE (PhD, 2005), and Olumide Osinoiki (BA(Hons) Photography, 2020) all played an important role in co-curating this important exhibition.
They shared their views on this work and the crucial conversations it explores about racial injustice in Bristol and more widely.
Why was the We Are Bristol History Commission survey important?
“Given the controversial status of the statue… it was vital that the History Commission listened to Bristol voices from across the whole city concerning its future.” – AssociateProfessor Estella Tincknell
“Local experts were consulted, not just decision-makers with power over the narrative. That level of equity is truly valuable. Not just for us, but for the next generation who will view the past in a more informed manner.” – Olumide Osinoiki
“The survey and the temporary display of the statue were starting points for further conversation, for figuring out how to heal the fractured divides in the city and how to deal with the city’s past involvement in the transatlantic trafficking of African people.” – Professor Shawn Sobers
“The survey made it possible to say we had a mandate from all walks of life, which broadly supported the statue coming down or at least being consigned to ‘archival’ history. We could proceed safe in the knowledge that the statue would not become a fault line in the city’s cohesion.” – Dr Edson Burton
How do you feel about having played a pivotal part in the co-curation of the Edward Colston statue in M Shed?
“I feel ambivalent about having played a central role in the whole thing. My ambivalence stems from my feelings about having to have these conversations in the first place.
The summer of 2020 was such an emotional and exhausting time. We were in the middle of the coronavirus lockdown and faced with the brutal murder of George Floyd, which sparked the Black Lives Matter protests, that resulted in the statue being toppled.
I am glad I was asked and proud of what we collectively achieved, but it is a difficult thing to celebrate and be happy about. I live with the complexities of the conversation every single day.” – Professor Shawn Sobers
“I am particularly proud of being part of a process where the city’s institutions rose to the challenge of working together for the health of the city for now and for the future.” – Dr Edson Burton MBE
“It really was an honour and a privilege to be involved. Rising Arts Agency is all about empowering young leaders and I’m glad they presented me with the opportunity to have my say.” – Olumide Osinoiki
What have you learnt through the process?
“I was pleased to witness the care and attention of both the History Commission and the M Shed team. Everyone took on the task seriously, thoughtfully, carefully, professionally.” – Professor Shawn Sobers
“Our reaction to educating others through an accurate representation of history is still often based in our own egotistical instincts and bias.” – Olumide Osinoiki
“I felt heartened by my fellow Commissioners’ care for the city. I was also highly impressed by the work of our heritage teams who managed the data collection and helped us to analyse the data which informed our conversations.” – Dr Edson Burton MBE
What do you hope the exhibition achieves?
“I hope it is the start of a conversation, not the end, about the transatlantic slave trade, about Empire and about what it means to be British. We need to move away from smooth juvenile narratives of a united past.” – Dr Edson Burton MBE
“Humility. My hope is that instead of ego, this exhibition would be met with the necessary humility to learn.” – Olumide Osinoiki
“I hope the exhibition acts as a monument, not to Colston, but to the contested history the statue represents, including the complex histories of Bristol and its citizens, and the events that brought it down.” – Associate Professor Estella Tincknell
“I hope it provides an educational entry point for all and adds to the untold story about where and how Colston got his money and what can happen next.” – DrRoger Griffith MBE
“The anti-racism struggle and the fight for equality and justice were never about statues, it was about housing, education, criminal justice and structural inequalities.
My hope for the exhibition is that it keeps that wider context and conversation alive. It is an important part of our collective history we all need to learn from.” – Professor Shawn Sobers
What are your dreams for Bristol’s future?
“I hope that we deepen the conversation beyond toppling and renaming. The structural inequalities of race and to an extent class that we see today are legacies of the transatlantic slave trade.” – Dr Edson Burton MBE
“More young leaders. More sustainable ways to better understand and look after each other. Just like this commission has provided!” – Olumide Osinoiki
“A more equal, less segregated city in which inequalities of wealth, health, social capital and cultural capital are significantly diminished.” – AssociateProfessor Estella Tincknell
“That our shared history is properly taught in schools, colleges and universities.” – Dr Roger Griffith MBE
“I came to first work and live in Bristol in 1995, and we were having the same conversations back then, and I know it of course pre-dated my arrival. I hope in 30 years’ time, the conversations we will be having will be very different.” – Professor Shawn Sobers
Here are some suggested starting points if you’re interested in finding out more about efforts in Bristol to engage with the history and legacy of the city’s involvement in the transatlantic traffic of enslaved Africans:
Bristol Legacy Foundation, working to create sites of commemoration and a story-house to explore the history and legacies of the transatlantic traffic in enslaved Africans.
Black South West Network, a leading Black-led racial justice organisation working to drive racial equity through a meaningful community led approach.
Colston’s Last Journey, a work of sound art by a Bristol poet, writer and located audio designer Ralph Hoyte.
To mark International Women’s Day 2024, we asked two alumni who are driven female business founders, about their unique journeys. They shared the toughest challenges they’ve encountered and what makes them most proud.
Aisha Thomas founded Representation Matters, an international training consultancy championing diversity in education.
Beck Prior founded Priormade, a sustainable homeware brand, and Prior, a shop stocking artist and designer made products, based in Cabot Circus.
Aisha Thomas
Studied LLB(Hons), 2006
Founded Representation Matters in 2020
Mission is to challenge the lack of representation and the inequality in our current education system
Author of no 1 best seller on Amazon about becoming an anti-racist educator
Awarded MBE in 2022
What does it mean to you to be an influential and successful woman in your field?
Success is really subjective, however to me, it means being the representation that is needed for people that look like me. I spent most of my career, forcing myself to be what I can’t see.
I hope that the pathway I have created has opened doors and provided future opportunities for those following behind me.
How did you get started?
My journey started with the motivation I received from my mum. She was a primary school teacher and often talked about the power of education and how it opened doors and created springboards to new opportunities.
I started out in law, convinced I would be a lawyer, however, after a chance meeting with a young man in prison, I re-thought my pathway and transitioned into education. I had a fantastic time as an assistant principal, however, I wanted to have more of an impact, so after a Ted X talk, a book, and a BBC documentary, I started my business Representation Matters Ltd.
What’s been your biggest challenge?
Being an entrepreneur is not easy.
Making the transition from the classroom, to being on the road, drastically changed my lifestyle. But it has been worth it.
What are you most proud of?
The reach of our work! Just last month, I was in London and I met a woman from Venezuela who explained that she had read my book, and this had contributed to the work she has been doing in Venezuela about the lack of diversity in books in her home country. I guess you never know who is watching!
For me, an entrepreneur is a trailblazing, risk-taker. Someone who is driven by an idea they believe in and won’t give up until it’s accomplished.
I feel quite honoured to be called one.
How did you get started?
Like all creative people who seem to marvelously pinball from one thing to another, it’s hard to find the starting point. Funnily enough, having a retail shop combines EVERYTHING.
I’ve always had a very strong work ethic and left UWE Bristol with many ideas for starting my own business. I worked at Arnolfini, Young Bristol, Creative Youth Network, and as an Art Technician/Post 16 tutor, alongside creating props, puppets, signage, and project-managed public art installations for clients. In 2010 this became product design. I also trained as a hairdresser and make-up artist before starting UWE Bristol and worked in many, many pubs whilst I studied.
On reflection, I can see now how all of these social, public-facing, creative, and teaching roles have combined to help me design and create a retail shop, manage a team of people, and thoroughly enjoy customer interactions.
What’s been your biggest challenge?
Trying to hold on to this huge shop. Main shopping centres and high streets have been designed for large global for-profit companies. We are competing and paying the same as giant retailers such as Apple and Ted Baker! So, we have to work above and beyond to hold on to it.
My other challenge is making peace with the fact that I can’t make my own creations as much as I used to as managing a shop is so time-consuming – I’m still working on coming to terms with this.
What are you most proud of?
Ooofftt… I’m proud every day. Seriously! But the biggest, incredible achievement has to be the amount of money that we’ve made for Independent artists, designers, and makers. Since we opened in Cabot Circus, we have paid out £375,000. 70% of our artists/designers are based in Bristol so it’s huge for the local economy too. The pride I have when thinking about this makes me have goosebumps.
What does it mean to be a woman in business?
I feel powerful being a woman in business. Not just that I am one, but that I don’t feel like an imposter, and I know what I’m doing. I often think women in business feel slightly unconfident and like they shouldn’t be here.
I hope that I’m inspiring other women to not just start their own businesses but to grow them into the global retail sector.
Thankfully the independent retail and craft sector is mostly female-founded and led, so I don’t feel that lonely. However, as both a business owner and a woodworker – I do find myself calling out the comments I receive at huge business networking events, timber yards, and with some customers in the shop: ‘But has it been wired properly have you had it checked by an electrician?; Aren’t you a clever girl; Have you checked that figure with your accountant?’ just to name a few.
Thank you to Aisha and Beck for sharing their inspirational journeys with us. If you are an alum and would like to share your story with us, we would love to hear it.
Back in 1988, the first ever graduation ceremony was held at Bristol Cathedral for a small group of surveying graduates (recorded in the Bristol Polytechnic News, March 1988).
The November 2023 graduations marked the final UWE Bristol Award Ceremonies to be held at Bristol Cathedral. So that’s 35 years of ceremonies, celebrations, and proud family photos. And myriads of mortar boards thrown in the air.
If you were one of those to receive your award in the cathedral, we hope you still hold happy memories of that important day, marking your well-earned achievement.
Look back at some highlights with us.
Do you remember the time when….
Two robed men took to skateboards (1988)
Alfred Morris (the then Director of Bristol Polytechnic) posed for an unusual graduation picture.
The Princess Royal was in attendance (1991)
The Polytechnic Director, the Princess Royal and the Chairman of Governors, Honorary Degree Ceremony 1991
Jeremiah Daliel received a standing ovation when he stood up from his wheelchair (2016)
Following a car accident five years previous, Jeremiah was in a wheelchair on the day he graduated with LLB(Hons) Law. He’d been in and out of hospital and was working hard at his rehabilitation. Buoyed by support in the cathedral he surprised everyone when he stood to receive his award. In an article in ‘The UWE Tab’ Jeremiah said,
“The roar of applause grew louder and louder and continued as if it was playing in my body. It was only when my aide alerted me that my whole class had stood up in support that I realised that these were not just classmates but my dear friends.”
Watch the moment in a video on Facebook
The whole cathedral froze (2016)
In 2016, we managed to convince a cathedral full of graduates, academics, and family and friends to freeze for a ‘mannequin challenge video’.
Mannequin challenge video on Facebook
The marriage proposal (2022)
As if one milestone was not enough, just minutes after Kelly graduated on 22 November 2022, she got engaged to her partner Christian.
Watch the proposal on X
A father and daughter graduate together (2023)
The Chu family are proud to have a total of three UWE Bristol degrees between them. Oliver studied both his undergraduate and postgraduate degrees here. Sadly he couldn’t attend his MA Graphic Arts graduation, but a perfect opportunity presented itself…
When his daughter Lizzie graduated from her Adult Nursing degree course this summer, Oliver seized the chance to join her. Watch the moment they graduated together (clip on TikTok).
Father and daughter graduates (with mother/wife and grandmother) outside graduation ceremony.
And finally a favourite from Vice-Chancellor Steve West
Watch Her Majesty’s Lord Lieutenant for Bristol Peaches Golding’s dance (on X)
“There have been tens of thousands of graduates who have graduated from the Cathedral. Millions of memories, happy families and loved ones joining in celebrating the successes of our graduates. Each one unique, each one special and each one transformational.
I think one of my highlights was awarding the Lord Lieutenant of Bristol Peaches Golding an honorary doctorate and her capping it off with a celebratory dance!
What a moment – tradition, fun and humanity to make a special memory. Thank you to the Cathedral for years of supporting us to make the most spectacular memories.“
Professor Sir Steve West CBE, DL, Vice-Chancellor, President and CEO, UWE Bristol
So, what’s next?
From this year, Bristol Beacon (formerly Colston Hall) will be the home of our graduation ceremonies. UWE Bristol is excited to be partnering with Bristol’s world class music, education, and cultural venue.
Over the years at the cathedral, we found we were unable to provide a truly inclusive ceremony for all our graduates and guests due to the limitations of such a historic building.
The Bristol Beacon has recently reopened following a multi-million-pound refit. The stunning refurbished grade II listed concert hall in Bristol city centre will provide an equitable, accessible, and inclusive experience for all.
Congratulations to Fine Art alum Valda Jackson, who received an MBE for services to Art in the New Years Honours List. Valda is a multidisciplinary artist and a published writer. Her practice explores the psychology of migration, identity and loss, and creates work about human existence and survival.
About Valda’s work
In her public art, Valda depicts stories interrogating our past and present through sculpture. In 2017, her collaborative public art practice Jackson and Harris won the PMSA Marsh Award for excellence in public sculpture.
Last year, Valda designed a new commemorative 50p coin to mark 75 years since HMT Empire Windrush arrived in the UK. This year Valda has a Summer exhibition at the Royal West of England Academy.
Girls Pinafore, St John’s Hall Peabody London, 2016 by Valda Jackson (Jackson and Harris)
She has previously shown at The National Portrait Gallery, Royal West of England Academy Bristol and private galleries; and has lectured at the Royal College of Art, UCE Birmingham and presented papers at International Conferences in Universities across Europe.
Valda is currently a resident artist at Spike Island in Bristol – the internationally renowned contemporary art centre.
Summer show at Royal West of England Academy (RWA)
Valda is currently working towards her upcoming solo show at the RWA in Bristol. The exhibition’s main focus is the interest of the child of migration.
“It is about family – specifically children who are separated from parents who leave them behind to work abroad; some will wait years before joining their parents. But some children, for whatever reason, are never sent for, and they grow into adulthood away from parents, separated by more than just seas and continents.”
she explains.
The exhibition opens 25 May – 11 August 2024 at RWA, Bristol.
Valda designs new 50p coin to mark Windrush’s 75th anniversary
The coin pays tribute to the many British Caribbean and Commonwealth citizens who came to the UK between 1948 and 1973.
“My parents were among the generation of people invited to leave their home in the Caribbean to come and work in Britain. I joined them at the age of five.”
Valda explains.
The image on the 50-pence piece depicts two people of the Windrush generation against a backdrop of the Union Jack flag.
“My design is more than a celebration of one moment. It is an acknowledgement of the real, lived experience of generations of ordinary working people. And though we may have struggled, and we still struggle in many ways, we and our descendants are, in fact, at home.
The coin honours our parents and their legacy; and celebrates our presence, achievements, and contributions that continue to enrich our society.”
she says.
Valda at UWE Bristol
Valda studied BA(Hons) Fine Art at Bower Ashton, graduating in 1989 (from the then Bristol Polytechnic). As a student Valda worked at gaining skills that she continues to develop now.
“I had already begun to make images that had at their core our shared histories and experiences”
Valda reflects.
She still maintains a connection to UWE Bristol, hosting students in her Spike Island studio for talks, and mentoring individual students.
Zita Alves helps people change their lives through exercise and healthy living. That’s what gives her a buzz. But she didn’t always realise that.
Young Zita came from her home in Berkshire to study at UWE Bristol for an HND in Business and Finance with Marketing in 1990.
She featured in our 1995 prospectus, saying then that ‘a good foundation in business is essential for many careers’. So, 28 years later, we caught up to find out if she was right.
Hotshot marketer
Zita graduated and went straight into a marketing role . She was working in print production before the internet became mainstream. Her job was exciting and fast paced, working with clients like Barclaycard and Readers Digest, surrounded by other young and ambitious people.
She was successful, got promoted to Project Manager and was responsible for some big campaigns. Zita recalls this time of her life;
“Although it was very interesting it was also super, super stressful. My lifestyle was unhealthy, and my body was suffering.”
It was around this time Zita recalls doing a personality test, which suggested she was suited to being a teacher, but it wasn’t until later that the pieces of the puzzle came together.
An unexpected calling
Zita continued to train and develop her skills in marketing. But it was after she was made redundant in 1997 that she took stock. Listening to the radio one day a sentence popped out at her – a voice asking, ‘do you want to be a personal trainer?’. And despite Zita having never consider anything remotely similar,
“Something inside me said ‘I just want to do this.’ And so I did!”
She embarked on an intense vocational personal trainer course back in Bristol. The course was very male dominated including many ex-military men with a background in physical training.
“I remember them talking about quadriceps, and I didn’t know what they were!”
In a complete change of career from marketing and project management, Zita found herself relying again on the foundations that she learnt from studies to kick-start her next steps. She set up a personal training business within Forte Hotel group and worked hard to build up her client base.
Finding her purpose
Zita’s business grew and changed over the years. When COVID hit, she lost her personal training clients due to lockdowns, but her other classes went online. Zita realised she was providing a lifeline for people.
“What I was providing was valuable, and I loved having that purpose. I want to teach. That’s the bit I love. That’s where I get my energy, from other people. I bring my energy to people and I get energy back!”
A passion for women’s health
Zita made the decision in 2018 to focus her business entirely on women – she is her target market, and that means she can offer relatability and understanding.
She now runs retreats, working increasingly with meditation and breathing.
Many of her clients are women approaching their 50s and are affected by the menopause. Everything Zita is passionate about – self-care and good mental health through healthy eating, exercise and relaxation – supports women through this time.
And finally, Zita’s advice for current business students….
“You never know where you’re going to end up or how valuable what you’re learning will turn out to be. And it’s just as much about people too, making connections.”
It turns out one of Zita’s lecturers from her student days now comes to one of her stretch classes. So the skills and connections that Zita gained at university really were a good foundation for what followed.
Emma Powell makes robots for poking, squishing, and hugging. She’s Co-Director of Air Giants, a local creative robotics studio, making pioneering and monumental work for an international audience.
We interviewed Emma ahead of the unveiling of Squeeze Me, a group of new interactive inflatable creatures who’ll be wrapped around lampposts on Brandon Hill, Bristol, 4-9 July 2023.
Emma Powell, Co-Director at Air Giants
What was your journey from illustration to inflatable robotics?
It was long and unexpected!
I picked up many design and fabrication skills on my Illustration degree in the wonderfully equipped workshops at UWE. After graduation I did freelance model-making work for film and TV. Working at Puppet Place in Bristol was hugely transformative. It’s a great working hub for puppetry of all sorts.
I spent many years designing and making puppets for theatre all over the world
Mechanisms and animatronics have always been a passion of mine, and it was the combination of these disciplines with design that made me interested in robotics.
I met my colleague Richard at an event on Stokes Croft. We shared an interest in beautiful mechanical things. He had made some experiments with moving inflatable structures.
I fell in love with the scale and the organic motion of them.
I realised that I’d spent many years working on other people’s ideas and that it could be time to work on my own. We started Air Giants, pitching for the first time for funding. Three years later, Air Giants is touring artworks which take that feeling of excitement and emotional impact to others.
Which of your creatures is your personal favourite and why?
There are elements of each piece that I think are exceptional and it’s hard to pick a favourite.
I love the relationships people build with Luma. They can get really attached to her and we get many repeat visitors.
Luma, Ashton Court in Bristol, 2021
Unfurl, is wonderful because it’s a whole garden which is large enough to create a complete interactive environment.
I’m excited about what is coming up in our new project, Squeeze Me. It’s the first time we’ve used touch sensing in a piece of work.
To get it to interact with you, you have to poke, squish or hug it!
Why do you think Bristol is a thriving hub for creative technology?
It has strong traditions of puppetry, animation and robotics as well as a thriving film and TV scene. Its size means that there is a real creative technology community, with lots of companies supporting and championing each other.
Places like the Watershed and the Pervasive Media Studio actively support innovative practitioners and help to develop the city’s strong networks between universities, industries and creative businesses.
UWE Bristol is often involved in the multi-partner teams that support the creative industries.
We’re a new member of Pervasive Media Studio – a creative technologies collaboration between Watershed, UWE Bristol and University of Bristol. UWE was a partner of the South West Creative Technology Network team that funded Air Giants’ earliest experimental work, and is a main delivery partner of the MyWorld program which is supporting a huge range of creative innovation in the region, including our own.
How do Air Giants contribute to accessibility and inclusivity within the Arts?
Our work offers a really low barrier to engagement. It’s about what you can see, hear and touch and how that makes you feel. There’s no language element and you don’t need any previous experience of the arts to enjoy it.
Audiences across the world love our work, from the very young to the elderly.
It draws a lot of primal responses from people which are about playfulness and the feeling of communing with something huge.
Luma, Leeds Shopping Centre, 2021
Do you have a dream project you can tell us about?
We’ve been thinking about how our robots could interact with the human body in a performance context. We’re natural collaborators…
We’d love to work on a large-production with other creatives, from dancers, opera singers, street performers to concert pianists.
I’m also excited to see where our new work, Squeeze Me, tours this year. The work is battery-powered, which means we can install it… anywhere!
More about Squeeze Me and Playable City
Squeeze Me will be installed on Brandon Hill as part of Bristol’s Playable City event. Huge, inflatable and illuminated creatures, will be wrapped around trees, lamp posts or other street furniture, inviting passers-by to hug, squeeze, lean on or poke them. Creatures will respond with shape-change, light and sound and will influence other creatures nearby.
