Tag Archives: Archives

Cataloguing the Common Ground Archive: Project Completed!

I’m very pleased to announce that after two years and four months (extended due to the coronavirus pandemic), the project to catalogue the Common Ground archive has now been completed. The new catalogue descriptions will allow this extensive archive (measuring approximately 125 linear metres!) to be more easily searched, accessed and used. The archive has been arranged into sections, series and files, and descriptions are available for all to browse via our online catalogue. You can explore the new archive catalogue here.

 

Common Ground is an arts and environmental charity, which was established in the early 1980s (founded in 1982 and charitable status gained in 1983) with a mission to link nature with culture and use celebration of the everyday as a starting point for local action. The charity has raised awareness of a variety of environmental issues through its innovative projects, which have involved public participation; the commissioning of new artistic works; the organisation of exhibitions, events and conferences; the launching of new calendar customs; and the publication of books, pamphlets, newsletters, leaflets and postcards. Many of the projects – in particular, ‘Parish Maps’, the ‘Campaign for Local Distinctiveness’ and ‘Apple Day’ – have proven to be highly sustainable, continuing long after Common Ground’s active involvement in them ceased.

The Common Ground archive comprises a wide range of material created and collected by the charity in the course of its activities between 1982 and 2013, including project planning papers, correspondence, reports, financial papers, research material, press clippings, photographs, promotional material, and publications. The largest section of the archive concerns Common Ground’s work on its various projects. These files are organised into sub-sections according to project, reflecting the archive’s original order and the use of the material by Common Ground. However, as many of the projects overlapped chronologically and thematically, some sub-sections relate to more than one project. It is therefore worth browsing the archive both via the hierarchical tree, as well as through an advanced search of the entire archive (enter EUL MS 416 followed by a * in the ‘Ref No’ field and enter a keyword e.g. Parish Maps in the ‘Any Text’ field.

 

For me personally, the aspects of Common Ground’s work that really shine through the archive are project conception, public participation, and engagement through the arts. For each project there are project proposals and project planning notes, which reveal the thought processes and creative ideas behind Common Ground’s projects. The excitedly scribbled questions and ideas on pages of lined paper are particularly wonderful! All of Common Ground’s projects involved public participation to a certain degree, but my favourites are those that invited members of the public to share their own knowledge and experiences. Thousands of letters from people around the UK (and, in some instances, around the world) relating to projects such as the Flora Britannica, Orchard Observances and Parish Maps provide fascinating insight into the relationship between people and the environment. And finally, the archive contains correspondence, photographs and publications relating to Common Ground’s collaboration with artists, sculptors, craftspeople, photographers, writers, poets, playwrights and composers. The directors of Common Ground understood that the arts are an effective means to engage and excite people about their local environment, and made a special effort to work with a wide variety of practitioners, including Peter Randall-Page, David Nash, James Ravilious, David Wood, James Crowden, and Karen Wimhurst.

The Common Ground archive has the potential to be used for research in a wide range of areas, including environmental studies, geography, literature, visual arts, cultural studies, sociology, and business studies. The archive may also be of general interest to anyone keen to know more about environmental issues, arts, culture, or their local area (the archive includes material relating to thousands of towns, cities and villages across the UK). We hope that this cataloguing project will enable the archive to be more easily and effectively accessed and used for research, teaching and pleasure.

To find out more about the different Common Ground projects and the archive material relating to them, you can browse the past project blog posts, or visit our online guide to the Common Ground archive. The online guide has been designed to help you to navigate the archive catalogue, provide guidance on access and copyright, and answer some of your questions. You are also welcome to contact Special Collections by email at libspc@exeter.ac.uk for more information about the archive.

So that just leaves me to say goodbye for now! However, I am delighted to be continuing in my role as project archivist at the University of Exeter Special Collections, where I have already embarked on my next cataloguing project…

By Annie Price, Project Archivist

Cataloguing the Common Ground archive: ‘Trees, Woods and the Green Man’ and ‘Field Days’

The Common Ground archive cataloguing project is now nearing its end and the final two sections of project material – relating to the Trees, Woods and the Green Man project and the Field Days project – have been catalogued. Read on to find out more about these projects and the archive material relating to them.

Trees, Woods and the Green Man

Common Ground started work on the Trees, Woods and the Green Man project in 1986. The aim of the project was to raise awareness of ‘the importance of trees by exploring their aesthetic, spiritual and cultural value as well as their ecological importance’ (King, A and Clifford, S (eds),’Trees be Company’ (1989), p. xi). Throughout the project, Common Ground commissioned works by sculptors, artists, writers, poets and playwrights to explore themes around trees and woods. In 1989, Common Ground won the Prudential Award for Excellence in the Visual Arts for its work on the Trees, Woods and the Green Man project. Common Ground used the prize of £25,000 to commission further sculptural works, including works by Peter Randall-Page. Common Ground also collaborated with sculptors and artists to produce exhibitions about trees and the arts, including ‘The Tree of Life: New Images of an Ancient Symbol’ in 1989 and ‘Leaves’ by Andy Goldsworthy in 1989-1990. Furthermore, the project generated new campaigns and initiatives, such as the campaign to let fallen or damaged trees recover after the ‘Great Storm’ of 1987, and the initiative to develop a new calendar custom called Tree Dressing Day (you can find out more about Tree Dressing Day in our blog post: Tracing the ‘roots’ of Tree Dressing Day in the Common Ground archive). Common Ground produced several publications as part of the Trees, Woods and the Green Man project, including ‘Trees Be Company: An Anthology of Poetry’ (1989 and 2001), ‘In a Nutshell: A manifesto for trees and a guide to growing and protecting them’ (1990), and a special edition broadsheet newspaper ‘Pulp! with contributions from actors, authors, artists and cartoonists (1989)’, as well as a range of leaflets and postcards.

Promotional material relating to the Tree Dressing Day initiative (EUL MS 416/PRO/4/4/1)

Material in this sub-section of the archive includes:

  • files of assorted material relating to the administration of the Trees, Woods and the Green Man project by Common Ground;
  • material relating to the Tree Dressing initiative;
  • material relating to Trees, Woods and the Green Man arts initiatives (including artistic commissions, literary commissions, exhibitions, and events), which include papers relating to Common Ground’s work with artists such as Andy Goldsworthy and David Nash, amongst others;
  • material relating to Trees, Woods and the Green Man publications and promotional material produced by Common Ground, including ‘Trees Be Company’, ‘In a Nutshell’, and ‘Pulp!;
  • press clippings and material relating to publicity of the Trees, Woods and the Green Man project;
  • research material, including general research material about trees, reports and publications produced by governmental and environmental bodies, and research material concerning the Great Storm of October 1987;
  • and photographic material.

You can find the full catalogue description of the Trees, Woods and the Green Man section here or by clicking the image below.

This section of the archive may be of particular interest to anyone researching Common Ground’s collaborations with sculptors, artists, writers, actors, poets and playwrights, as the project involved a large number of commissions. The material relating to the commissions includes correspondence, press clippings, photographs and – in some cases – interviews with sculptors about their work.

There were several personal highlights for me in this section of the archive. I particularly enjoyed a file containing questionnaires completed by local authority tree officers, which gave insight (and some amusing anecdotes!) into common perceptions and complaints from the public about trees. The archive material relating to the Tree Dressing initiative is also fascinating, and includes correspondence, reports, and a large number of beautiful photographs of Tree Dressing events held around the UK in the 1990s. And I was excited to recognise some famous names in this section of the archive! Files concerning Common Ground’s special-edition newspaper ‘Pulp!’ include letters from those invited to contribute to the newspaper, including Victoria Wood, Martin Amis and Germaine Greer.

Field Days

The Field Days project was launched in 1995 to highlight the historical, cultural and social importance of fields, to celebrate their contribution to local distinctiveness, and to encourage people to take a more active role in their conservation. A variety of publications were produced by Common Ground as part of the Field Days project, including postcards, leaflets, pamphlets, and a book entitled ‘Field Days: An Anthology of Poetry’ (1998). A major initiative of the project was to highlight and uncover the variety of field names in the UK, and to encourage people to research, restore and celebrate the field names in their local areas. In July 1996, Common Ground was commissioned by the Department of the Environment to produce a laminated panel exhibition on the subject of Field Days for the Royal Agricultural Show, which was subsequently available for hire. In addition, Common Ground launched a Field Days poetry competition in partnership with Blue Nose Poetry, and collaborated with theatre groups, writers, poets, artists, craftspeople, photographers, and local communities to explore different ways of engaging with the diverse stories a field might tell.

Publications and promotional material produced for the Field Days project (EUL MS 416/PRO/11/2/7)

Material in this sub-section of the archive includes:

  • assorted papers relating to the administration of the Field Days project, including correspondence, project outlines and project planning papers; project reports; funding applications; papers relating to Field Days publications produced by Common Ground, including drafts; papers relating to field names; papers relating to field events; and research material press clippings, and notes;
  • promotional material and publications produced by Common Ground for the Field Days project, including flyers, postcards, leaflets, press releases, pamphlets and books, as well as papers concerning the content, design and printing of publications;
  • papers relating to the Field Days panel exhibition, which was first displayed at the Royal Agricultural Show in 1996 and subsequently went on tour and was available for hire;
  • papers relating to the Field Days poetry competition in 1997, which was organised by Common Ground in collaboration with Blue Nose Poetry;
  • material relating to arts initiatives concerning fields and the Field Days project, including responses from artists interested in being involved in the Field Days project and wishing to be added to Common Ground’s ‘of visual and performing artists, craftspeople and photographers who are interested in expressing and celebrating / documenting the cultural significance of the field in the British landscape’;
  • press clippings and material relating to publicity of the Field Days project, including promotional material, summaries of press coverage, correspondence, and two cassette tape audio recordings of radio interviews;
  • research material relating to fields, including field names and scarecrows;
  • and 18 slide storage sheets containing 35mm photographic slide transparencies relating to the Field Days project.

You can find the full catalogue description of the Field Days section here or by clicking the image below.

In the final few weeks of the cataloguing project, I’ll be looking to make the Common Ground’s general papers relating to administration, correspondence, finance and research more accessible. And I will look forward to writing to you again soon with my final blog post of the project!

By Annie Price, Project Archivist

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts

Cataloguing the Common Ground archive: Orchards and Apple Day

Cataloguing Update

Following the announcement of a national lockdown in March, the physical work involved in cataloguing the Common Ground archive had to be temporarily put on hold. Attempting to catalogue an archive from home without access to the physical material was challenging, but I was able to draft out arrangements for the final sections of the archive, and use box lists to create file level descriptions. However, important processes such as repackaging and removing harmful fasteners, as well as labelling and moving files, had to wait. As a result, much of my focus between March and August shifted to promoting the archive, which included the creation of an online guide to the Common Ground archive, which I hope will be a useful resource for users to navigate the archive.

Thanks to an extension to my contract (which had been due to end in July 2020), action was able to return to the Common Ground archive in August! The past two months have been ‘fruitful’ indeed, with two further sections of the archive – relating to Common Ground’s Orchards project and Apple Day project – now catalogued.

Orchards

In 1987, Common Ground began work on the Orchards project, also known as the Campaign to Conserve Old Orchards and Plant New Ones. The Co-Directors of Common Ground, Sue Clifford and Angela King, first became aware of the sharp decline in orchards in the UK whilst conducting research for the Trees, Woods and the Green Man project. They realised that, in addition to the ecological impact, this decline also signified a loss of associated cultural practices. The Orchards project aimed to promote the ecological and cultural importance of orchards, to campaign for orchards to be conserved and planted, and to revive interest in local fruit varieties.

Common Ground’s Orchards project involved a number of different campaigns and initiatives, including ‘Save our Orchards’, ‘Community Orchards’, ‘Apple Day’ and ‘Orchard Observances’. In addition to its own initiatives, the charity also supported other orchard initiatives around the UK. As part of the Orchards project, Common Ground also organised events and exhibitions, and commissioned artistic works, including photographs and sculptures. Several publications relating to orchards were produced by Common Ground, including ‘Orchards: a guide to local conservation’ (1989), ‘The Common Ground Book of Orchards’ (2000), and ‘The Community Orchards Handbook’ (2008).

Publications and promotional material produced for the Orchards project (EUL MS 416/PRO/6/3/9)

Material in this section of the archive comprises: files of assorted material relating to the administration of the Orchards project; material relating to Orchards projects and events; files of correspondence relating to orchards; research material about orchards; press clippings and papers relating to publicity; and photographic material.

The section of the archive relating to the Orchards project was the most challenging to catalogue due to its very large size, as it consists of material stored within 61 lever arch files, 43 box files, 30 ring binders, 23 boxes and 14 magazine files! The number of records that Common Ground compiled during this project reflects how wide-ranging it was and how much it captured the imagination of Common Ground and of the public. Despite being one of the smallest, my favourite initiative created by Common Ground is ‘Orchard Observances’. In 1994, Common Ground circulated a call out to owners and users of orchards in the UK to keep a diary about their orchards, and in particular to make a note of the orchard’s location, age, cultivation, management, tree varieties, and resident and visiting wildlife. The archive contains three files relating to this initiative, including many diary entries sent to Common Ground, which make for fascinating reading.

Apple Day

Apple Day was an initiative to create a new calendar custom based on the apple. The very first Apple Day was organised by Common Ground in the Piazza of Covent Garden on 21 October 1990. In the 20 years that followed, Common Ground took on an advisory role, supporting the increasing number of local organisers around the UK in promoting their Apple Day events, whilst also keeping a record of the development and success of the initiative. In 2010, Common Ground decided that Apple Day had become so well established as a custom that it was capable of continuing without extra support from the charity. Apple Day continues to be celebrated on and around 21 October each year. You can find out more about Apple Day in my previous blog post: Apples and Archives: Getting to the ‘core’ of Apple Day in the Common Ground archive.

Publications and promotional material produced for the Apple Day project (EUL MS 416/PRO/8/4/3)

Apple Day grew out of the Orchards project, but perhaps because Apple Day became such a significant project in its own right, Common Ground arranged the records into two different sections within the archive. Material in the Apple Day section of the archive includes: files of assorted material relating to the administration of the Apple Day project; material relating to the planning of the first Apple Day in 1990; material relating to Apple Day events between 1991-2012; press clippings; promotional material; and photographic material. You can find the full catalogue description for the Apple Day section here or by clicking the image below.

This year marks 30 years since the very first Apple Day was organised by Common Ground in 1990. To celebrate the anniversary, I have filmed a short video featuring some of the Apple Day material in the archive. I hope you enjoy it!

 

The next section of the archive to catalogue is material relating to the Trees, Woods and the Green Man project. If all goes well, cataloguing should be completed by the end of October and my next blog post should appear soon after. I look forward to writing another update for you soon!

By Annie Price, Project Archivist

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts.

Heritage Open Days – The Northcott Theatre Archive

Last year as part of Heritage Open Days, I accompanied the Northcott Theatre’s technical manager on a fascinating behind the scenes tour of the theatre building. This year I decided it was my turn to give you a sneak peek at the history of the building through some of the photographs and other materials held in the Northcott Theatre Archive. 

Working on camera is a whole new experience for me (my colleagues know that I tend to try and keep out of shot!) so I hope you enjoy the video and can overlook the shaky presenting skills. Why not get in touch and share some of your own memories of the theatre with us in our comments section or on twitter @UoEHeritageColl.

[Due to size restrictions the video had to be uploaded in two parts. The second will start playing automatically after the first ends]

Exploring the Omar Sheikhmous Archive, Part 3: Kurdish Studies and the archive

In the last two blogs, we have looked at what the Omar Sheikhmous archive (EUL MS 403) holds in relation to the activities of both the KDP and the PUK, discussing the collection as an archival record of Omar Sheikhmous’ life and work. In this third blog, we will be looking at the archive within the wider context of Kurdish studies and possible ways in which the Sheikhmous papers might be studied and used.

Part 3: The Omar Sheikhmous archive (EUL MS 403) and Kurdish Studies

A selection of issues of رسالة اَلْعِرَاق‎ [Risālat al-ʻIrāq] the journal of the Iraqi Communist Party, from 1979 to 1980. EUL MS 403/3/5/5

Kurdish Studies: Where Now?

‘Kurdish Studies’ is a relatively new discipline, but for much of its existence it has (understandably)  been shaped by political and nationalist agendas, with the ‘Kurdish Question’ and related issues of Kurdish identity tending to dominate the field. Furthermore, it has faced the additional problem of fragmentation according to the different regions (Iran, Iraq, Turkey and Syria) in which the studies are undertaken.  (Clémence Scalbert Yücel and Marie Le Ray provide an excellent explanation of these issues in their article, ‘Knowledge, ideology and power. Deconstructing Kurdish Studies’, European Journal of Turkish Studies No.5, 2006.) Matters are improving, however, with greater awareness of comparative methods and more self-reflective, critical thinking about how to address these challenges and develop a more rigorous, multi-disciplinary and transnational approach to fieldwork and other forms of research. A helpful introduction to recent developments can be found in Baser, Toivanen & Zorlu (eds.), Methodological Approaches in Kurdish Studies: Theoretical and Practical Insights from the Field (Lexington Books, 2019).

There are other challenges too: those with an interest in Kurdish studies who wish to work with original material quickly learn that some knowledge of the Kurdish language is helpful, but it may not be enough – there are significant differences between Sorani and Kurmanji Kurdish for a start, but for the wider context it may be necessary to work with documents in Arabic, Persian and Turkish (including possibly Ottoman Turkish), while the Sheikhmous archive also includes large quantities of material from the Kurdish diaspora in Europe, written in Swedish, German, Italian and French.

Examples of Italian language material in the Sheikhmous archive – an issue of Ajò, a Sardinian journal on Kurdish affairs (1982) and material published by the Italian branch of the PUK (1975). EUL MS 403/3/1/2

This does, of course, provide rich resources for those eager to purse topics across regional and national boundaries. Beyond the ‘Kurdish question’ and the traditional issues of political and diplomatic history, there are a plethora of areas of study that could be explored using the Sheikhmous archive (and some of our related collections) – the economics of the oil industry in Kurdistan for example, the role of music and culture in the Kurdish diaspora, tribalism, political parties and corruption, transnational correspondence networks, gender and feminism, women and employment, refugees and migration, comparative studies of language in print publications, graphic design in Kurdish media, folk art and political protest…. and so on.

Research has tended to focus on the Kurds of Iraq and Turkey, with the Kurdish communities in Iran and Syria receiving much less attention. The Sheikhmous archive contains a considerable amount of rare material on Iran, including copies of early publications from Mahabad, papers relating to several Iranian political parties, documentation of Iranian student movements and other papers that touch upon the political upheaval of the 1979 Islamic revolution. These are written in Kurdish, Arabic and Persian, amongst other languages, and include original documents as well as copies. Iranian Kurdish politician Abdul-Rahman Ghassemlou (1930-1989) – leader of the KDPI from 1973 until his assassination in Vienna – is represented in the archive through correspondence, presscuttings, reports written by political allies and a recorded interview. There are also papers written by and about Iranian cleric and Kurdish leader Sheikh Ezzedin Hosseini  (1922-2011), as well as correspondence between Hosseini, Sheikhmous and others, and several files of papers relating to Iranian political parties such as the Democratic Party of Iranian Kurdistan (KDPI)/Ḥizb-i Dimukrāt-i Kurdistān-i Īrān, Komala/Komełey Şorişgêrî Zehmetkêşanî Kurdistan/Revolutionary Workers’ Society of Iranian Kurdistan,

The transnational political life of Omar Sheikhmous

The far-ranging scope of the Sheikhmous archive does of course reflect the trajectory of his life: born in Syria, he fought with the peshmerga in Iraq, lived for a period in both the UK and the US before making his home in Sweden, all the time developing a network of contacts in both Kurdistan and across Europe. As many of the papers have been acquired during this transnational and multi-faceted career, there is the potential here for scholars of Kurdish studies to draw together documents from different countries and pursue much-needed comparative and inter-disciplinary research.

For example, there is a great deal of material (EUL MS 403/4) documenting the activities of the Kurdish community in Sweden, in which Sheikhmous was (and remains) an active member. These includes records and publicity material for cultural activities and political meetings, concerts and literary events, academic seminars and protest marches, to which can be added the files of correspondence with Swedish politicians and journalists (EUL MS 403/2/21). These could be the primary materials for a research project looking at how Kurdish national identities are created and maintained in diasporic settings. How might the experience of Kurds in Sweden compare with those elsewhere in Europe, or in Britain, Australia or the United States? We do have quite a bit of material on Kurdish exiles in Germany and Austria too, and the correspondence between these individuals and associations could provide insight into the workings of diasporic networks. What role to they play in creating and preserving Kurdish national identity?

Another large section (EUL MS 403/5) documents the activities of Kurdish students across Europe from the 1960s through to the late 1980s. There are student newsletters, press releases commenting on events in Kurdistan, publications, protest posters and records of political meetings in Britain, France, Germany, America and elsewhere in Europe. It would be fascinating to look at the contrasts between Kurdish students in eastern and western Europe,or examine the relationship between events in Kurdistan and the way they were perceived by Kurdish students abroad.

Omar Sheikhmous and the Development of Kurdish Studies

Our archive also contains some of the extensive correspondence Omar Sheikhmous undertook with scholars and academics around the world, many of whom were key figures in the development of Kurdish studies as a discipline (EUL 403/3/23).  These include one of the world’s leading specialists on Kurdistan, Martin van Bruinessen (born 1946), the eminent Italian scholar Professor Mirella Galletti (1949-2012), American researcher, Kurdish specialist and founder in 1988 of the Kurdish Heritage Foundation of America, Vera Marion Beaudin Saeedpour (1930-2010), Italian journalist and campaigner for the Kurds Laura Schrader (born 1938), Austrian historian of the Kurds and humanitarian worker Dr Ferdinand Hennerblicher (born 1946), Norwegian sociologist and pacifist Elise Boulding (1920-2010), Polish ethnographer Leszek Dziegel (1931-2005) and ‘Chris Kutschera’ – the pen-name used jointly by French journalist Paul Maubec (1938-2017) and his photographer wife Edith Kutschera.

Studying this correspondence might provide insights into how Kurdish studies has developed through an international network of writers and researchers, many of whom – as the selection above indicates – have  worked in journalism and fields other than academia. Many of these western writers who began showing an interest in Kurdistan during the 1960s and 1970s did so as part of a wider interest in revolutionary struggles against oppression that were taking place across the world. How did their political agendas and outlooks relate to how Kurds saw themselves? Are these relationships reflected in the correspondence between the Kurdish diaspora in Europe – including the Kurdish students’ organisations – and the Kurds who remained living in Kurdistan? How have humanitarian activities and press campaigns helped to influence academic writing on the Kurds? What contribution has been made by institutions such as Vera Beaudin Saeedpour’s Kurdish LIbrary and Museum (New York), the Kurdish Library (Stockholm) and the Kurdish Academy (Ratingen)? There is a mass of original material on all these topics in the Sheikhmous archive that awaits further research.

Vol. 2, no. 3 of the periodical القافلة  al-Qāfilah = Karwan, issued by the Kurdish Students’ Society in Europe,Yugoslavia Branch. EUL MS 403, Box 5. There are also press releases from the Czechoslovakian branch and hundreds of other documents produced by Kurdish students across Europe, America and the UK. Comparative studies between different student groups could be illuminating. Some more examples are shown below:

Archives and Institutions

While on the topic of Kurdish libraries and cultural centres, it would be of great value for the development of Kurdish studies if a comprehensive list of important Kurdish archival collections could be established, in order to aid research as well as to ensure the preservation of materials that might be in danger. More work needs to be done in establishing connections between these different archives, so that researchers can easily be made aware of complementary collections, and where the gaps in one archive might be filled by holdings elsewhere.

Recently we were in touch with the University of Toronto, which holds the archive of Kurdish scholar Dr Amir Hassanpour (1943-2017). The catalogue entries are available to browse here, and there is also an excellent multi-lingual finding aid if you open the PDF version). In addition to the personal papers of Dr Hassanpour, the University of Toronto was also bequested his extensive library, which includes numerous Kurdish books and periodicals. Omar Sheikhmous and Amir Hassanpour corresponded with one another, and there are files of their letters held at both Exeter (EUL MS 403/2/8) and Toronto (B2019-0004/005(32) and B2019-0004/004(04).)

In the Sheikhmous archive at Exeter there is a large section (EUL MS 403/8) dedicated to Kurdish human rights issues, including documentation of the genocidal Anfal campaign undertaken by Saddam Hussein in 1988. Scholars working on this topic should also be aware that Sheikhmous also deposited a large collection of original documents and materials on the Anfal at the Hugo Valentine Centre in Uppsala University. A description of this archive is available here. Related material held at Exeter includes records of Kurdish appeals for humanitarian aid and for recognition of the genocidal nature of the Iraqi campaign, details of medical supplies sent to Kurdistan, documentation of human rights abuses, lists of the names of martyrs and victims of torture, publicity material protesting against the use of chemical weapons, and correspondence between Kurdish activists and western politicians, campaigners and UN officials. This material provides insights into the various strategies used to try and influence public opinion and galvanise international action, as well as the ways in which deaths and pasts sufferings have been commemorated within the Kurdish community.

Records of letters written by condemned Kurdish prisoners in Iraq (1978), EUL MS 403 Box 8.

Art, Music and Dance

While the sufferings of the Kurdish people have often been commemorated through folk songs and literature, it should be emphasised that the Sheikhmous archive also includes much wider material about the celebration and preservation of Kurdish traditions through songs, music, dance, art and literature. There are numerous cassette recordings of traditional Kurdish music, including peshmerga songs and folk music ensembles, posters for concert performances in Sweden and Britain, publicity material for poetry readings, book launches and other literary events, translations of Kurdish poetry, correspondence and other papers by Kurdish writers such as Şerko Bekas (1940-2013), Cegerxwin (1903-84)  and Şahînê B. Soreklî  [a.k.a. Chahin Baker, born 1946), as well as examples of artwork, advertisements for painting and photographic exhibitions relating to Kurdistan and a number of DVDs, videos and recorded interviews covering various aspects of Kurdish life, culture and political history.

This short blogpost has aimed at revealing the scope and diversity of the Sheikhmous archive, and suggesting possible ways in which its riches could be exploited for the benefit of the developing field of Kurdish studies. Anyone interested in undertaking research on these or any other topics is invited to contact Special Collections – although we are still operating a restricted service due to the current pandemic, hopefully it will not be too long before access is available. Cataloguing of the archive has been held up due to the university being under lockdown for much of the spring and summer, but this should be complete by late autumn.

Finally, for those interested in learning more about Omar Sheikhmous, there is an Arabic biography:

جمرة تحت الرماد : محطات مهمة من حياة عمر شيخموس [Jumrah taḥta al-ramād: maḥaṭṭāt muhimmah min ḥayāt ʻUmar Shaykhimūs] is an Arabic translation by Yāsīn Ḥusayn of a text in Kurdish by Newzad ʻElî Eḧmed, based on his interviews with Sheikhmous. It was published in 2017 by the Cairo Centre for Kurdish Studies and an English translation is believed to be in preparation.

This is currently the closest thing we have to a biography of Omar Sheikhmous

 

In the next blogpost, we will provide a guide to the various Kurdish political parties and organisations with some examples of how each one is represented in the archive.

 

 

 

‘Holding Your Ground’: Exploring research resources relating to the environment and the climate emergency in the Common Ground Archive

In response to growing awareness, acknowledgement and concern about the Climate Emergency, the University of Exeter Library is highlighting a variety of resources on this subject. You can find these resources usefully drawn together in the Library’s Climate Emergency: Resources LibGuide. Of course, we in Special Collections are also keen to highlight archival resources relating to the environment in our collections! In particular, we are very lucky to look after the archive of the arts and environmental charity, Common Ground. This archive contains a multitude of records relating to environmental concerns, which may be useful for anyone conducting research in this area, as well as for those simply seeking guidance on caring for the environment.

Boxes and files in the Common Ground archive

Common Ground is an arts and environmental charity, which was founded in 1982 in the UK. The charity has pioneered many innovative projects designed to excite and inspire people to become more engaged in looking after their local environment. For almost 40 years, Common Ground’s projects have been raising awareness of environmental concerns through arts and culture, in particular, through the commissioning of artistic works; the organisation of exhibitions, events and conferences; the launching of new calendar customs; and the publication of books, pamphlets, newsletters, leaflets and postcards. Projects launched by Common Ground have related to a variety of aspects of the natural environment, including trees, rivers, fields, orchards, and flora. Particular projects that have had a significant impact on the cultural geography of the UK include the Campaign for Local Distinctiveness, Parish Maps, and Apple Day.

A small selection of Common Ground publications, including books, pamphlets and leaflets

The Common Ground archive consists of a wide range of material created and collected by the charity in the course of its activities between 1982 and 2013. It includes correspondence, project planning papers, financial papers, publications, promotional material, press clippings, research material, photographs, and audio recordings. It also includes lots of material relating to a range of environmental issues.

For each of its projects, Common Ground published a range of books, pamphlets, leaflets and other promotional material. Produced through careful research by the team at Common Ground, these publications provide information on environmental concerns and ideas for actions that could be taken. One of Common Ground’s earliest publications was ‘Holding Your Ground: An Action Guide to Local Conservation’ (1985), which provides information on how to care for your locality, reasons why local conservation is important, case studies of local initiatives, and advice on who to contact for help and support. Particularly interesting are also posters created by Common Ground, which were first published as full-page advertisements in a national newspaper and were then available for people to purchase in colour. One example is the poster pictured below, entitled ‘Mayday! Mayday! Nature’s Call for Help’, which was published on 02 May 1988 in ‘The Independent’ newspaper.

EUL MS 416/PRO/9/2/2 – Two copies of Common Ground’s ‘Mayday! Mayday! Nature’s Call for Help’ poster

In the 1990s, Common Ground also conducted several crowd-sourcing projects to collect data. One such project was Flora Britannica. An invitation for people to send in their personal knowledge of local plants was circulated by national and local media, and Common Ground received responses from thousands of people all around Britain, which were then used by Richard Mabey to write the book ‘Flora Britannica’ (1996). As part of Common Ground’s Orchards project, a call was put out to orchard owners to record ‘Orchard Observances’ in the form of a diary from October 1995 to November 1996. The letters and diaries received by Common Ground in response to these projects provide fascinating insight into biodiversity in Britain. This data has the potential to now be used to study the changes in biodiversity and the impact of human activity on the environment since the 1990s.

EUL MS 416/PRO/7 – Material relating to the ‘Flora Britannica’ project

Finally, the archive also includes a large number of press clippings, reports, strategies, action plans and publications on a wide variety of issues, including deforestation, flooding, land development, water pollution, pesticides, droughts, natural disasters, global warming and climate change. This material was collected and used by Common Ground from 1980s to 2010s for research purposes and informed many of their projects and campaigns. This material may be of particular interest to anyone studying climate change and how governments and environmental organisations in the past 40 years have responded to it.

A small selection of research material in the Common Ground archive

We hope you have enjoyed reading this blog post about climate resources in the Common Ground archive. If you have a particular interest and would like to know whether there is any relevant material in the Common Ground archive, you can browse our online catalogue (please note that the archive is currently undergoing cataloguing) or send us an email at libspc@exeter.ac.uk. We look forward to hearing from you!

 

By Annie Price, Project Archivist

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts.

Rent receipts and ‘spiritual summes’: using modern languages in Special Collections

In July 2019, a week-long summer residential programme for Year 12 students took place at the University of Exeter. As part of the Modern Languages strand of the programme, PhD student Edward Mills led a translation workshop using French- and Spanish-language material from our Special Collections. We were delighted to be involved in this workshop and would like to thank the students and Edward for their ingenuity and enthusiasm in working with the material.

In this guest blog post, Edward Mills shares some of the students’ translations and explores how modern language skills can be used to unlock archives and bring history to life…

 

What makes Special Collections ‘special’? There are many ways to answer this question, and as the University of Manchester notes in their introduction to their own collections, ‘there is no simple, catch-all definition’ that neatly encompasses all of the material that we keep here in the Old Library. One common thread that does emerge from our colleagues’ reflections, though, is that of uniqueness: many of the items in Special Collections, whether in Manchester and in Exeter, are one-of-a-kind items. This may be because of the way in which they were produced, as is the case with the medieval manuscripts in the Syon Abbey collection, or owing to how they were used later, as we can see in Jack Clemo’s unique treatment of his Boots annual diaries.

These unique items often require the reader to have specialist skills in order to be able to interpret them. This might entail training in palaeography, or else an understanding of how patterns of book-binding changed over time; equally important, however, are language skills. Many of the documents in Special Collections here at Exeter are written in languages other than English, and while being written in (say) French or Latin isn’t itself enough to warrant inclusion in Special Collections, many of the otherwise-unique documents that we preserve and maintain are, by dint of their language of composition, much less accessible to monolingual English speakers.

How, then, can modern linguists use their language skills in the specific context of archives? Questions like these formed the backdrop to a workshop run last week with Year 12 students from across the country, all of whom were taking part in the Modern Languages strand of the University of Exeter’s Summer Residential Programme. Accompanied by Edward Mills (a PhD student at the University) and Angela Mandrioli (a Special Collections assistant), the students spent the morning of 23rd July investigating French- and Spanish-language material in Special Collections, using their language skills to transcribe and translate these documents and working to make them available to a wider audience. In this blog post, we’re delighted to share some of the students’ work; we thank them for allowing us to reproduce their work here, and hope that it will go some way towards demonstrating the key role that languages play in the everyday life of the Special Collections Reading Room.

 

EUL MS 36 (box 2, item 111)

Pour le terme échu le 1er ______

Le soussigné Propriétaire d’une maison, sise à Paris, rue Montaigne no. 22, reconnais avoir reçu de Madame Mariette de Vileblun la somme de quatre cents cinquante francs pour une terme de loyer des lieux qu’occupe dans ladite maison, ledit terme échu le premier ***. Dont Quittance, sans préjudice du terme courant et sous la réserve de tous mes droits. À Paris, le 15 janvier mil huit cent cinquante six.

For the term elapsed on 1st _____

The undersigned owner of a house, located in Paris, at rue Montaigne, No, 22, acknowledges having received from Madame Marette of Nileblun the sum of four hundred and fifty francs, for one term of rent of the rooms that [she] occupies in the aforesaid house, the said term having elapsed on 1st ***. This we accept, without any effect on the current term [of rent] or my own rights. Paris, 15th January 1856. 

Transcribed by Danielle Tah

This partial transcription and translation of a rent receipt is from a series of three such official documents within the Mariette family papers, which includes similar items for the months of April and July in the same year. The term ‘quittance de loyer’ might initially give the impression that the document was intended as a notice of eviction; in reality, however, the sense of ‘quittance’ here is closer to the modern English ‘calling it quits’. That’s because this document is, quite simply, a rent receipt, acknowledging that the renter (locataire) has paid their dues for the given month. Like the notarial document shown above, a rent receipt such as this also problematizes any ideas we might have about archival documents being either ‘printed’ or ‘hand-written’; it’s clear that this document is largely printed as a pro-forma, with names and amounts of money left to be written in later.

A keener look, however, reveals that the landlord didn’t quite do their due diligence in filling in all of the information required. The clue here is in the phrase ‘pour une terme de loyer des lieux qu’occupe dans ladite maison, ledit terme échu le premier’, which would translate into the distinctly odd-sounding ‘for one period of rent for the lodging that occupies in the said house, up to the first’. Who’s doing the ‘occupying’, and until the first of ‘what’ are they staying there? Judging by the gaps between some of these terms, it appears that the landlord didn’t bother to fill out a couple of blanks that are easy to miss: namely, in this case, ‘qu’elle occupe’ and le premier mars’ (‘which she occupies’ and ‘the first of March’). Whether this was due to convenience or simply laziness is something that the archivist can only guess at, but it’s not something that we’d recommend pestering your own landlord about.

A student working on documents from the Mariette family papers

EUL MS 389/HOU/1/8/1 (first letter)

Ma bien chere Soeur Cecile,

Nous avons bien reçu vôtre aimable lettre du 23 octobre 92 et n’avons rien pensé du retard que vous avez mis à repondre à nôtre precedante, parce que comme que vous voyez il nous arrive la m[em]e chose ; nous avons tout nôtre temps pris nous n’avons une minute de disponible ayant comme vous de difficultées pour nous faire comprendre en français ; pour ecrire une lettre dictionnaire en main nous avons de beaucoup de temps et n’ayant pas d’occasion de pratiquer nous oublions chaque jour un peu plus le fraçais. Nous aussi nous vous ecririons beaucoup plus souvent si nous puissions le faire en espagnol.

My dear Sister Cecile,

We have received your letter dated 23rd October [18]92, and have thought nothing of your delay in replying to our last letter, since (as you can see) the same thing has happened to us; we are very busy, and don’t have a single minute free, given as how we, like you, struggle to make ourselves understood in French. It takes a very long time for us to write a letter with a dictionary in-hand, and without the opportunity to practice, we forget a little more of our French every day. We too would write to you far more frequently if we could do so in Spanish.

Transcribed by Alice Manchip and Elaria Admassu

This letter, dated 7th January 1896, was written by Dolores de Marie Immaculé to her ‘sister’, Cécile. The term ‘sister’ here refers not to a family relationship, but instead to their shared membership of a religious order: specifically, the order of the Brigittines, which had religious houses in both Azcoita (modern-day Spain) and Syon Abbey (at the time located in Chudleigh, Devon). The archives of Syon Abbey now reside in the University of Exeter, and it’s in from this collection that the letter is taken. (For more information about the Syon Abbey collections, see this earlier blog post by the Project Archivist, Annie Price.)

As modern linguists, one question immediately springs to mind when reading this letter: why would a Spanish nun write to an English nun in French, especially if doing so is much harder than writing in Spanish? (After all, she needs to have ‘a dictionary to hand’!) The most likely explanation is that French is, in this instance, a vehicular language: since neither group of nuns speaks the other’s first language, French takes on the role of a common code that they can both communicate in (however awkwardly). This difficulty may also explain the four-year delay between the receipt of the English nuns’ previous letter and the arrival of the reply from Spain: the sentence immediately following this transcription reads ‘nous vous écririons beaucoup plus souvent si nous puissions le faire en espagnol.’

Incidentally, if that last sentence sounds slightly odd in French … that’s because it is. Dolores is exhibiting what linguists call ‘language transfer’, as she calques grammatical forms from her native language. Spanish uses the imperfect subjunctive in second-order conditional sentences, whereas French uses the imperfect indicative:

Les escribiríamos más frequentamente si pudiéramos / pusiésemos hacerlo en español.

Nous vous écririons beaucoup plus souvent si nous pouvions le faire en espagnol.

We would write to you far more often if we were able to do so in Spanish.

This letter, then, is interesting for all sorts of reasons: while it does provide a glimpse into personal correspondence between women in the late nineteenth century, it also, for modern linguists, shows some rather charming examples of linguistic stumbling-blocks. There are several other errors at various points in the letter, from mis-spellings to absent accents, but by and large, it’s clear here that French as a lingua franca is very much serving its purpose.

EUL MS 262/add1/3 (title page)

Suma espirituall en que se resuelven todos los casos ÿ dificultades q[ue] hay en el camino de la perfeccion. Compuesta por el Padre Figueras, religioso de la companía de iesus, confessor del conde de Benevente

A spiritual summe in which bee resolved all the difficulties and cases that maie happen in the waie of perfection. Composed by the Reverend Father Figueras of the Societies of iesus and Confessor to the Earle of Benevente

Transcribed by Muning Limbu

This manuscript is also from the Syon Abbey collection, but predates the letter to Cécile by almost 250 years. Datable to 1657, it’s surprisingly small — measuring approximately 145 x 100mm, and featuring clasps — and contains three ‘treatises’, each of which has been foliated separately by a contemporary hand. The extract above is taken from the title page, which presents both the original Spanish title of the work and its translated title in English; it is not, however, the first page of the book,  as it is preceded by a dedicatory epistle from the translator. Naming himself as ‘Brother Francis’, he explains that the work was produced at the request of Sister Ellen Harnage, ‘in the Monasterie of the most devout religious English Nunnes of Syon in Lisbone’. he apologises if his work seems a poor substitute for the original: ‘there is a great difference betwixt a tailor and translator, yet sure I am, the loome is the same, though not the lustre, the substance, though not the varietie of colours, sweetness of speech, and quaint language’. These linguistic anxieties may go some way towards explaining Francis’ decision to retain the original title on the following folio, but from a linguistic perspective, the co-existence of multiple languages also provides a valuable insight into the early modern orthography of both Spanish and English.

In addition to this volume, which was produced for her benefit, Special Collections also holds her (bilingual English-Portuguese) vows of profession to join the community, in which she spells her name ‘Ellin’ (dated 1st January 1642). In 1681, as a collection of miscellaneous Syon Abbey documents records, she became Prioress of the Abbey, a position that she held until her death in 1683.

A student working on a manuscript from the Syon Abbey Collection

EUL MS 56 (opening folio)

Venta de nueve minas de oro sitas en termino de la Nava de Jadraque. Ayuntamiento del Ordial partido judicial de Atienza en la provincia de Guadalajara. Otorgada por Don Mancino Magio y Castillo, y otros a favor de La Compañia Española Limitada de minas de oro y Plata de Guadalajara, representada por los Señores Don José Morrell y Earle y Don Juan Hennon y Hackworth; ante Don Ramon Sanchez Suarez, Notario del Colegio de Madrid.

Sale: of nine gold mine sites at the edge of the Jadraque flatland, within the jurisdiction of the borough of Atienza, in the province of Guadalajara. Given by Don Mariano Magro y Castillo, and others, to the Compañia Española Limitada de minas de oro y Plata de Guadalajara, represented by Messrs. Don José Morrell y Earle, and Don Juan Hennon y Hackworth; before Don Ramon Sanchez Suarez, Notary of the Colegio de Madrid.

Transcribed by Joe Sene

Mining documents might not, at first glance, appear to be the most riveting of the Spanish-language material held in Special Collections. Nevertheless, this particular piece part of a much larger collection of items relating to mining operations throughout the nineteenth century — is intriguing for several reasons. The most obvious of these is its size: as a large document with clearly defined borders (310 x 220mm, with the enclosed area totalling 255 x 165mm), it serves a clearly-defined purpose as a frontispiece for the collection as a whole. Also of note is its construction: while the border, the  name of the notario, and the seal of the Colegio de notarios are printed, everything else is carefully written by hand in a legible, italic script. This is a document designed to illustrate the legal status and authority held by Don Ramón Sanchez Suarez, and it does this elegantly through a mixture of print and manuscript. One can almost imagine Don Ramón reaching for a stack of these forms from his desk as he begins to draft the document itself.

The story behind the Guadalajara Gold and Silver Mining Company of Spain is, incidentally, an interesting one (stay with me here). The company — based out of the UK — was formed in 1879 in response to a promise of a gold rush in the area; unfortunately, these claims turned out to be optimistic, and the Company seems to have folded in 1895. This document, then, was woefully optimistic; hopefully modern linguists making use of their language skills in a business context will make better decisions than Messrs. Morell and Hackworth.

EUL MS 207/2/1/1 (mounted ink drawing and letter)

Chère Carrey,

La nuit, l’imagination de Georges prend le costume d’un chasseur antique, pardessus lequel il met une paire de caleçons […] affublé de la sorte, il va à la chasse […] dans les vastes forêts de la memoire […]. Ces curieuses forêts sont peuplés d’êtres fantastiques et d’arbres singuliers …

Dear Carrey,

At night, George’s imagination dresses up like an old-time hunter, over which he puts on a pair of leggings […] suitably dressed-up, he goes out hunting the […] in the vast forest of memory […]. These curious forests are populated by fantastical creatures and remarkable trees …

Transcribed by Temi; reproduced by kind permission of the Chichester Partnership

This nineteenth-century letter from Georges du Maurier to the unidentified ‘Carrey’ is dominated by an ink drawing, which portrays a Robin Hood-esque figure resplendent in tights and carrying a bow as he looks upon three figures (likely those named in the letter  itself). While the current presentation of the item — mounted on cardboard — does help to foreground the intricate image, it has an unfortunate side-effect: namely, that many readers leave unaware that the letter also has a verso side. This verso side offers something of a counterpoint to the vivid, imaginative dreamscape painted on the recto side, as Georges apologises for writing ‘toute pleine de bêtise[s]’ (‘all kinds of nonsense’) and thanks Carrey for her previous letter. Even if the drawing dominates the item today, then, the content of the letter itself — which Modern Languages researchers are uniquely well-suited to unpick — illustrates a side to Georges du Maurier’s personality that might not otherwise be visible. His whimsy and active imagination are on full view here, as he imagines this vivid scene and escapes from the noises and distractions that surround him.

 

The five items investigated in this blog post are, of course, only a snapshot of what’s accessible in the archives. Even in and of themselves, though, they go some way towards demonstrating the range of languages and genres that can appear in a Special Collections reading room, as well as illustrating the essential role that language skills play in helping to interpret them. For the Year 12 students, it was precisely these language skills that unlocked the documents, and brought history to life, whether professional mining transactions or deeply personal letters. Archive work might not be what most students are expecting when considering studying Modern Languages at university, but as this session showed, the skills developed by a languages degree – from the obvious linguistic aptitude to the lesser-anticipated intercultural competence and ability to place language use in context – can be applied in a wider range of areas than one might think.

Transcriptions and translations by students on the ‘Modern Languages: Translating Cultures’ strand

of the University of Exeter Year 12 Summer Residential

Text by Edward Mills, PhD student (Department of Modern Languages)

 

Cataloguing the Common Ground archive: ‘Second Nature’ and ‘Holding Your Ground’

During the first six months of the Common Ground archive cataloguing project, I examined and briefly described the material I found in each file within the archive to create a comprehensive box list. This new box list now provides me with a good overview of the contents of the archive, which – I hope! – will vastly facilitate the cataloguing process. Keen to finally get down to some proper cataloguing, I decided to tackle the archive material relating to two of Common Ground’s early projects: Second Nature and Holding Your Ground.

EUL MS 416/LIB/1 – Books: ‘Second Nature’ (1984) and ‘Holding Your Ground (1987)

The Second Nature project concerned the publication of a collection of essays and artwork. 42 writers and artists were invited by Common Ground to ‘express their feelings about Britain’s dwindling wild life and countryside’ (‘Second Nature’, 1984) and contribute to this anthology through prose, poetry or art. The book was edited by Richard Mabey with Sue Clifford and Angela King – the three founders of Common Ground – and published by Jonathan Cape in 1984. Three public seminars at the Institute of Contemporary Arts (ICA) took place in October and November 1984 to discuss the themes explored in the book. The artwork featured in ‘Second Nature’ was exhibited at the Newlyn Orion Gallery in Penzance in 1984, and subsequently travelled to other venues.

EUL MS 416/PRO/1/1/1 – Small cards with names of contributors, presumably used to plan the layout of ‘Second Nature’

One year after ‘Second Nature’ was published, Sue Clifford and Angela King co-authored and published a second book together: ‘Holding Your Ground: an action guide to local conservation’. It was first published by Maurice Temple Smith in 1985, and a revised edition was published by Wildwood House in 1987. The book provides information on how to care for your locality, reasons why local conservation is important, case studies of local initiatives, and advice on who to contact for help and support. The book includes a foreword by David Bellamy, artwork by Tony Foster and Robin Tanner, and photography by Chris Baines, Ian Anderson and Ron Frampton.

EUL MS 416/PRO/2/1/1 – Comb-bound typescript draft of ‘Holding Your Ground’ (1983)

These early projects highlight the two strands of Common Ground’s work which informed the projects that followed; firstly, collaborating with artists and writers to reflect on our relationship with nature, and secondly, encouraging people to take action in looking after their local environment. Using the arts to celebrate local distinctiveness, encourage people to emotionally engage with their surroundings, and consequently interest them in conservation at a local level would become the cornerstone of Common Ground’s work.

EUL MS 416/PRO/2/2/3 – File of research material relating to ‘Parish Initiatives’ for the ‘Holding Your Ground’ project

In addition, many of the relationships Common Ground forged with artists and writers at this very early stage would prove to be long lasting and influential. For example, the artist Andy Goldsworthy, who provided five photographs of his artwork for ‘Second Nature’, completed a residency on Hampstead Heath supported by Common Ground in the winter of 1985-1986, and would go on to work with Common Ground on various other projects, including Trees, Woods and the Green Man, New Milestones, and Rhynes, Rivers and Running Brooks. Other artists and writers who worked with Common Ground again after collaboration on these early projects include: Norman Ackroyd, Conrad Atkinson, John Fowles, David Nash, James Ravilious, and Tony Foster.

EUL MS 416/PRO/1/4 – Files relating to projects with the artist Andy Goldsworthy

Material in the Second Nature section of the archive includes: correspondence with artists and writers; papers concerning the production of the book; papers relating to the seminars held at the ICA; papers concerning the exhibition of artists’ work; and several files of papers relating to Common Ground’s collaboration with artist Andy Goldsworthy, in particular: his residency on Hampstead Heath and exhibitions of his work. The ‘Holding Your Ground’ section of the archive comprises drafts of the book ‘Holding Your Ground’, book reviews, correspondence and research material. All of this material has now been catalogued and descriptions of the files and items are available to browse online via our archives catalogue.

Catalogue entries for ‘Second Nature’ (reference number: EUL MS 416/PRO/1) and ‘Holding Your Ground (reference number: EUL MS 416/PRO/2) on the Special Collections online archives catalogue

Having now completed the cataloguing of two relatively small sections of Common Ground’s project work in the archive, I’m giving myself a slightly bigger challenge to catalogue next: material relating to the Parish Maps project. The Parish Maps project was launched by Common Ground in 1987 to encourage people ‘to share and chart information about their locality as a first step to becoming involved in its care’ (Common Ground leaflet, 2000). The project output included two exhibitions, several publications, and thousands of maps created in various forms by individuals, groups, schools, councils, communities and organisations – so I will certainly have my work cut out!

Thanks for reading – until next time!

By Annie Price, Project Archivist

 

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

Click here to browse the section ‘Second Nature’ via the online archives catalogue.

Click here to browse the section ‘Holding Your Ground’ via the online archives catalogue.

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts.

Theatre through the lens: the photographic archive of Nicholas Toyne

Nicholas Toyne worked as a photographer for the Northcott Theatre from its first production until the mid 1980’s; capturing thousands of beautiful photographs from the first two decades of performances. His archive of negatives, donated to Special Collections, has now been fully catalogued as part of the Northcott Theatre Archive cataloguing project. The clips below share some of Nicholas’s reminiscences of his work at the Northcott in his own words.

Negatives from the Nicholas Toyne Archive (EUL MS 383)

Having worked as a stationary rep in London, Nicholas Toyne’s photographic business began when he moved to Devon with his wife Shan. Shan had previously worked for the BBC on schools broadcasts with Tony Church who was to become the first artistic director of the Northcott Theatre, and who offered her a job as Theatre Secretary. When the Northcott began looking for photographers Shan suggested that her husband should be part of the auditions and in the clip below Toyne describes a blind audition taking photos of a dress rehearsal for the Northcott’s first production “The Merchant of Venice” in 1967.

 

The process of photographing the Northcott Shows could be extremely demanding. In the early days Toyne often attended a number of rehearsals in order to identify the best scenes and positions for a shot but competing time pressures eventually meant he was forced to take photos during dress runs. In the clip below Toyne talks about his process of taking photographs and the fun of working with Tony Church.

 

Often staying in the theatre until midnight to get photos from the final dress run, Toyne’s job was then to process the photographs ready for display on the first night and use by the press. Below Toyne talks about the challenges of processing the images overnight in time for display for the first night of each production.

 

After an almost twenty year run as photographer for the Northcott, Toyne began to concentrate his photography business on other clients, such as his aerial photography for the National Trust, and the last negatives in the archive date from 1986. Despite the late nights and gruelling time frames Toyne remembers his work at the Northcott with fondness, and his enjoyment is clear from the beautiful images he achieved.

Keep your eyes peeled as work continues on our Northcott Theatre Cataloguing Project as we will be digitising a number of these negatives and making these fascinating glimpses of local theatre history available online for the public to view. You can explore the Nicholas Toyne Archive using our online catalogue here

Bob Hoskins in the Caucasian Chalk Circle (1971)

 

Tracing the ‘roots’ of Tree Dressing Day in the Common Ground archive

In December 1990, the arts and environmental charity Common Ground introduced a new annual custom which it called ‘Tree Dressing Day’. ‘Tree Dressing Day’ was envisioned by Common Ground as a day for people to decorate and celebrate trees in their local area. It was to be held on the first weekend of December of each year, neatly coinciding with the already existing National Tree Week. As the first weekend of December 2018 approaches, I delve into the Common Ground archive to find out how it all began…

Promotional material in the archive relating to ‘Tree Dressing Day’

Common Ground started work on its Trees, Woods and the Green Man project in 1986. In a leaflet preserved in the archive, the charity explains the meaning and purpose behind the project:

‘They [trees] have been our friends through the ages and they have helped us make sense of the world. They are important economically, socially and ecologically and they are deeply part of many cultures. They need our help now, not just in the tropical forests, but here in the street and down the lane…Common Ground’s work around Trees, Woods and the Green Man is trying to give information and ideas to help you to look at the trees around you and think of ways to involve yourself and others in celebrating and caring for them. Make every tree a wanted tree.’ (Reference: EUL MS 416/PRO/4, File 2.1)

The project resulted in a variety of activities and events, including publications, exhibitions, and artistic commissions. It was also from the Trees, Woods and the Green Man project that the new calendar custom ‘Tree Dressing Day’ emerged.

‘Tree Dressing Day’ files in the Common Ground archive

Early research by Common Ground into the custom of dressing trees revealed that it had existed for centuries in many different forms all around the world. This inspired the charity to launch its own ‘Tree Dressing Day’, providing advice and encouraging people to decorate trees in their neighbourhoods. The first ‘Tree Dressing Day’ was celebrated in 1990, and the custom has proven to be sustainable, with celebrations continuing to the present day. The success of the initiative and Common Ground’s enthusiasm for it are indicated in a report dated February 1993, in which Common Ground writes:

‘There is excitement among us that we may have begun the reinvention of a tradition in which young and old, professional and amateur, all cultures and places city and country can share. And in which the seeds of the social and public celebration of trees…becomes an easy first step to long term shared commitment and care’. (Reference: EUL MS 416/PRO/4, Report on Tree Dressing Day in 1992, File 1.4)

The Common Ground archive contains a significant amount of material relating to ‘Tree Dressing Day’, including correspondence, reports, press releases, photographs, research material, promotional material and press clippings. It even includes some decorations that were used to dress trees! This section of the Common Ground archive will be catalogued in the course of the next two years, making this exciting material much easier to discover and access.

Archivist Annie showing Sue, one of our volunteers, decorations in the Common Ground the archive that were made by the UK Asian Women Conference for ‘Tree Dressing Day’ (c 1992 or 1993)

Find out more about ‘Tree Dressing Day’ on the Common Ground website, which also includes some lovely images.

Why not start your exploration of the Common Ground archive via our online catalogue today? Simply search ‘Common Ground’ or the reference number ‘EUL MS 416’.

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts.

By Annie Price, Project Archivist

Cataloguing Update! [December 2020]

The archive material relating to Tree Dressing Day has now been catalogue. The material relating to Tree Dressing Day includes project proposals, event information forms, correspondence, reports, press releases, promotional material, press clippings, photographs, and research material. You can browse record descriptions on our online catalogue here.