Dulwich Area Guide

About the event A fun day for families living in Southwark finding out about the plants and animals in our garden through games, minibeast hunting, pond dipping, stories and crafts. Suitable for families with primary aged children, but you are welcome to bring your younger children along too. Only for families who have not attended one of our Southwark family learning courses this academic year. This is a whole day event not a drop in.

This summer Dulwich Choral Society celebrates the Motet, the devotional, polyphonic form that has inspired composers for centuries. Written in the 15th century, Ockeghem's fabulously dense thirty-six part Deo Gratia commences a programme that takes us through the Baroque and Romantic eras right up to the bracing 1980s soundworld of Grecki. Join us for this fabulous programme in the intimate ornate setting of St Stephens, Dulwich. Refreshments on sale. Joshua Ryan, organ Dulwich Choral Society conducted by William Vann. Programme: Johannes Ockeghem - Deo gratia 36 Anton Bruckner - Locus iste Anton Bruckner - Christus factus est Anton Bruckner - Ave Maria Johannes Brahms - Organ solo: Fugue in A flat minor Johannes Brahms - Geistliches Lied Henryk Grecki - Totus tuus Henry Purcell - Organ solo: Suite in D major Henry Purcell - I was glad J. S. Bach - Lobet den Herrn

Following the grand success of Goan Interactions 2025, the Baluji Music Foundation in collaboration with Melville Rodrigues and Oscar Castellino bring to you an enchanting evening of timeless Goan Konkani and Portuguese tunes, featuring baritone Oscar Castellino, sitar maestro Baluji Shrivastav OBE, vocalist Chelsea D'Silva, pianist Mark Troop and tabla maestro Yusuf Ali Khan. Celebrate Goa's unique European-Indian musical tapestry in a countryside-like London setting. An opportunity to connect with people from the Goan Disapora and beyond with Goan snacks available. 5:30 pm Doors Open 6:00 pm Concerts Starts 6:50 pm Interval / Refreshments available 7:25 pm Second Half of Music 8:15 Concert Concludes/ Meet the artists Note: This event will be video recorded. The video will be focused on the artists and audience members may be in the background. We are grateful for the collaborative support of Goan Community Association East London Goan Association Bajuli Music Foundation (BMF) reserves the right to cancel, postpone, or reschedule the Concert at its sole discretion, including for reasons outside the BMFs control. In the event that the Concert were cancelled and not rescheduled, all booking fees paid by TicketSource (see the booking form) will be refunded. BMF and any other person involved in organising and/or co-sponsoring the Concert shall have no further liability to ticket holders in connection with such cancellation, postponement or reschedule.

Come and join our Stay and Play session offering one hour of toot-tastic fun with various trains and track play-sets and free tea and coffee for those in attendance.

Come and join our Stay and Play session offering one hour of toot-tastic fun with various trains and track play-sets and free tea and coffee for those in attendance.

Rafael Escardó’s exhibition Scaffolder at MOCA London is a material exploration in which the body becomes a vessel for constructed identity. Walking through the streets of London, or any expanding city, concrete and steel structures continuously grow into buildings that support hybrid urban lives. Steel bars, textiles, and bolts become the joints, veins, and skeletons of new constructions. Escardó observes these forms and materials while always positioning them in relation to points of the body and the constructions that surround us. Through this approach, he creates a dialogue between subjective, moving human experience and the objective, functional built environment. His sculptures become costumes for his performances, at times acting as symbolic exoskeletons in which the body merges with the sculpture. Through repetitive performative movements, the body undergoes processes of transformation and reconstruction, re-imagining both physical form and human relations. At the center of MOCA London stands a scaffold construction with stacked sculptures whose shapes reminisce about shields or biomorphic forms, as if grown out of scientific research. Suspended and secured by the scaffolding, the repetition of the three sculptures suggests the beginning of a continuous vertical stacking. The role of the scaffolder is to erect, modify, and dismantle temporary structures that provide safe access for workers. Here, the sculptures and scaffolding appear suspended in time, where mass production is momentarily on hold. The steel structure of the scaffolding safely carries the sculptures like a temporary support system. Escardó merges the aesthetics of rough concrete with the curving silhouettes of the sculptures. Like stacked bodies, an erotic tension emerges between the contrasting materials. During the opening event, Escardó and two dancers will perform on the stairs of MOCA London. Through repetition, bodily adjustments, and choreographed performative gestures, their actions draw attention to subtle, mundane movements. They embody passersby or workers navigating their bodies between concrete structures and human connections. Three cast concrete sculptures interlink the performers’ bodies across their shoulders. They become connected bridges, mirroring the scaffolding and the shape of the gallery stairs. The performers themselves become part of the building materials, echoing the scaffolding, as their socks match the colour of the foam and cable ties that protect the stacked sculptures. For Escardó, the use of three performers and three sculptures shifts the experience from a polarized standpoint to a collective one. The sculptures act both as bodily protection and as exoskeletons that enhance the body while reconstructing identities. Often in Escardó’s work he establishes playful, yet critical connections between material and the human body. In Scaffolder, a performative dialogue unfolds between the stacked sculptures—functioning as vertebrae of the rising structure—and the interlinked performers, whose bodies morph into steps and bridges. Human forms become constructed building blocks, while architectural materials take on bodily presence Roberto Ekholm