UK News
V&A faces calls to become living wage employer on eve of Stratford opening | V&A
A row over pay has broken out at the V&A before the opening of its newest site , with thousands of people calling for it to become a living wage employer.
On Saturday, V&A East will open its doors in Stratford, east London, showcasing stunning fabrics, photos and black British music. It joins a wider group of V&A museums including its original site in South Kensington, Young V&A in Bethnal Green and V&A Dundee. The V&A describes its latest opening as one of the most significant new museum projects in the UK.
The original V&A museum opened in 1852. Its mission is to “promote art and design for all” and to champion design and creativity in all its forms. It holds millions of objects and in recent years has hosted high-profile exhibitions about Taylor Swift and Naomi Campbell, and photographs from Sir Elton John and David Furnish’s collection.
While the V&A complies with all legal minimum-wage requirements, with some workers paid a living wage or above, campaigners say some of the lowest-paid staff and contractors in London are not in receipt of the living wage. The UK minimum wage is £12.71 an hour and the living wage in London is £14.80 an hour.
According to the Living Wage Foundation, the living wage is the only UK wage rate that meets the real cost of living.
The worker-led platform Organise, which aims to secure better rights in the workplace, and Citizens UK, a campaigning organisation, have coordinated an open letter to the V&A director, Sir Tristram Hunt, and other senior V&A officials, calling for the £14.80 rate for all workers at the museums. So far, more than 21,000 people have signed it. It demands “a fair day’s wage for a fair day’s work” and states that publicly funded institutions such as museums should pay all workers the living wage.
Many other museums and cultural attractions such as the National Gallery, the National Theatre, the Tate and the Imperial War Museum are accredited living wage employers. V&A’s London sites do not have this accreditation, but V&A Dundee does.
Roxy Khan-Williams, the head of campaigns at Organise said: “The public expects institutions funded by taxpayers to treat all workers fairly. Paying the real living wage is not just a moral issue – it directly affects how people engage with these institutions.”
Frankie Webster, a community organiser at Citizens UK, said: “At its heart, the real living wage is about dignity. Everyone deserves to earn enough so that they’re able to live a decent life. It’s time for the V&A to make sure everyone who works there is paid the real living wage.”
V&A has been approached for comment.
UK News
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Sean Shibe: Vesper review – ever imaginative guitar virtuouso brings mind-expanding flights of fancy | Music
On his new album, Sean Shibe surveys the guitar’s expressive potential through the lens of three British composers. There are interlocking themes here – Spain, 20th-century painters, antique musical forms – but this thoughtfully curated programme can be equally enjoyed piece by piece as a series of mind-expanding flights of fancy.
Thomas Adès’s Forgotten Dances pays homage to the baroque dance suite, the composer’s quirky titles imbuing traditional forms with an additional imaginative layer. Overture, Queen of the Spiders, for example, combines stately harmonics with sneaking slides and the occasional pounce (“fatal for the fly!” in the composer’s words). Barcarolle – The Maiden Voyage is a nostalgic lapping gymnopedie; Carillon de Ville a pealing tribute to the guitar-playing Hector Berlioz. In Vesper (for Henry Purcell), Adès reimagines the consolation of the older composer’s Evening Hymn. Shibe’s playing throughout is acutely articulate and technically impeccable.
The revelation for some will be five melodic miniatures by Harrison Birtwistle, three of them piano originals arranged for guitar by Forbes Henderson. Berceuse de Jeanne and Sleep Song, the latter written for his 10-year-old son, are bewitching lullabies. The gently introspective Oockooing Bird, written when the composer was just 16, is Birtwistle’s earliest acknowledged score. At more than 18 minutes, Beyond the White Hand is the thorniest music here. Shibe masters its fragmentary architecture, though it remains a tough nut to crack.
James Dillon’s 12 Caprices, a series of concise meditations exploring the relationship between the structure of the instrument and its modes of expression, brings this imaginative recital to a somewhat elusive conclusion.
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