The Wellcome Trust is currently funding a project to catalogue and conserve the records of the Royal Scottish National Hospital (RSNH), Larbert. The historical importance of the collection was recognized by its inclusion in the UNESCO UK Memory of the World Register in 2013.
The foundation of the Institution
The Scottish National Institution c1910
The background to the Institution’s revolutionary approach lies in its reaction to the prevailing social attitudes of the time. Prior to the Mental Deficiency Act 1913, there was no distinction made between mental illness and mental impairment. If children with learning disabilities could not be looked after by their families the alternatives were the poorhouse or an adult lunatic asylum.
The concern generated by this situation resulted in the foundation of the Society for the Education of Imbecile Youth in Scotland in 1859. The Society supported a small school in Edinburgh but it became clear that in order fully to realise their vision, they needed their own premises. In Edinburgh, according to the first annual report, any negotiations with landlords ended as soon as the purpose of the proposed Institution was known. They had to look outside the city and land in Larbert, with its excellent rail links, was chosen.
Initially the children were admitted on a fee-paying basis. For those whose families could not afford the fee the Institution paid, following the election of suitable applicants by donors to the Society.
Applications for admission
Application for admission, 1865
This election process created one of the most important parts of the collection: the applications. Around 3000 of these have survived dating from 1865 to the 1940s. Most early applications include a form titled ‘Queries to be answered by Parent or other near Relative personally acquainted with Case, applying for admission’. This form asks for information on the family’s circumstances as well as the child’s health, behaviour and educational abilities.
Usually accompanying the form is a medical certificate signed by a local doctor which classifies the child’s abilities as Class 1 – very hopeful; Class 2 – hopeful; Class 3 – less so; and Class 4 – subject to severe and frequent fits. To ensure the success of its chosen applicants, the Institution makes it clear on this second form that ‘cases of insanity, of confirmed epilepsy, of the deaf and dumb, and of the blind are ineligible for admission except upon payment’.
Electioneering was expected and applicants were often direct in their approach. One letter asks for a list of subscribers so they could be asked for their votes. Another indicates how large a donation could be expected from the locality on the election of the desired candidate. Lobbying on behalf of applicants became such as nuisance that as early as 1864 the Directors voted to ban the use of cards in canvassing as ‘expensive to the parents and an annoyance to the subscribers’.
Many of the applications include correspondence. One early application was for a boy from Saltcoats called Charles McLarty. According to his form he was admitted in 1881 at the age of 15. But the application includes four letters written between 1927 and 1933 presumably from a relative, asking about his health and sending him sweets. At the age of 67 Charlie was still at the Institution.
This issue of adults in what was ostensibly a children’s Institution exercised the Commissioners in Lunacy during their twice-yearly inspections. One wrote in 1876 ‘[it] is no longer as to the detention of one or two exceptional cases, but it applies to a third or more of the inmates’. They requested that the situation be regularised with orders of the sheriff and a paid licence. But given the lack of any suitable Institution to discharge them to, many were kept on as servants in the Institution or were simply paid boarders. It was only with the opening of the Industrial Colony for Adults in 1935 that the Larbert Institution could officially be said to provide all-life care.
The new Industrial Colony, 1935
Life in the Institution
There is ample evidence that the children were treated with kindness. Even in a source as potentially dry as the cash book there are entries devoted to payments for travelling musicians, toys for children and bonnets for boys.
In the schoolroom, c1915
Three and a half hours of schooling were given each day in the early years of the Institution but even training was seen as pleasurable: ‘kindly instructors and happy children’ as one inspector described the workshops in 1927. And there were plenty of leisure activities provided. Picnics were popular as were the introduction of ‘talkies’ in 1936. These were described in the minutes: ‘no innovation has given greater pleasure than this either in anticipation, realisation or retrospect’.
It is easier to understand the medical superintendent’s bewilderment in 1920 when faced with three runaways from the Institution in the one month. One boy had only been in the Institution a week ‘and was home-sick for a garret in a horrible slum in Glasgow…[with] no furniture’.
Other highlights of the collection include admissions registers (1863-19880, minute books (1863-1969), annual reports (1862-1948) and correspondence (1881-1965).
University of Stirling collections on the Archives Hub
The university’s collections are as diverse as would be expected but are particularly strong in the areas of film-making, politics, literature and sport. Highlights of the collections on the Archives Hub include Lindsay Anderson (1923-1994) film director; James Hogg (1770-1835) poet and novelist; and the extensive collection of political papers, pamphlets and newspapers of William Tait (1889-1941) socialist labour politician.
Alison Scott, Project Archivist University of Stirling
All images copyright the University of Stirling, and reproduced with the kind permission of the copyright holder.
Poster for 2014 exhibition: Birth in Shakespeare’s time (to mark the 450th anniversary of Shakespeare’s birth)
The Shakespeare Institute Library holds monthly exhibitions which bring out lesser known aspects of our collections and especially our archive holdings.
Poster for 2014 exhibition: Where are we now? (Showcasing alumni careers)
These exhibitions were designed as a way to inform our users, predominantly our student body, of the breadth and depth of our holdings. As they have developed they have also enabled us to connect with the students and our local community in other ways: highlighting the careers and output of alumni of the Institute, promoting other collections in the local area, tying in with events and conferences, etc.
All library staff get involved in the researching, formatting, publicising and mounting of exhibitions so, as well as informing our users our staff get an excellent chance for learning more about the contents of the library and to work on areas of professional development – which, of course, can only benefit out users. The enthusiasm of the staff for the exhibitions has helped developed an exciting programme themes which we programme for the year. Work on these is scheduled so that there is a clear picture of when other collections need to be approached. As one is launched the work on the next begins.
Exhibition on Henry V (1913) commemorating the boys of King Edward VI School killed in WW1
These exhibitions have also given us the opportunity to collaborate with neighbouring collections. In November 2014 we held an exhibition on the boys of a King Edward VI School (Stratford-upon-Avon) who died in the First World War and performed in a production of Henry V in 1913, directed by Frank Benson.
Poster for 2014 exhibition: Shakespeare’s Composers
We’ve also worked extensively with the Shakespeare Birthplace Trust and the Library of Birmingham, most recently on an exhibition on Shakespeare’s Composers for which we displayed a manuscript of Vaughan Williams incidental music to the afore mentioned Henry V (1913) and a manuscript of Granville Bantock’s music for a production of Macbeth performed at the Prince’s Theatre, London, 1926.
We also utilise the knowledge of our academic staff in order to develop exhibition ideas, themes and to check over content. When tied in to our curriculum, conference and symposia themes the exhibitions have also proved an ideal way of encouraging students to look beyond the reading list. By highlighting areas of direct relevance they also encourage visiting academics and students into the Library when they are attending events at the Institute. Our library users have really appreciated the opportunity to see beyond the book shelves.
Blogging about the exhibitions has also helped to market our library beyond the University.
Poster for 2014 exhibition: Henry IV, Parts 1 & 2 (Old Vic, 1945)
In January 2015 as student came from America to consult the collections at the Shakespeare Institute, the Shakespeare Birthplace Trust and King Edward’s School after reading about the KES Henry V exhibition online. Now he has had access to the archives for this production he’s started writing a play as well as his MA dissertation. SIL blog address: http://silibrary1.wordpress.com/
Our programme of exhibitions is going from strength-to-strength and their success has been acknowledged by our department in Library Services with the funding of high quality display boards and a glass cabinet in order to facilitate more ambitious projects. This year we look forward to showing off our resources on some fascinating themes, including: Approaches to Teaching Shakespeare, Elizabethan Printing, Comic Book Shakespeare and Shakespeare and the Actor. We hope that they’ll continue to be informative and inspiring to our users!
The Archives Hub has joined forces with The University of Brighton Design Archives for an exciting new project, funded by the Arts and Humanities Research Council:
James Phillips Kay-Shuttleworth – pioneering educational reformer
Elizabeth Gaskell, c. 1864. Photograph by Alexander McGlashon
Archivists at The University of Manchester Library recently catalogued the papers of celebrated Victorian educationist Sir James Phillips Kay-Shuttleworth (1804-1877), relating to his career, family ties and literary circles:
Our feature is (loosely!) based on the traditional folk melody ‘The Twelve Days of Christmas’. Collections highlighted include those of the drummer Max Abrams, the Swan Land and Cattle Company, Hen Gapel, Llanbryn-mair Chapel Records (one of the oldest and most famous chapels in Wales) and the singer David Cassidy:
On the twelfth day of Christmas, my true love sent to me…
Twelve drummers drumming
Max Abrams Collection, 1920s-1992. Max Abrams was a drummer, teacher of drums and author of drum tutors. He kept detailed diaries between 1943 and 1992, which document his performance career and information about his pupils, as well as personal information. He wrote around 50 jazz tutor books. http://archiveshub.ac.uk/data/gb2942-ma
Logo for Seven Stories, the Centre for Children’s Books
‘The Little Drummer Boy’ greetings card, c. 1968-1999. An illustration of the well-known carol, the card is part of a collection of publications, prints and original artwork by the illustrators, twins Janet and Anne Grahame Johnstone. The Johnston Memorial Collection is held by Seven Stories, the Centre for Children’s Books. http://archiveshub.ac.uk/data/gb1840-jaj/jaj/02/04/10
Beat The Retreat On Thy Drum (Sam, Sam, Beat the Retreat!), 1932.
Printed score of a musical monologue performed by Stanley Holloway, part
of the Stanley Holloway Archive held by the V&A Department of Theatre and Performance. Stanley Holloway (1890-1982) made over 50 films, but he loved performing in the theatre and the comic monologues, for which he was so well known. http://archiveshub.ac.uk/data/gb71-thm/18/thm/18/1/7
Eleven pipers piping
Papers of John and Myfanwy Piper, 1882-1990s. John Piper (1903-1992) was a major figure in modern British art. He was a painter in oils and water colour, designed stained glass, ceramics and for the stage, made prints and devised ingenious firework displays. In addition to this he was also a gifted photographer of buildings and landscapes. Piper also wrote poetry, art criticism and several guidebooks on landscape and architecture. http://archiveshub.ac.uk/data/gb70-tga200410
Papers of Horatio Nelson, Viscount and First Admiral, 1758-1805. Held by Glasgow University Library, Special Collections Department, comprising correspondence concerning the promotion of Lieutenant Scott of Monmouth. http://archiveshub.ac.uk/data/gb247-msgen512/35
Manuscript of speeches made by Lord Crewe, Lord Lansdowne, and Lord Loreburn in the Library of the House of Lords, 1908. The speeches were made on Monday, 27th July, 1908, on the occasion of the presentation to the Lord Chancellor, Lord Loreburn, of his portrait painted by Sir George Reid. http://archiveshub.ac.uk/data/gb206-brothertoncollectionms19creid
Transcription of Thomas Hope, Major Practicks, c. 1670. Sir Thomas Hope (1573-1646) of Craighall, advocate and politician. He was solicitor to the Church of Scotland, became a very successful advocate, then worked for Charles I and was appointed Lord Advocate in 1626 and admitted to the Scottish privy council 2 years later. http://archiveshub.ac.uk/data/gb227-mske.l2
Collection of material relating to Anna Pavlova, 1875-1965. Anna Pavlova (1881-1931) was the most celebrated ballerina of her generation. The collection includes accessories originally worn by Pavlova in performance, scrapbooks containing many assorted press and illustrated magazine cuttings featuring Pavlova and sepia prints of Pavlova at a young age. http://archiveshub.ac.uk/data/gb3208-rbs/pav
Adeline Genée Archive Collection, c. 1890-1970. Danish by birth, Adeline Genée (1878-1970), was a talented ballerina and the founder president of the Association of Teachers of Operatic Dancing of Great Britain (later the Royal Academy of Dance). http://archiveshub.ac.uk/data/gb3370-rad/ag
Marie Rambert Collection, 1890s-1980s. Collection of films, costumes, photographs, correspondence, diaries, programmes, press cuttings, personal papers, autobiographical notes, awards and medals owned and collected by Dame Marie Rambert throughout her life as well as papers relating to her death and memorials. http://archiveshub.ac.uk/data/gb2228-mr
Eight maids a-milking
M. Russell-Fergusson papers, 1914-1990. M. Russell-Fergusson, Women’s National Land Service Corps, served as a milk maid in Norfolk from Aug. 1917 and later in Leicestershire and at the Royal Dairy Farm, Windsor. http://archiveshub.ac.uk/data/gb206-liddlecollectiondf112
Logo: University of Leeds (Leeds University Library Special Collections)
Books about Russia written by members of the Swan/Swann family, 1968-1989. The Swan/Swann family were members of the British community in pre-revolutionary Russia. Material held by Leeds University Library. http://archiveshub.ac.uk/data/gb206-ms1036
Papers of and relating to Annie S. Swan, c. 1900-1946. Annie Shepherd Swan, daughter of Edward Swan, farmer and potato merchant, was born in Mountskip, near Edinburgh in 1859. She married James Burnett Smith in 1883, and in the early years of their marriage her writing supported him through medical school. http://archiveshub.ac.uk/data/gb231-ms3517
Swan Land and Cattle Company, 1883-1947. The collection is composed of reminiscences of the Swan Land and Cattle Company. The home ranch of the Swan Land and Cattle Company was sited at Chugwater, Wyoming. Its corporate headquarters were in Cheyenne. This large corporate cattle company, with between 50,000 and 80,000 livestock, at one time controlled an area of land greater than the size of the State of Connecticut. http://archiveshub.ac.uk/data/gb237-coll-162
Six geese a-laying
‘Taking a gander’. Article concerning the geese at the University, 1966. Part of the Lady Violet Deramore Collection (1881-2005) held by the Borthwick Institute, University of York. http://archiveshub.ac.uk/data/gb193-vder/vder/3/1/2/10
As it’s pantomime season (oh no it’s not! Oh yes it is!), we also have:
Cuttings about Mother Goose pantomime, 1951. These records form part of the Unity Theatre, theatre company collection held by V&A Department of Theatre and Performance. Unity Theatre was founded in 1936 by a general meeting of the Rebel Players and Red Radio, left-wing theatre groups derived from the Workers’ Theatre Movement. http://archiveshub.ac.uk/data/gb71-thm/9/thm/9/4/5/77
Five gold rings
Small printed notice “Unique and hitherto unknown variety of the Gold Ring Money of Ireland in the form of an Ear Ornament”, 1840s. Held by Chetham’s Library, this item forms part of the The Correspondence of John Bell, Antiquary and Land Surveyor, Gateshead, Newcastle Collection. http://archiveshub.ac.uk/data/gb418-bell/bell/1/29
The rings may in fact refer to ringed-necked pheasants:
Pictorial tapestry rug featuring a pheasant, 1888.
Tapestry rug of worsted yarn and jute in acid colours featuring a pheasant in a floral landscape. Part of the Stoddard-Templeton Carpet and Textile Collection (c. 1840s-1960s). James Templeton and Co. was established in 1843, making Chenille, Axminster, Wilton and Brussels carpets. It employed artists of international calibre such as Charles Voysey, Walter Crane and Frank Brangwyn, with their carpets used in Coronations and in liners such as the Titanic. The collection is held by The Glasgow School of Art Archives and Collections Centre. http://archiveshub.ac.uk/data/gb1694-dc077/2/1
Four calling birds
This could be song birds, such as Canaries, or may be ‘colly’ or black birds:
Descriptions of the Canary Islands and of the Azores, c. 1610.
The manuscript consists of two works, bound together. The first is a description of the Canary Islands, detailing the history, religion and laws of the natives, called the Guanches, as well as observations on the geography and fauna of the islands. The second work is a compilation from other works describing the Azores.The existence of the Canary Islands, a chain of seven islands off the northwest coast of Africa, was known to the Romans and later the Arabs, and European navigators reached the islands in the 13th century. The Azores, an archipelago in the Mid-Atlantic, were discovered in 1427 by the Portuguese and their colonisation by them began in 1432. http://archiveshub.ac.uk/data/gb133-engms17
Image: TfL Metropolitan Line, Transport for London Corporate Archives.
Briefing on Canary Wharf Station, 1989.
Paper concerning delays and changes in the redesign of Canary Wharf Station. Subjects include construction and negotiations, unresolved issues and financial risk. Part of a series of minutes of meetings belonging to the Transport for London Group Archive. http://archiveshub.ac.uk/data/gb2856-%28new%29lt000099/%28new%29lt000099/035
Production contracts for ‘Study from ‘Blackbird”, 2002. Part of the Rambert Dance Company Archive: Productions collection (1920s – 2010s), the folder includes choreographer contracts, production budget and correspondence concerning casting travel and rehearsals. http://archiveshub.ac.uk/data/gb2228-rdc/pd/rdc/pd/06/01/0423
Three French hens
‘The Little White Hen’, 1989-2003.
Material relating to ‘The Little White Hen’, written by Philippa Pearce and illustrated by Gillian McClure (Scholastic, 1996). The series includes a dummy book; preliminary artwork; four pieces of finished artwork; a small amount of correspondence from Philippa Pearce, with some reviews of the book; and a copy of the first edition of the book. http://archiveshub.ac.uk/data/gb1840-gmc/gmc/04
Hen Gapel, Llanbryn-mair Chapel Records, 1898-1932.
Hen Gapel (Old Chapel) in Llanbryn-mair, Montgomeryshire is one of the oldest and most famous chapels in Wales. As far back as 1635 the Rev Walter Craddoc had a small congregation in Llanbryn-mair. Initially, the cause had no home and meetings were held in houses or in a nearby forest. In 1739 a chapel was built (then re-built in 1821). http://archiveshub.ac.uk/data/gb222-bmsshg
Two turtle doves
Ms transcript of song, ‘The Turtle Dove’. 2 leaves belonging to a series of ms and ts transcripts of songs and ballads (1925 to 1965) by the poet and author Robert Graves (1895-1985). The papers are held at St John’s College, Oxford. http://archiveshub.ac.uk/data/gb473-rg/m/rg/m/ballads/4
Records for the Dove Brothers Ltd, builders, 1850-1970.
Dove Brothers Ltd was a prominent construction company based in Islington from 1781 to 1993 which worked with most of the major architects of the late 19th to 20th century. The company was founded by William Spencer Dove (1793-1869). His sons formed the Dove Brothers partnership in 1852. http://archiveshub.ac.uk/data/gb1032-s/dov
And a partridge in a pear tree!
David Cassidy Collection, 1972-1976. The Amercian singer David Cassidy was best known for the musical sitcom The Partridge Family. http://archiveshub.ac.uk/data/gb71-thm/378
Title page from the first known publication of “The 12 days of Christmas” in 1780. Image in the public domain.
Bernard Partridge Drawings Collection, 1861-1905. Bernard Partridge (1861-1945) was a painter and illustrator who became the principal cartoonist of Punch magazine. http://archiveshub.ac.uk/data/gb71-thm/227
Artworks by James Joshua Guthrie and relating to the Pear Tree Press, 1897-1930s. Designs and illustrations, along with other book illustration work and bookplates for the Pear Tree Press. http://archiveshub.ac.uk/data/gb58-addms88957/addms88957/4/4
Trustees of W S Brown – proposed purchase of Deep Mines under Pear Tree House, Tyldesley. 1905. 2 items of correspondence, maintained by the trustees of the Bridgewater estate Ltd. http://archiveshub.ac.uk/data/gb427-bea/bea/i/1774
Funded by a grant from the John Rylands Research Institute, we have recently catalogued the papers of celebrated Victorian educationist Sir James Phillips Kay-Shuttleworth (1804-1877), opening up the rich content of this archive to researchers across the world.
Kay-Shuttleworth was born James Kay in Rochdale, Lancashire, into a textile manufacturing family. After qualifying as a doctor, he went on to have a distinguished career. He was a pioneer of public health, an influential civil servant, and played a key part in nineteenth-century educational reform, laying the groundwork for today’s system of national school education.
Kay-Shuttleworth’s career
After training at Edinburgh University, James Kay returned to practise as a doctor in Manchester in 1827. The following year, he co-founded the Ardwick and Ancoats Dispensary, a charity based in one of the poorest areas of the city. Through this work, he witnessed the appalling living conditions of the urban poor, and became increasingly involved in public health initiatives.
In 1832, the year of the cholera epidemic, he published his seminal pamphlet, The Moral and Physical Condition of the Working Classes Employed in the Cotton Manufacture in Manchester. This predated by some 13 years Friedrich Engels’ better-known The Condition of the Working Class in England.
In 1835, he became an Assistant Poor Law Commissioner for Norfolk and Suffolk, a role which gave rise to his lifelong interest in education and his conviction that it held the key to society’s regeneration.
The Training of Pauper Children (1839): Kay-Shuttleworth’s ideas about educational reform had their origins in his work with pauper children.
In 1839, he was appointed as Assistant Secretary to the Whig government’s Committee of the Privy Council on Education, which administered grants for public education, a post he held for nine years. He was a highly effective civil servant and much of what we take for granted today had its origins in his inspired reforms. In 1840, he established Battersea College, the first teacher training college in Britain. He created a school inspection system; he argued for state education; and he forced through regulations around how children were taught, the design of school buildings, the structure of the teaching profession and the ways in which schools were governed.
There are over 1,000 letters in Kay-Shuttleworth’s archive, reflecting his whole professional career. Correspondents include those involved in education and philanthropy like Matthew Arnold and Angela Burdett-Coutts, as well as many Liberal or Whig politicians, including Gladstone, W.E. Forster, Lord John Russell and John Bright. Most of his key publications are also represented.
Family ties
The archival material relating to Kay-Shuttleworth’s public life is complemented by extensive personal and family correspondence, providing a fascinating insight into family relationships, social and gender roles.
In 1842, he married Lady Janet Shuttleworth, the heiress of Gawthorpe Hall in Lancashire, and adopted her surname on marriage, becoming Kay-Shuttleworth. The couple had five children.
Gawthorpe Hall, Padiham, Lancashire. James Kay-Shuttleworth set his own stamp on his wife’s ancestral home, employing fashionable architect Charles Barry to undertake major renovations in the 1850s. Photograph courtesy of Lee Pilkington.
The letters between Kay-Shuttleworth and his son Ughtred James (1844-1939) show the closeness of their relationship. Ughtred inherited Gawthorpe Hall, and estate management is discussed in some detail, as is Ughtred’s early political career; he went on to become a successful Liberal MP.
Other relationships were less straightforward. Correspondence in the archive documents the young James Kay’s unsuccessful courtship of Helen Kennedy, daughter of a wealthy Manchester family. Later, he grew apart from his wife, Janet; in 1851 she moved permanently to the Continent, ultimately settling in Italy with her eldest child Janet, two youngest sons, and the family governess Rosa Poplawska.
Two of the Kay-Shuttleworth sons – Robert (known as Robin) and Stewart – caused ongoing anxiety to their father. Neither lived up to his expectations, either getting into debt or associating with people of whom their parents disapproved. Ultimately Kay-Shuttleworth arranged for Robin to travel to Australia and take up sheep-farming (although he proved a continued source of worry to his parents), and Stewart emigrated to Sri Lanka (then Ceylon) to run a plantation.
Literary circles
Kay-Shuttleworth’s literary aspirations are less well-known than his public career. Always passionate about literature, after his retirement he published two historical novels set in his home county of Lancashire, Scarsdale (1860) and Ribblesdale (1870). Correspondence and reviews relating to these two novels are included in his archive, as is the manuscript of a third novel, Cromwell in the North, which remained unpublished at his death, and his unpublished autobiography.
A page from Gaskell’s manuscript of The Life of Charlotte Brontë, from the Library’s Elizabeth Gaskell Collection
His own literary endeavours failed to attract much critical acclaim, and his greatest contribution to literature was probably his role in bringing together Charlotte Brontë and Elizabeth Gaskell. The two writers first met in August 1850, during a visit to the summer home of the Kay-Shuttleworths in the Lake District. Gaskell was already fascinated by what she knew of Brontë and her isolated life in Haworth, which was so different from Gaskell’s own bustling home in Manchester. Despite their many differences, the women immediately struck up a friendship which lasted until Brontë’s premature death in 1855. Gaskell went on to write the celebrated biography of her friend.
Elizabeth Gaskell, c. 1864. Photograph by Alexander McGlashon
Having been refused access to the manuscript of Brontë’s unpublished novel, The Professor, by her widower, the Rev. Arthur Nicholls, Gaskell recruited Kay Shuttleworth’s assistance. They visited the parsonage at Haworth together in July 1856. The forceful personality of Sir James overcame the misgivings of Nicholls. He and Gaskell came away not only with The Professor manuscript, but also the fragment of a novel called Emma which Brontë had been working on before her marriage, and the now-famous miniature ‘Gondal’ and ‘Angria’ manuscripts created by Brontë and her siblings.
Fran Baker (Archivist) and Jane Speller (Project Archivist), The University of Manchester Library
The centenary of the First World War is rightly being commemorated by a wide range of people and organisations. At the Institution of Mechanical Engineers, we have been investigating how the war sparked a technological battle for the best weapons, infrastructure and defences, and what this meant for engineering. New innovations include the tank and the gun mounted aircraft. The loss of workforces to the front saw women being employed in aspects of engineering, such as munitions, like never before.
Women workers
Press photograph of women factory workers during WW1
In 1918 Olive Monkhouse presented a paper at the Institution on the employment of women in munitions, the first women to do so. The discussion that followed highlights professional thinking on women workers prevalent at the time. It was generally accepted that the women had shown themselves to be good and reliable employees but there was real concern for their welfare (due to male colleagues potential wandering hands and teasing!) and the welfare of the nation: women as homemakers and the primary care givers were seen as the linchpin of society; the glue that held the nation together. Photographs in our collections give a glimpse into the conditions and working lives of these women, showing them both on the shop floor and in research areas and therefore, working at a variety of technological and skill levels.
Technological advances
Side elevation of Maughan’s tripod for a Vicker’s gun, showing variant gun positionings
As for technological advances, several of our records make it clear that the army and other national organisations did not always solicit, or indeed welcome, invention. Lieutenant Walton Maughan of the Tank’s Corps, in response to an article in The Times, designed a new machine gun mounting. He took the invention to the forces, pushing hard for trials- you can almost hear him shouting at them off the pages how urgent the need for the mount is. The invention was put into production and used with Vicker’s guns; it updated an obsolete mount and allowed machine guns to be more efficiently targeted. Maughan was injured during the tank advance at Cambrai. The tank being another key innovation of the war, although its full capacity was not felt until the Panzer divisions of the Second World War used it.
Destroyer fitted with a type ‘N’ paravane
Other inventions include paravanes, these were hung from boats and used against marine mines to clear shipping lanes; design drawings at the Institution show how different destruction/tow methods were used and thus how quickly such items were developed. The drawings are rather exquisite and show how even technical draughtsman thought about aesthetics, as well as giving detailed information.
Caledonian Railway elevations for the moving of heavy guns
Already existing infrastructure was also mobilised, elevations show how the railways were adapted for the carrying of heavy guns to ports etc. On the Continent, the railway transporters could themselves become integral to the gun; instead of moving these cumbersome items they were fired from the railway line. In both advancing existing designs and creating the need for innovations the war advanced engineering and this had an impact on future conflicts.
Mercedes model and 3D photography project
We hold a more curious First World War item, a model of Marshal Otto Liman von Sanders Mercedes. Sanders was a German general who served as adviser and military commander to the Ottoman Empire during the conflict. So far not so strange but the model was made by German prisoners of war in Palestine during 1918, as a present to the British Major Pinder Commander 347 MT Coy Royal Army Service Corps. Pinder is an elusive figure and represents how searching for, even ranked officers, can be difficult. He is quite possibly EC Pinder, a Captain and temporary Major who was Mentioned in Dispatches 24th Dec 1917. The model is fine, with upholstery, a turning door handle, a bonnet that opens to reveal workings and turning wheels. It was donated by Pinder in 1939 but has no contextual information recorded about it. The car has also been the basis of our new 3D photography project, tests of which are available (http://engineersatwar.imeche.org/docs/default-source/Resources/object.swf?sfvrsn=2). The project aims to allow access to items mainly in storage.
Honour Roll research
Propeller from the Lusitania
Another key project has been researching our Honour Roll. In common with many places, we have a board with a list of names. Using this and contemporaneous journals we have been able to piece together the stories behind those names. We also added details of two civilian casualties:William Martin-Davey went down alongside Colin Stanley Fenton on RMS Lusitania when she was torpedoed by a German submarine; both were involved in munitions work. The Roll reveals that engineers worked at every level of the campaign, from privates moving transport to one of Lord Kitchener’s men who died on the HMS Hampshire with him. It also illuminates the ‘world’ aspect of the conflict, with engineers from as far afield as Canada, Nigeria and India taking part. Members were encouraged to invest in war bonds and join new military divisions that were seeking engineers.
Occupation of the Institution’s headquarters
The Institution’s headquarters building also did its bit: almost immediately, the top floor was taken over by the Prince of Wales’ National Relief Fund; then rooms on the third floor were occupied by the Office of Works for the Explosives Department (Ministry of Munitions), who soon spread to the fourth floor; next the meeting hall was occupied; and in June 1915 the whole of the building was given over to the Office of Works. It was returned in 1919.
‘Engineers at War: from battle front to home front’
To more fully tell the story of engineering during the war, we are collaborating with the Institution of Civil Engineers and The Institution of Engineering and Technology. ‘Engineers at War: from battle front to home front’ (http://engineersatwar.imeche.org ) looks at ways engineers supported the war effort through infrastructure, defence/weaponry and at home; some personal stories are also told. Pieces from guests (starting May 2015) on specific related areas will rotate. Launched officially on the 11th Nov 2014, it is available now. The war allows an opportunity for us all to reflect on how we view our records: an event with such devastating consequences makes us remember that what we sometimes view as informational transactions in fact have a human side; archives can be intimately related to people’s lives, minds and deaths.
Karyn Stuckey, Archivist
Institution of Mechanical Engineers
All images copyright the Institution of Mechanical Engineers, and reproduced with the kind permission of the copyright holder.
Kettle’s Yard is a unique and special place. It is so much more than a house, a museum or a gallery, and it invariably leaves a lasting impression with those who visit.
Between 1958 and 1973, Kettle’s Yard was the home of Jim and Helen Ede. In the 1920s and 30s, Jim had been a curator at the Tate Gallery in London. It was during this time that he formed friendships with artists and other like-minded people, which allowed him to gather a remarkable collection of works by artists such as Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood, David Jones and Joan Miro, Henri Gaudier-Brzeska, Constantin Brancusi, Henry Moore and Barbara Hepworth. Ede also shared with many of his artist friends a fascination for beautiful natural objects such as pebbles, weathered wood, shells or feathers, which he also collected.
Jim carefully positioned artworks alongside furniture, glass, ceramics and natural objects, with the aim of creating a perfectly balanced whole. His vision was of a place that should not be
“an art gallery or museum, nor … simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability.”
Jim Ede’s bedroom table – Kettle’s Yard, University of Cambridge. Photo: Paul Allitt.
Jim originally envisaged making a home for his collection in quite a grand house, but unable to find a suitable property, he opted instead to remodel four derelict 19th century cottages and convert them into a single house.
Kettle’s Yard was conceived with students in mind, as ‘a living place where works of art could be enjoyed . . . where young people could be at home unhampered by the greater austerity of the museum or public art gallery.’ Jim Ede kept ‘open house’ every afternoon of term, personally guiding his visitors around his home. This experience is still faithfully recreated as visitors ring the bell at the front door, and are welcomed into the house.
Jim Ede at Kettle’s Yard – Kettle’s Yard, University of Cambridge
In 1966 Jim gave the house and its contents to the University of Cambridge, though he continued to occupy and run it until 1973. In 1970, the house was extended, and an exhibition gallery added to ensure that there would always be a dynamic element to Kettle’s Yard, with space for contemporary exhibitions, music recitals and other public events.
The archive
If Kettle’s Yard is the ultimate expression of a way of life developed over 50 years and more, the archive adds an extra dimension by documenting the rich story of how that philosophy evolved. At its core are Jim Ede’s personal papers, which chart a wide range of influences throughout his life, from his experience of World War I, through the ‘open house’ the Ede’s kept in Hampstead through the late 1920s and early 1930s and the vibrant set who attended their parties; the weekend retreats for servicemen on leave from Gibraltar at the Ede’s house in Tangier at the end of World War II; the ‘lecturer in search of an audience’ who travelled to the US in the early 1940s; the prolific correspondence not just with artist friends, but figures such as T E Lawrence; and the development of Kettle’s Yard and its collections.
Thanks to the support of the Newton Trust, we are now half way through a 2-year project to improve access to the archive and support research by producing a digital catalogue of the collections, putting in place proper preservation strategies, and establishing procedures for public access. This work builds on the foundations laid by the dedicated archive volunteers, who continue to work with us.
We have started out by publishing a high-level description of the Ede papers on the Archives Hub [http://archiveshub.ac.uk/data/gb1759-ky/ede?page=1#id1308050], to which we will add more detail over the coming year. The catalogue already includes detailed descriptions of c.120 letters Jim Ede received from the artist and writer David Jones between 1927 and 1971, and c. 200 from the collector and patron Helen Sutherland, from 1926 to 1964. We will soon be adding correspondence with the artists Ian Hamilton Finlay and Richard Pousette-Dart, and the museum director Perry Rathbone; papers relating to Jim Ede’s lifelong mission to promote the work of Henri Gaudier Brzeska, and the establishment and running of Kettle’s Yard; and other small collections such as Helen Sutherland’s letters to the poet Kathleen Raine.
In another exciting development, Kettle’s Yard has now received backing from the Arts Council England Capital Investment Programme Fund to create a new Education Wing and carry out major improvements to the exhibition galleries. The plans [http://www.kettlesyard.co.uk/development/index.php] include a purpose-built archive store and dedicated space for consulting and exhibiting archive material.
One recent addition to the archive is a letter that Jim Ede wrote in 1964, in response to a thank you note from an undergraduate who had visited Kettle’s Yard. In typical style, Jim expresses concern about whether he really is providing pleasure to others through his endeavours at Kettle’s Yard, and draws strength from the expression of gratitude. He ends the letter ‘Do come in as often as you like – the place is only alive when used’.
“the place is only alive when used” – Kettle’s Yard Archive, University of Cambridge
This is very true of the house, but equally true of the archive – and hopefully everything we are doing to improve physical and intellectual access to the archives, and integrate it into all aspects of the Kettle’s Yard programme, will ensure that it is well used.
Frieda Midgley, Archivist
Kettle’s Yard, University of Cambridge
All images copyright Ketttle’s Yard, University of Cambridge, and reproduced with the kind permission of the copyright holder.
The Swords into Ploughshares project encompasses the cataloguing of two peace organisations’ archives, the Women’s International League for Peace and Freedom (WILPF) and the Fellowship of Reconciliation: London Union (FOR). Both organisations were formed during the First World War and have a strong history of actively campaigning for world peace, disarmament and supporting individuals affected by war. Cataloguing these collections gives peace movement researchers the opportunity to access important material documenting the history of pacifism and disarmament. The project was made possible by funding from the National Cataloguing Grants Programme for Archives.
Women’s International League for Peace and Freedom
WILPF was formed in 1915 when the International Women’s Congress met in The Hague, resolving to start an organisation to promote peace and campaign for an end to the First World War. Over 1,000 women, representing both belligerent and neutral countries, attended the Congress which saw Jane Addams, an American campaigner for female suffrage, elected president. Only three British women attended as the British government prevented 180 women from travelling by denying passports and closing the North Sea to shipping. However WILPF branches quickly formed in Britain once Congress resolutions were publicised.
WILPF/2009/18/2 – WILPF delegation to the King of Norway, 1915
Following the Congress WILPF embarked their campaign for an end to the war, and a delegation featuring British member Chrystal MacMillan met with the King of Norway. Jane Addams had a meeting with the American President Woodrow Wilson, who was greatly impressed by WILPF’s proposals to end the conflict.
Following the end of the First World War WILPF decided that campaigning should continue as worldwide peace and disarmament still needed to be achieved. In 1930 WILPF launched a disarmament petition under the slogan ‘War is renounced – Let Us Renounce Armaments’. The petition was to be presented to the League of Nations World Disarmament Conference in Geneva in February 1932.
WILPF/22/1 – British WILPF’s disarmament petition arrives in Geneva, 1932
British WILPF played an active role in promoting the petition with members attracting signatures by wearing banners calling for disarmament; one had the slogan ‘Big Guns and Tanks Are Forbidden to Germany Why Not Abolish All Round.’ Shop fronts were taken over with displays in windows encouraging people to ‘Sign Up Here Against War.’
By February 1932 British WILPF had collected over 2 million signatures. A delegation carrying the British petition travelled by train from Victoria station to Geneva and a large crowd gathered to see them off with Margaret Bondfield, the first female cabinet minister, giving a speech highlighting the importance of disarmament. Once in Geneva the several crates containing British signatures were met by international WILPF members, later they marched through Geneva with posters stating ‘Japanese bombs are falling on Chinese cities. What will you choose: War or Disarmament?’
Fellowship of Reconciliation: London Union
FOR formed in 1914 when Henry Hodgkin (a British Quaker) and Friedrich Siegmund-Schultze (a German Lutheran) attended a Christian pacifist conference in Germany. As they bid farewell to each other at its conclusion and seeing war as inevitable, they pledged that “We are one in Christ and can never be at war”. Back in Britain, Hodgkin spread the message to Christian groups and the Fellowship of Reconciliation was formed, with public meetings calling for an end to the war a regular occurrence – some attracting supporters of the war with ugly scenes occurring. London branches joined together in 1916 to form the London Union.
FOR has a long history of supporting conscientious objectors in their decision not to undertake military service. During both world wars FOR provided advice and guidance to those conscripted into the army on the arguments they should deploy to prove they were a genuine conscientious objector. This was extended when National Service continued after the Second World War with FOR calling for an end to the scheme.
A scrapbook compiled by First World War conscientious objector Frederick Bradley is held in the archive. Following conscription being introduced in 1916 men were required to appear before Military Service Tribunals when requesting exemption. Bradley appeared before the Tribunals four times, he was granted exemptions initially as his Father argued he was needed to run the family business. The local press followed the case and the headline ‘Third Time of Asking’ gives an indication of local feeling. At the fourth tribunal Bradley stated ‘he absolutely refused to take life’ and he was allowed to undertake non-combatant service. Bradley was sent to Dartmoor prison work camp where a dietary chart reveals prisoners received fewer rations than the civilian population.
COLL MISC 0456/7/3 – Dietary chart for male convicts in convict prisons, c.1916-c.1918
Conscientious objector and FOR employee, Stella St. John, was imprisoned in Holloway in 1943. On her release she wrote a fascinating account of her experience, revealing that prisoners were generally tolerant about her beliefs some saying ‘Good luck to you, I don’t hold with this war, but I wouldn’t get put in here for it.’ Stella writes about all aspects of prison life and is particularly scathing when describing food, writing the following about porridge “I had it the first day but never again, it tasted of mould and decay!”
Carys Lewis
Swords into Ploughshares Project Archivist
The Anti-Apartheid Movement – Archives held at the Bodleian Library, University of Oxford
Boycott South African Goods poster, AAM Archives, ref: po001.
For over three decades the Anti-Apartheid Movement (AAM) campaigned for a boycott of apartheid South Africa and support for all those struggling against it. Founded in 1959 as the Boycott Movement, the AAM grew into the biggest ever British pressure group on an international issue.
What was Apartheid?
Apartheid was a unique system of racial segregation and white supremacy in South Africa. For nearly three centuries Africans were dispossessed and exploited by Dutch and British colonists. In 1948 apartheid (‘apartness’) became official policy. The National Party, elected by an all-white electorate, extended and formalised separation and discrimination into a rigid legal system.
Most of the land was allocated to whites, and Africans were confined to barren overcrowded ‘homelands’. Black workers in so-called white areas were required to carry passes at all times. They lived in townships outside the city centres and were paid below subsistence wages.
Health and education facilities were segregated and those for blacks were hugely inferior to those for whites. The system was kept in place by a battery of repressive laws, under which people could be detained indefinitely without trial.
The Anti-Apartheid Movement in the UK
Some of the most compelling material held in the AAM archive at the Bodleian library has been included in a new website ‘Forward to Freedom: The history of the British Anti-Apartheid Movement, 1959–1994’ at http://www.aamarchives.org.
This site features selected video, photographs, posters and documents from the AAM’s archive at the Bodleian Library, University of Oxford. Highlights are footage of the Wembley stadium Nelson Mandela tribute concert in 1988, iconic posters from campaigns to save the Rivonia trialists from the gallows in 1964 and to stop the Springbok cricket tour in 1970, and letters from Prime Minister Margaret Thatcher arguing against sanctions on South Africa. London demo poster (1982), AAM Archives, ref: po065.
Also included are more than 50 interviews with former anti-apartheid campaigners including musician Jerry Dammers, actor Louis Mahoney, Lord David Steel, (AAM President in the 1960s), and grassroots activists who tell what motivated them to get involved.
It shows the wide range of interest groups who took action against apartheid, from students who campaigned for universities to disinvest in the 1970s to British trade unionists who supported resurgent South African trade unions to church groups who campaigned for South Africa’s withdrawal from occupied Namibia.
Other archives related to the Anti-Apartheid Movement
The Anti-Apartheid Movement in the UK had many affiliate branches, partner groups and organisations working alongside them towards their shared aim of ending Apartheid. Some of these also have their archive descriptions included in the Archives Hub.
The Anti-Apartheid Movement in Scotland
Branches supporting the AAM organisation existed in Glasgow and Edinburgh through the 1960s, with 1976 seeing the establishment of the Anti-Apartheid Movement Scottish Committee.
The object of the Scottish Committee was to further the work of the Anti-Apartheid Movement, especially in Scotland, being responsible for the recognition of local Anti-Apartheid groups in Scotland and their admission into membership of the Anti-Apartheid Movement.
Activities in Scotland incorporated a number of specific areas that were the focus of international campaigning on South Africa, including sports, cultural, retail and academic boycotts, campaigns against nuclear and military collaboration, loans to South Africa, and for oil sanctions. The Movement’s work was not limited to South Africa. It was one of the first organisations to highlight the “unholy alliance” between apartheid South Africa, the racist regime in Rhodesia (now Zimbabwe), and Portuguese colonial rule in Africa.
This archive is held at Glasgow Caledonian University and belongs to Action for Southern Africa Scotland – their site can be found here: http://www.actsascotland.org.uk/.
Lawyers against Apartheid
Also held at the Glasgow Caledonian University site is the archives for Lawyers Against Apartheid. Lawyers Against Apartheid was formed following a legal conference in December 1986 to mobilise the support of the legal community in Great Britain for the liberation struggles in South Africa and Namibia. Membership was open to all members of the legal community in Britain, including practitioners, academics, students and legal workers. The group was affiliated to the Namibia Support Committee, London, and the Anti-Apartheid Movement.
The first official meeting of the group was in London in January 1986, where it was decided that their aims were to include exposing the nature and illegitimacy of the apartheid regime to the British legal community, campaigning for anti-apartheid policies and practices within the British legal community, and providing advice and assistance to the local anti-apartheid groups. The group challenged the established ideas of the South African legal system, especially the myth of impartial hearings from an independent tribunal, and also promoted the issue of Prisoner of War status for captured freedom fighters and supported the campaign for Namibia’s independence following South Africa’s illegal occupation.
Lawyers Against Apartheid met quarterly, usually in London, and had sub-groups working on specific issues such as Prisoners of War, Domestic Legal Support, International Law, and Trials & Punishments, until their disbanding in 1996.
The original deposit, which consisted mainly of books, pamphlets, serials, and posters, has been supplemented with two additional deliveries of predominantly archive materials.
Paul Flieshman
Mimas Development Officer
Collections
A selection of the collections relating to apartheid on the Archives Hub: Free Nelson Mandela rally poster (1980), AAM Archives, ref: po059. Records of Anti Apartheid Movement Scottish Committee, pressure group, Glasgow, Scotland. 1965-1994 (predominant 1976-1994). http://archiveshub.ac.uk/data/gb1847-aams
The Archives Hub contains a range of material linked with dance – dancers, choreographers and teachers, schools and companies, ballet, contemporary and other styles of dance. This feature highlights some of these collections.
Dancers and Choreographers
Jack Cole Scrapbook Collection, 1910s-1970s, dancer and choreographer. He was known for his unpredictability and originality, grafting on elements from Indian, Oriental, Carribean, Latin American, Spanish, and African-American dance. He worked on Broadway and in Hollywood as both dancer and choreographer, being popularly remembered for his choreography for Marilyn Monroe. http://archiveshub.ac.uk/data/gb71-thm/106
Ram Gopal Collection, 1930s-2004, dancer, choreographer and teacher. Gopal was trained in classical Indian dance forms of Kathakali, Bharatra Natya and Manipuri. He wanted Eastern and Western dance forms to work together and taught Indian folk dance at the Harlequin Ballet Company. http://archiveshub.ac.uk/data/gb1975-ram
Papers of Diana Gould, 1926-1996, dancer. Diana Rosamund Constance Grace Irene Gould was a British ballerina. Early in her career Sergei Diaghilev spotted her and invited her to join his Ballets Russes but he died before this could be arranged, events said to have been fictionalized in the film ‘The Red Shoes’. Diana married Sir Yehudi Menuhin in 1947. http://archiveshub.ac.uk/data/gb2228-dpdg
Papers relating to the career of Bruce McClure, 1925-1989, dancer and choreographer. Bruce McClure trained as a dancer and worked as a dancer at the Citizens’ Theatre among other places. In the 1960s he moved on to choreography including for television. http://archiveshub.ac.uk/data/gb247-stabmc
Collection of material relating to Margaret Morris, 1891-1980, ballet dancer and choreographer. She established the first national ballet company for Scotland, developed a modern dance technique and a system of movement therapy. http://archiveshub.ac.uk/data/gb247-stabq1
Harry Relph (Little Tich) volumes, 1881-1974, dancer. Known on stage as Little Tich (he was 4 foot 6 inches tall), Harry Relph became one of Britain’s most popular music-hall and variety acts. One of his best known routines was called ‘Big Boots’, which had him dancing in boots that were 28 inches long. http://archiveshub.ac.uk/data/gb71-thm/326
Dance schools, companies and educational organisations
Tap dancing class in the gymnasium at Iowa State College, 1942. Library of Congress, LC-DIG-ppmsc-00250.
Papers relating to the Pushpalata Dance Company, 1991-2005. The company focuses on Odissi and Kathak dance practices, but also performs in a number of collaborations with Western dance forms, most notably investigating the point at which Flamenco and Kathak dance meet. http://archiveshub.ac.uk/data/gb1975-pu
Philip Richardson Archive Collection, Royal Academy of Dance, c1900-1963; c1760-1780; c1800-1900. Richardson’s interest in the history of dancing led him to become an avid collector of rare books on the subject. His personal library collection was bequeathed to the RAD after his death in 1963. http://archiveshub.ac.uk/data/gb3370-rad/pjsr
The Mimi Legat Collection, The Royal Ballet School, White Lodge Museum, 1900-1970. Papers relating to the Russian ballet dancers Sergei Legat, Nicolas Legat, and Nadine Nicolaeva-Legat. http://archiveshub.ac.uk/data/gb3208-rbs/mim
Marie Rambert collection, Rambert Dance Company, 1890s-1980s. Collection of films, costumes, photographs, correspondence, diaries, programmes, press cuttings, personal papers, autobiographical notes, awards and medals owned and collected by Dame Marie Rambert throughout her life as well as papers relating to her death and memorials. http://archiveshub.ac.uk/data/gb2228-mr
Laban Collection, Trinity Laban Conservatoire of Music and Dance, 1918-2001. Papers and other material relating to Rudolf Laban: teacher, philosopher, dancer, choreographer, author, experimentor and the father of modern dance. http://archiveshub.ac.uk/data/gb1701-lc
Ballet
Dance scrapbooks (ballet), c1951-1978. Containing newspaper cuttings of national and international ballet companies and dancers including Margot Fonteyn and Rudolf Nureyev. http://archiveshub.ac.uk/data/gb1701-lz
Ekstrom Collection: Diaghilev and Stravinsky Foundation, 1902-1984. Letters, financial records, and telegrams, which give a unique insight into the day-to-day running of Diaghilev’s Ballets Russes. http://archiveshub.ac.uk/data/gb71-thm/7
Russian Ballet Collection, 1911-1914. Programmes of the Russian Ballet’s seasons at the Theatre du Chatelet, Paris, held by the University of Exeter. Included are many colour illustrations of costume designs, as well as photographs and illustrations of various dancers and text about various ballet productions. http://archiveshub.ac.uk/data/gb29-eulms158
Records of Scottish Ballet, 1952-1999. Programmes, photographs, leaflets, periodicals, press cuttings, posters and other papers relating to the Scottish Ballet and Western Ballet Theatre. http://archiveshub.ac.uk/data/gb247-gb247stasbetc
Valentine Gross Archive, 1700-1960s. Valentine Gross, a.k.a. Valentine Hugo (1887-1968), was a French art ballet enthusiast, illustrator, researcher and painter and still a student at the time of 1909 Saison Russe in Paris. http://archiveshub.ac.uk/data/gb71-thm/165
Contemporary dance
Trinity Laban Conservatoire of Music and Dance logoBonnie Bird Choreography Fund Archive, 1981-2001. The Bonnie Bird Choreography Fund was established in 1984 to support and promote innovative choreographers and dance writers in Britain, Europe and America. http://archiveshub.ac.uk/data/gb1701-d25
Contemporary Dance Trust Archive, 1957-1998. Consists of papers relating to the running of the Contemporary Dance Trust which incorporated the London Contemporary Dance Theatre and the London Contemporary Dance School. http://archiveshub.ac.uk/data/gb71-thm/22
Independent Dance at the Holborn Centre for Performing Arts Archive, 1989-1999. Independent Dance is an artist-led organisation which provides specialist training to contemporary dance artists. It was established in 1990 and has the longest running daily training programme in the UK. http://archiveshub.ac.uk/data/gb1701-d17
Bob Lockyer Collection, 1970-1995. Photographs and scripts from various dance programmes produced for the British Broadcasting Company (BBC) by Bob Lockyer. http://archiveshub.ac.uk/data/gb1701-d8
Dorothy Madden Collection, 1912-2002. Dr Dorothy Gifford Madden, former Professor Emerita of the University of Maryland, United States of America who was responsible for bringing American modern dance practice to the United Kingdom. http://archiveshub.ac.uk/data/gb1701-d23
Transitions Dance Company Archive, c1985-2009. Established in 1983, Transitions Dance Company was among the first graduate performance companies in the United Kingdom. http://archiveshub.ac.uk/data/gb1701-d24
Clubs, societies and other dance-related collections
Dance theatre programmes collection, c1950-1999. A collection of over 3,000 dance theatre programmes from over 500 national and international dancers and dance companies. http://archiveshub.ac.uk/data/gb1701-ld
Papers of the Foundation for Community Dance and predecessors, 1984-2011. Papers of the Foundation for Community Dance and its predecessors the Community Dance and Mime Foundation and the National Association of Dance and Mime Animateurs. http://archiveshub.ac.uk/data/gb3071-d/036
Henry Rolf Gardiner: Letters to Margaret Gardiner, 1921-1960. 34 letters from Gardiner (businessman and author) to his sister Margaret Gardiner, on his time at Cambridge. Topics include folk-dancing, morris-dancing and work on a dance-book. http://archiveshub.ac.uk/data/gb012-ms.add.8932
Sadler’s Wells Theatre Archive, c1712-2012. The Sadler’s Wells site has been occupied by six different theatres since 1683. The current theatre, which opened in 1998, is dedicated to international dance. http://archiveshub.ac.uk/data/gb1032-s/swt
Peter Williams Collection, c1950-1980. Williams was the editor of the journal Dance and Dancers. The collection includes c40,000 black and white photographs of dancers and dance companies from all over the world. http://archiveshub.ac.uk/data/gb1701-d11
