Dec 31
By Zoë Jackson (@ZoeMJackson1) & Evelyn Strope (@develyn_16)
This New Year’s Eve, we look back at 2020, a year many have described as ‘unprecedented’. The coronavirus spread around the world from the start of the year, and the ensuing pandemic and resulting lockdowns have completely altered life as we knew it.
Read moreBy Lauren Brown @LaurenBroon
Britain has a complicated colonial history. Sadly, thousands of descendants from former colonial territories, still face the legacies of Britain’s hegemony. This is true for the Kikuyu, Embu and Neru people of Kenya. During the Mau Mau rebellion of 1952-1964, the British colonial government placed some 80,000 people from these ethnic groups in a ‘pipeline’ of detention camps after a series of violent attacks on British settlers and ‘loyalist’ Africans. Camp inmates were subjected to brutal interrogations, whippings, sexual assault and even castration.[1] Detainee letters cited a lack of food and poor sanitation, whilst David Anderson’s ‘Histories of the Hanged’ detailed the systematic hangings of many ‘hardcore’ prisoners.
Read moreIf you walk into any charity shop, you are more than likely to find, somewhere, a box or folder full of old knitting patterns. The majority of people would overlook these – to those that cannot knit, the sheets look like indecipherable code, but even to those that can, the patterns are considered dated. But these publications are an archive of everyday material culture of their own, which merit engagement.
By Zoë Jackson
On September 23, 2019, the British travel company Thomas Cook suddenly went out of business. The company had been dealing with financial issues for years. But its end was abrupt enough as to catch hundreds of thousands of travellers in the middle of trips or looking forward to trips planned with the company.[1] Read more
Editor of DHP Stephanie Brown (@StephEmmaBrown) looks back at 2019.
As it is New Year’s Eve, let’s take one final look at 2019, before the resolutions of 2020 begin. In fact, it was a resolution that kicked off 2019 for DHP. Veganuary saw Greggs launch their vegan sausage roll and they quickly struggled to keep up with demand. Piers Morgan called the bakery ‘PC-ravaged clowns’, however, Zoe Farrell uncovered the long history behind veganism.
By Zara Kesterton (@ZaraKesterton)
In recent years, it has become fashionable to talk of an ‘archival turn’ in history, in which the site of record-keeping has itself come under scrutiny.[1] At the same time, material history has risen to prominence as an intriguing counterpart or companion to the paper-trail left by written documents.[2] As someone who became fluent in the visual language of a museum long before I encountered academic history, I like to think of a fashion gallery as something that can be ‘read’ in similar ways to an archive, combining the perspectives of both historiographies.
By Marina Iní (@MarinaIni_)
During part of the last academic year, I travelled to several archives and libraries collection in the Italian peninsula for my PhD fieldwork. It has been an extremely rewarding experience on the research side, but it was also thought-provoking. I saw with my own eyes the disheartening situation of different Archivi di Stato (Italian National Archives, usually one per provincial capital), Archivi Storici Comunali (City Archives) and other public archival collections and libraries.
By Tamara Fernando (@TamaraFernando3)
One rainy winter day in 2016, I was navigating the cavernous halls and corridors of the British Museum, looking for the Department of Prints and Drawings. I had arrived to examine two seventeenth-century engraved frontispieces depicting Saint Augustine, the early Church Father, for an MPhil project on the reception of Augustine’s works. When I finally located the correct floor, I was hailed down by a museum guard at the entrance: ‘Madam, this is not the tourist section’ they volunteered. I mumbled an explanation about an appointment with the Curator of Prints—which presumably got muffled, because the staff repeated (this time louder and slower): ‘Maadamm, NO touurissts here’, making a wide crossing-arm gestures to clarify. Something about my age, gender or the colour of my skin and hair, signalled tourist, not researcher.
By Laura Flannigan (@LFlannigan17)
The vast archives produced by the English legal system are some of our most valuable materials for legal, political, social, and family histories. Issuing from national and local courts, from common, ecclesiastical, and equitable jurisdictions, and covering civil and criminal law, they offer a window into the lives of ordinary people and the principles that governed their societies. Yet to the first-time researcher – and even to more experienced scholars – they can seem idiosyncratic, impenetrable, and daunting. As someone who is still on the steep learning curve that comes with reading these records, I have put together some basic advice for those new to working with them.
By Alistair Moir (Archive and Library Collections Manager, https://www.hatads.org.uk/.)
The History of Advertising Trust (HAT) is a nationally accredited archive service established in 1976 to preserve the heritage of the UK advertising industry and make it available for study and research. Today the HAT archive is the most comprehensive collection of British advertising and marketing communications in the world. Over the past forty years the Trust’s collections have developed into a truly unique resource for advertising industry and brand heritage records. Archives of several major advertising agencies and industry professional bodies form the core of HAT’s collections, alongside ephemeral press, poster and commercials collections.
By Dominic Birch
(Dominic.birch@gmail.com)
One of the most pleasurable parts of archival work is discovering new stories, narratives and characters. In the type of work I do (early modern social history) some subjects seem to jump out of the page, demanding attention. Take, for instance, the case of Sara and Elizabeth Mayhew, two women who were taken to court for slander in 1617.[1] The Mayhews were accused of sowing ‘discord, debate and strife’ amongst their neighbours. They had a particular antipathy for Dr. Wells, the vicar of Brockely. The Mayhews interrupted Wells as he attempted to deliver service, sang bawdy songs outside his door, and called his children ‘priest bastards’.
By Dr Marta Musso (@martamusso)
For Historical Archives, investing in digitisation is an extremely expensive, time consuming, and complex endeavour. It is well worth the effort, but it is fundamental to implement all the opportunities that digital technologies offer to archives. Since the beginning of the millennium, archives and cultural heritage institutions have started to reflect on the new challenges and opportunities brought about by the digital age. The guidelines created in 2002 by the International Council of Archives indicated full digitisation and online availability of archival material as the main objective for archives in the digital age. Now, even in a utopic world where archives had infinite budget and resources, this is a very long-term and ambitious goal – we are talking about millions, trillions of paper and analogue documents that need to be digitised and indexed online. At the same time, opening its heritage to everyone in the world is the goal of any archive; and for national and public archives it is part of their mandate.
By Mobeen Hussain | (@amhuss27)
On my first visit to the Punjab State Archives in Lahore this summer, I met with the archive’s Director, Mohammed Abbas Chughtai, who explained that the archive and its libraries have received fewer visitors after the events of 9/11 due to concerns about safety in the country. The archive does, however, receive some non-native and international scholars, and the Research Officer and Director were eager to help as well as point visitors in the direction of other useful resources. Coupled with this enthusiasm is the “chai and chat” culture of Pakistan; before delving into your research, you may well spend some time waiting, chatting, and being introduced to people. While researchers, including myself, will be in a rush to get started, these conversations have proved to be fruitful and a great way into the history and archive culture of Lahore. For instance, through conversations with the Director of the State Archives, I found out about materials at the Punjab Public Library and ended up spending a lot of time there. Indeed, the archives and libraries provide a snapshot of the vast archival and scholarly landscape of Lahore and are great, untapped treasure troves.
By Elissa O’Connell (@ElissaOConnell)
As readers will surely be aware, 2018 has been a historically significant year for women’s history and archives. The centenary of some women gaining the vote has created many opportunities to celebrate women-led activism across the UK, as well as to reinforce the need to document and protect these herstories through archiving and heritage. 2018 also marks the 40th anniversary of the Feminist Archive South (FAS), established in 1978 to document the herstories of international feminist social movements active between 1960-2000. The need to celebrate these vital campaigns for democracy and women’s rights has raised important questions about imperialism in women’s movements more widely.
By Mobeen Hussain (@amhuss27)
As historians, we are often used to thinking about an archive as a fixed set of documents kept in a static physical location. An appropriate historical source is often considered as such only if it can be verified by ‘real’ material from a ‘real’ archive.[1] Yet, archives mean different things to different researchers. It can take the form of a conventional repository of documents or a database.[2] For others, spaces like the home are active archival sites.[3] World historians, and specifically those working on the social and cultural history of empire, often contend with the colonial archive and are required to read along the archival grain, as Ann Stoler puts it.[4] One way of combating the limitations of the colonial archive is to supplement it with other materials such as oral memory.
by Holly Dayton | hollyedayton@gmail.com
Few people know that Lady Randolph Churchill, Winston’s American mother, was a playwright. If they happen to know of her, they only know her as the mother of Winston Churchill. Yet she wrote three plays over the course of her life: His Borrowed Plumes (1909), The Bill (1913), and Between the Devil and the Deep Sea (1920). Though her first two plays were produced on the West End and all three were donated to the Churchill Archive Centre in 2012, they have never been studied in detail.
This is not wholly surprising, as Lady Randolph was part of a community of female playwrights from the turn of the century that are barely remembered or discussed. Yet, by the late 1800s, more women were playwrights than ever before, attracted by the potential to make a significant profit through their work. Whereas in the early first few decades of the 1800s, a playwright would only receive a small lump sum upfront for their text, by the end of the century one could reasonably hope to receive 10% of the gross profits from a production. A female playwright could, ostensibly, make a tidy profit from a successful play. However, few female playwrights received financial arrangements equally generous as those given to men. Read more
By Zoe Farrell (@zoeffarrell)
One of the many advantages of being a historian who studies other countries is the ample opportunities for travel. My work focuses on artisans and material culture in sixteenth-century Verona, and I have therefore spent a lot of time in Veronese archives. However, I am also interested in how Renaissance culture travelled, especially through the Alps and into Germany. As part of a major fieldwork trip this year, I decided to follow the route of my research to Germany, visiting archives of interest along the way. In total, I visited thirteen archives in three different countries. During this time, I went from eating lunch outside in the piazzas of Italy, to walking through the snow in -14 degrees Celsius in Germany. No two archives were the same and I learnt a vast amount about research, travel, and independence. Here, I will share some of the most important things I learned. Read more
By Helen Sunderland (@hl_sunderland)
When I first saw the University Library as a new Cambridge student last October it looked like something from a dystopian novel. The library tower loomed above me – a modernist monument to humanity’s pursuit of knowledge. With the addition of a few slogans on the walls, I thought, it would fit right into Orwell’s 1984. What this says about my sense of trepidation embarking on a PhD aside, the library tower has long been a focus of mystery and myth since it was completed in 1934. Now, the new exhibition Tall Tales: Secrets of the Tower, which opened at the University Library earlier this month, uncovers some of its secrets for the first time.
In the third of our series on research abroad, Zoe Farrell (@zoeffarrell) scopes out Verona.
One of the most exciting yet intimidating elements of PhD research is the archival visit. This is perhaps particularly daunting for those of us venturing to foreign pastures and putting into practice hard-earned language skills. However, the rewards of navigating the maze of the foreign archive are substantial and the experience can be enriching in more ways than one. Read more
By Jimmy Chen
Within the collection of Cambridge University Library, there is a piece of sheet music for a Russian song dating from the Napoleonic Wars. Insignificant at first glance, this simple song can provide important insights into European musical culture in the early nineteenth century. Read more
