Archives Hub feature for March 2016

APAC, the Association of performing arts collections in the UK and Ireland: A peer network championing the documentation of performing arts material and its access by everyone.

Performing arts are all around us and come in many different shapes and sizes: drama, opera, circus, local amateur theatre groups, dance, carnivals, pantomime, music festivals and more. Although performances are increasingly recorded live and high profile productions screened to your local cinemas; capturing the process of putting on a show, the collaborations between a creative team and cast, followed by the public reception present quite a few challenges to collection managers. How to capture the depth and breadth of performing arts at local and national level? How to make performing arts information and material easily accessible to the diverse users ranging from academics, theatre enthusiasts, family historians, school children and the creative industry itself?

The Association of Performing Arts Collections, APAC, was founded in 1979 by a number of librarians, archivists and museums curators, as the then Theatre Information Group. Its mission is to champion best practice in documenting the performing arts and making it accessible to their users. The peer network of information professionals and interested individuals has grown to almost 100 members and includes institutions responsible for most of the UK’s performing arts heritage: public museums, libraries, and archives; archives of theatres and companies; college and university archives and libraries. APAC is the UK and Ireland affiliate of SIBMAS, the international organisation of libraries, museums, archives and documentation centres of performing arts. The national and international network of collection managers provides an excellent forum for information exchange, to discuss issues and explore solutions.

The APAC Executive Committee arranges regular meetings, alongside visits to collections and performing arts venues in addition to conferences and study days concentrating on issues of relevance to our holdings, such as copyright, digital preservation, audio-visual materials, costume, photography, digitisation, exhibitions, etc. These events are aimed at updating and extending members’ knowledge and skills, but also to benefit from each other’s trials and errors and encourage collaborative projects. In addition APAC has a number of working groups bringing together APAC members discussing specific challenges in their day-to-day work and seeking solutions, which are shared with the wider membership. Current working groups concentrate on digital preservation and authority datasets for performing arts.

One major challenge faced by most organisations holding performing arts materials is the fact, that international documentation standards for archive, library and museum collections do not adequately allow the capture of production/event information, which includes details of the work, its venue, production run and creative and cast involved. Many theatre and performance venues managing their own collections have implemented solutions to document their performance history and then to link these up with relevant material held within their organisation. Excellent examples are the National Theatre Archive, the Royal Opera House Collections, the Royal Albert Hall or the archives of the Royal Shakespeare Company held by the Shakespeare Birthplace Trust. However, much related material is held by other organisations across the country, which tend to not have equivalent production databases due to lack of resources, both time and money. Also organisations, such as museums, local libraries or archives do not want to duplicate the effort of re-entering performance data in their own systems and then just link up their own material.

The technical developments and online opportunities over the last decade led to APAC’s main vision of establishing an www.IMDB.com style solution of making a single database freely available online, where past and current productions across the UK and Ireland can be recorded. It is not only the ambition to facilitate a single point of access to find out about production, cast and venue information, but also to make the link to actual holdings held by organisations across the two countries. This ambitious project will hopefully see the closing of the major information gap, but should also result in a new and innovative way of making material discoverable using technology readily available. In tandem with technical developments, the APAC Authority Working Group, comprising of information professionals across the sector plans to draw up guidelines on how to use this resource alongside your in-house archive, library or museum system.

To find out more about APAC, please check out the APAC website, which holds information about APAC members and other resources, which may be of relevance to other organisations: www.performingartscollections.org.uk.

And now it is time to meet some of the APAC members holding archival collections and making these available via the Archives Hub:

Central Saint Martin’s Museum & Study Collection

The Central Saint Martin’s Museum & Study Collection has been collecting work by students and staff for more than a century and for the last 20 years has bought work from degree shows. There has been a theatre design department (now called Design for Performance) for much of that time and the collection now includes dress research, costume designs, theatre models and photographs from that department. Drama Centre London is also part of Central Saint Martin’s, and the museum has some of their material.

http://www.arts.ac.uk/csm/about-csm/museum-and-study-collection/

National Theatre

The National Theatre Archive documents, protects and makes accessible material related to the history of the theatre. The NT Archive collects around productions as well as the administrative and strategic history of the institution. Its external collections focus on the early days of the National Theatre and on staff members, who were integral to its development.

A couple of the external collections are on the Hub with more to come. The Shakespeare Memorial National Theatre Collection (https://archiveshub.jisc.ac.uk/data/gb2080-smnt) charts the movement to found the National Theatre and the collection of Catherine Fleming (https://archiveshub.jisc.ac.uk/data/gb2080-cf), a vocal coach, who worked with the National Theatre Company when it was housed at the Old Vic.

https://archiveshub.jisc.ac.uk/data/GB-2080

Rambert Dance Company Archive

The Rambert Archive documents the development of dance in Britain through the heritage of Britain’s first established dance company, Rambert. The collections include the Company collection, dating from the first performance of a ballet choreographed by an English person. The collections also include personal archives created by our founder, Dame Marie Rambert DBE, who played a role in the birth of modernism in ballet and music, as well in the early days of the Dalcroze Eurythmics movement. Other former alumni have contributed collections, including those of the choreographer Walter Gore, whose ballet company pioneered new works in the 1950s; the Ballet Workshop who hosted new collaborations between choreographers, designers and composers including some of the earliest black British ballets; the first tours to China and to Australian and New Zealand by any British dance company, and extensive material about the popularisation of dance as an art-form during the Second World War.

https://archiveshub.jisc.ac.uk/data/GB-2228

Royal Academy of Dance

The Royal Academy of Dance was founded in 1920, a time when there was a heightened interest in the establishment of a British Ballet tradition. As a result, the RAD’s archive collections contain a variety of materials that relate to this period including programmes, photographs, costume designs, papers and correspondence. These are housed alongside the significant personal collections of RAD founders Dame Adeline Genée (https://archiveshub.jisc.ac.uk/data/gb3370-rad/ag ), Phyllis Bedells (https://archiveshub.jisc.ac.uk/data/gb3370-rad/pb ) and Philip Richardson (https://archiveshub.jisc.ac.uk/data/gb3370-rad/pjsr ), and the photographic archive of GBL Wilson (https://archiveshub.jisc.ac.uk/data/gb3370-rad-gblw ) documents the subsequent heyday of British Ballet from the 1940s through to the 1980s.

https://archiveshub.jisc.ac.uk/data/GB-3370

Theatres Trust

The Theatres Trust’s collections focus on theatre buildings, their architecture, design, management and history. Our institutional archive charts the development of, and The Theatres Trust’s relationship with theatre buildings in the United Kingdom and primarily contains correspondence, building descriptions, photographs, press cuttings, architectural plans and planning applications. Our donated special collections consist primarily of theatre photographs, postcards, press cuttings and scrapbooks. Other resources provided by The Theatres Trust include an online Theatres Database and Image Library.

https://archiveshub.jisc.ac.uk/data/GB-3401

The Theatres Trust Archive: https://archiveshub.jisc.ac.uk/data/gb3401-ttt

Trinity Laban Conservatoire of Music and Dance

Trinity Laban Conservatoire of Music and Dance is the UK’s only conservatoire of music and contemporary dance. Leaders in music and contemporary dance education, the Conservatoire also provides exciting opportunities for the public to encounter dance and music, and access arts health programmes, all housed in landmark buildings.
The Laban Archive, within the Faculty of Dance at Trinity Laban, focuses on the history and development of Rudolf Laban the man, Laban the institution and on the field of contemporary dance from its roots in European dance theatre practice in the early twentieth century, via its American influences in the 1960s and 1970s to its current contemporary artists. Whilst tying in with the dance faculty’s focus on contemporary dance, the contents reflect the wide influences and associations of the dance form and document both the creative processes and performances of Laban-influenced choreographers and dance practitioners.

Collections include the Laban Collection, comprising papers, notation scores, photographs and other documents of Rudolf Laban and his associates for the period 1918-2001, the Sylvia Bodmer Collection, comprising notebooks, papers, photographs and correspondence of a distinguished exponent of Rudolf Laban’s movement ideas, the Peter Brinson Collection, being the professional and personal papers of a key figure in the expansion of dance education in the UK, and the Peter Williams Collection which includes ca. 50,000 photographs of dance companies from around the world for the period 1950-1980.

https://archiveshub.jisc.ac.uk/data/GB-1701

University of Kent, Special Collections & Archives

Special Collections & Archives at the University of Kent includes a significant Theatre and Performance Archive. With a focus on theatre history, the Collections are particularly rich in Victorian and Edwardian Theatre and contain playbills, programmes, scripts, photographs, publicity and administrative material. There is also a collection of twentieth and twenty-first century programmes and theatrical ephemera.

As well as the unique Britannia Theatre prompt scripts, heavily annotated for use by Britannia’s Stage manager, Frederick Wilton (Pettingell Collection), Kent holds the archive of the Melville Theatrical dynasty, which produced significant popular productions from the late nineteenth into the twentieth centuries. Other significant holdings include two collections related to Dion Boucicault, with materials such as legal papers, scripts, research material and printed performance ephemera from the Victorian period up to the late twentieth century.

In addition, the British Stand-Up Comedy Archive has recently been founded at the University. The British Stand-Up Comedy Archive intends to celebrate, preserve, and provide access to the archives and records of British stand-up comedy and comedians.

https://archiveshub.jisc.ac.uk/data/GB-1089

V&A Department of Theatre and Performance

The V&A holds the United Kingdom’s national collection of the performing arts and is one of the largest of its kind in the world. In 1924, the private collection of Gabrielle Enthoven transferred to the Victoria and Albert Museum and in keeping with her mission to document and index every performance, more than 750,000 playbills and programmes of London and regional productions from the 18th century to the present day now form the centre of the collection. In addition our relevant library and museum object collections, the V&A has more than 450 archive collections documenting the many aspects of performing arts including:

– Theatre company archives, including English Stage Company at the Royal Court, Young Vic, Cheek by Jowl, Talawa, Tricycle Theatre, Prospect Theatre Company;
– Personal papers, including Sir Michael Redgrave, Peter Brook, Vivien Leigh, Paul Scofield, Ivor Novello;
– Designer and architect collections, incl. Lez Brotherston, Oliver Messel, Frank Matcham Company; and the
– Arts Council of Great Britain Archive.

https://archiveshub.jisc.ac.uk/data/GB-71

Ramona Riedzewski, APAC Treasurer and Membership Secretary
V&A Department of Theatre and Performance, Archivist and Conservation Manager

 Browse the collections on the Archives Hub:

Central Saint Martin’s Museum and Study Collection

National Theatre

Rambert Dance Company Archive

Royal Academy of Dance 

The Theatres Trust

Trinity Laban Conservatoire of Music and Dance, Laban Archive

University of Kent, Special Collections and Archives

V&A Department of Theatre and Performance

All images reproduced with the kind permission of the copyright holders.

 

Archives Hub feature for November 2015

The papers of 19^th Century author Anna Eliza Bray (1790-1883) have recently been catalogued at West Sussex Record Office and are now available for researchers to access.  The catalogue can be viewed via our Search Online facility at http://www.westsussexpast.org.uk/searchonline/.

Anna Eliza Bray (formerly Stothard, neé Kempe) was born on 25th December 1790 in Newington, Surrey, the daughter of Alfred Kempe and Ann Arrow, and sister of the antiquary Alfred John Kempe.  She was originally destined for a career in the theatre but this endeavour was cut short as she fell ill days before her first performance at Bath’s Theatre Royal in May 1815, and she subsequently lost the opportunity to appear on the stage again.

In February 1818, she married Charles Alfred Stothard, an antiquarian draughtsman whom she had met a number of years before through his father, the Royal Academy artist Thomas Stothard.  She travelled to France with her husband in 1820 for his work, and afterwards published her first book ‘Letters written during a tour of Normandy’.  This established her as a writer and enabled her to progress into the literary circles of her day, which included notable figures such as Sir Walter Scott, John Murray, Amelia Opie, Letitia Elizabeth Landon and (the most influential character in her career) Robert Southey, who was Poet Laureate from 1813-1843.  However, her husband died shortly afterwards in a tragic accident on 28th May 1821, when he fell from a ladder in Bere Ferrers Church in Devon while drawing the stained glass window.

In late 1822, she married Reverend Edward Atkyns Bray and moved to Tavistock in Devon.  The West Country was a significant influence on her writing and it was during this period that most of her literary output was produced, including her best-known work ‘A Description of the part of Devonshire bordering on the Tamar and the Tavy’, published by John Murray in 1836.  Other works included a 10-volume set of historical novels, another travel book entitled ‘Mountains and Lakes of Switzerland’ and a children’s book entitled ‘A Peep at the Pixies’.

After her husband’s death in 1857, Mrs Bray moved back to London and continued to write well into the 1870s, editing and publishing her late husband’s sermons and writing further books on French history and Devon folklore.  In the last few years of her life, she was briefly back in the public eye again, after being accused of stealing a small part of the Bayeux Tapestry on her trip to France almost 60 years before.  Fortunately, the publication of an article in the Times written by her nephew subsequently cleared her name.  She died on 21^st January 1883 at the age of 92.

The archive was presented to West Sussex Record Office in November 2000 by a member of the Kempe family, the present day descendants of Anna Eliza Bray.  Later members of the Kempe family also have their archives housed at the Record Office, including Mrs Bray’s great nephew, the mathematician Sir Alfred Bray Kempe.

In terms of size, the archive is a very small one but the saying ‘quality over quantity’ certainly applies here, as it spans nearly 70 years of the late Regency and Victorian period.  It has been catalogued into four series: correspondence, manuscripts, printed books and miscellaneous.

The correspondence has been sub-divided into the main families represented in the collection: Landon, Southey, Warter and Kempe as well as an additional section for miscellaneous letters.

The manuscripts are handwritten journals and drafts; most of the works are by Mrs Bray, but also include drafts of works she has copied from books of other authors such as Amelia Opie and a handwritten poetry book dating from the early 1820s belonging to Mary Maria Colling, an amateur poet from Tavistock.  Mrs Bray, with assistance from Robert Southey, published a selection of Colling’s poetry on her behalf in 1831 entitled ‘Fables and Other Pieces in Verse’.  Mrs Bray’s autobiography, published posthumously in 1884, forms a significant part of the draft papers.  The archive includes a printed copy and a 3-volume draft manuscript of the autobiography which have been immensely helpful in revealing a great deal more about her life; parts of it have also been used to make sense of other documents in the archive.

Printed books are her publications; although not all are included in the archive, there is a good selection of her work represented, such as her biography of the artist Thomas Stothard.

Miscellaneous items include a scrapbook of watercolours, locks of hair belonging to Robert and Caroline Southey and a piece of mourning stationary signed by Prime Minister Benjamin Disraeli in the latter part of the 19^th Century.

The archive also contains over 100 letters from Caroline Southey, the second wife of Robert Southey, with whom Mrs Bray was first acquainted in 1840.  Regular correspondence continued until Mrs Southey’s death in 1854, and letters in the archive mention notable figures including William Wordsworth and members of the Coleridge family.  There is also ‘Mrs Southey’s Narrative’, a biographical piece written by Caroline Southey in 1840 regarding her courtship and marriage to Robert Southey, copied by Mrs Bray’s niece from the original manuscript.

I will be presenting a talk on the Bray archive at West Sussex Record Office in Chichester entitled ‘A Peep at the Pixies’: exploring the life and literary archive of Anna Eliza Bray (1790-1883) on Tuesday 24^th November 2015 at 7pm.  Tickets cost £7.50 including refreshments, and a selection of documents from the archive will be out on display.  Places must be booked in advance by contacting our reception on 01243 753602.

For any enquiries regarding the collection, catalogue or the November talk please contact West Sussex Record Office by emailing records.office@westsussex.gov.uk.

Holly Wright
Searchroom Assistant, West Sussex Record Office

Related

Papers of Anna Eliza Bray (1790-1883) on the Archives Hub:
https://archiveshub.jisc.ac.uk/data/gb812-bray

Browse other collections of West Sussex Record Office on the Archives Hub.

All images are reproduced with the permission of West Sussex Record Office

Archives Hub feature for October 2015

Browse all descriptions relating to the Antarctic on the Archives Hub.

On the 27^th October 1915 Antarctic expedition ship Endurance was abandoned on the orders of Sir Ernest Shackleton. The ship had been stuck in the ice since 18^th January at the mercy of the currents of the Weddell Sea. The ship sank on 21 November leaving the men thousands of miles from home and Shackleton’s dream of being the first to cross the Antarctic continent via the South Pole in tatters.

The Endurance had sailed from England just as war was declared in August 1914, Shackleton had offered the ship and her crew to to the Admiralty but the response was that the expedition should proceed as planned. Sailing via Madeira and Buenos Aires the Endurance made her final port of call at the whaling stations of South Georgia.

Sir Ernest Shackleton, the expedition leader was no stranger to the Antarctic; he had been a member of Captain Scott’s first expedition in 1901-04 before leading his own expedition in 1907-09. That second expedition had seen him come to within 100 miles of the South Pole before making the difficult decision to turn back rather than risk the lives of his men further. In the intervening years the Norwegian Roald Amundsen had led the first team to reach the pole in 1911 and Captain Scott and his companions had perished on their own return journey in 1912.

Shackleton’s plan was to land a party of men, dogs and supplies on the Weddell Sea side of the continent and travel across uncharted territory to the South Pole. Here he would then follow Captain Scott’s journey before picking up the route he had taken back in 1908 to reach the Ross Sea. While he was making his attempt from a second party would lay depots of food and fuel across the Ross Ice Shelf towards the pole along that route for his crossing party to pick up.

When the Endurance was crushed in the ice of the Weddell Sea the expedition changed from one of exploration to one of survival. The men camped on the sea ice, from October 1915 through to April 1916. When the ice broke up around them they took to the three small lifeboats and spent a week at sea before reaching Elephant Island, their first dry land since leaving South Georgia. This uninhabited island was only a temporary salvation. With no means of contacting the outside world the expedition had to save themselves.

Sheltering under the upturned hulls of two of the boats the majority of the crew lived on the Island for five months. Meanwhile Shackleton and a five man crew sailed across the southern ocean in the third boat – the James Caird – to South Georgia. Shackleton, Worsley and Crean were then forced to undertake a 36 hour walk across the uncharted island to raise the alarm. The three walked into the Stromness whaling station on the 20^th May 1916. It took four attempts to rescue the men left behind on Elephant Island, all of whom were successfully rescued in August 1916.

Throughout the expedition Shackleton and his men kept up their diaries. These precious volumes were preserved when so much was abandoned with the ship. Writing in pencil, sometimes on scraps of paper sewn together, the diaries provide the personal account of what the men went through.

Miss Naomi Boneham
Archives
The Thomas H Manning Polar Archives
Scott Polar Research Institute
University of Cambridge

Related

Sir Ernest Henry Shackleton collection on the Archives Hub:
http://archiveshub.ac.uk/data/gb15-sirernesthenryshackleton

Browse other collections of the Scott Polar Research Institute, University of Cambridge on the Archives Hub.

All images copyright the Scott Polar Research Institute, University of Cambridge, and reproduced with the kind permission of the copyright holder.

Archives Hub feature for August 2015

The Royal Academy of Dance (RAD) was founded in 1920, a time when there was a heightened interest in the establishment of a British ballet tradition. As a result, the RAD’s archive collections contain a variety of materials that relate to this period. The following article draws on resources from several of the archives and special collections held in the RAD’s Philip Richardson Library, some of which are also described on the Archives Hub.

At the turn of the twentieth century, ballet in Britain existed primarily in Music Halls. Danish-born Adeline Genée was the star of London’s Empire Theatre between 1897 and 1909 and it was here that Phyllis Bedells became the first British ballerina to hold the position of Première Danseuse in 1914. Bedells was also the first to resist the pressure upon English dancers to Russianise their names after the status of ballet began to change in 1911 with the appearance of Serge Diaghilev’s Ballets Russes in London, and in 1912 the celebrated Russian dancer Anna Pavlova made London her home. Both Diaghilev and Pavlova employed English dancers disguised with Russian-sounding names such as Alicia Markova (Lillian Marks), Anton Dolin (Pat Kay) and Hilda Butsova (Hilda Boot).

Audiences began to appreciate the artistry of fine performers and the production of great nineteenth-century repertory works alongside new ground-breaking choreography, design and music. By the 1920s strong moves were afoot to establish a British ballet tradition, spearheaded by Philip Richardson – the editor of the Dancing Times magazine. Alongside Adeline Genée, Phyllis Bedells, Tamara Karsavina, Edouard Espinosa and Lucia Cormani, Richardson had co-founded the Association of Operatic Dancing of Great Britain (AOD) in 1920 (later to become the Royal Academy of Dancing – RAD). The AOD set the standard by which ballet should be taught and examined. The next step was to ensure that ballet could provide a viable vocation for dancers and associated artists in this country.

In November 1923, The AOD presented its first ‘Annual Matinée’ at the Gaiety Theatre, the object of which was to draw attention to the technical capabilities of the Association’s members. The programme included a divertissement by Philip Richardson entitled No English Need Apply, which satirised the prejudice felt to exist against British dancers at the time and the assumed greater success of dancers from the continent.

Established artists such as Phyllis Bedells and Tamara Karsavina presented their own individual programmes of ballet during the 1920s, but it wasn’t until 1926 that bookseller and publisher Cyril Beaumont attempted to establish one of the first British ballet companies. The Cremorne Company – (named after the famous pleasure gardens of the early nineteenth century) – debuted at the New Scala Theatre on March 11 of that year.

Beaumont enlisted the help of ballet teacher Flora Fairbairn and although their repertory was not particularly successful, the cast included Penelope Spencer, Stanley Judson and marked the stage debut of budding choreographer Frederick Ashton.

By this time, both Ninette de Valois and Marie Rambert had established studios in London. The Marie Rambert Dancers, including Frederick Ashton, appeared in a London Revue called Riverside Nights in June 1926 presenting Ashton’s first choreography – A Tragedy of Fashion; or, The Scarlet Scissors. Meanwhile, Ninette de Valois was pursuing her idea of establishing a repertory ballet company at Lilian Baylis’ Old Vic Theatre and was engaged as ballet mistress and choreographer at both the Festival Theatre in Cambridge and the Abbey Theatre in Dublin.

In July 1929 the AOD presented a ‘Special Matinée’ at the Gaiety Theatre which included an appearance and choreography by Ninette de Valois. Following the performance critic Arnold Haskell wrote to the Dancing Times to express his pleasure at “the dancing of the English girls who have been trained under the principles of the Association, which is rapidly taking the place of a State organisation.” *

Following the death of Serge Diaghilev in August 1929, the Ballets Russes company disbanded. Philip Richardson, through the Dancing Times, encouraged the founding of a society whose aim would be to produce regular programmes of ballet in London. The ‘Camargo Society’ was formed in January 1930 and the committee included Richardson, Arnold Haskell, Phyllis Bedells, Lydia Lopokova and Edwin Evans as chairman. The first performances were given in October of that year and included choreography by Frederick Ashton, Ninette de Valois and Penelope Spencer. In 1932 the Camargo Society presented a season of ballet at The Savoy Theatre in conjunction with the recently formed Ballet Club and Vic-Wells Ballet, set-up by Marie Rambert and Ninette de Valois respectively. The three companies for a short time shared dancers, choreographers, composers and designers. In 1933, following two Gala performances at the Royal Opera House in Covent Garden, the Camargo Society was closed and the remaining profits and repertory works were handed over to the Vic-Wells company, later to become the Royal Ballet.

In 1932, Adeline Genée arranged for an ‘English Ballet Company’ to travel to Denmark to appear at the Royal Theatre in Copenhagen. The company was made up of members of the AOD and Phyllis Bedells appeared alongside other famous British ballet names such as Alicia Markova, Anton Dolin and Ruth French. Ninette de Valois directed the performances and the programme included repertory from the Camargo Society and the recently formed Vic-Wells ballet company. Although it was not intended to be a permanent company, the ‘English Ballet Company’ was an important step for the promotion of British Ballet on an international level.

* Quoted by ‘The Sitter-Out’ in the dancing Times, New Series no. 237, August 1929, p. 418

Eleanor Fitzpatrick
Assistant Library & Research Services Manager
Royal Academy of Dance

Related:

Browse the collections of the Royal Academy of Dance on the Archives Hub.

All images copyright the Royal Academy of Dance, and reproduced with the kind permission of the copyright holder.

Archives Hub feature for June 2015

As an international Christian Church and charity active in 126 countries, The Salvation Army is a well-known public presence. This year is its 150th anniversary and the occasion will be marked in the first week of July with the Boundless International Congress in London.

In its 150-year history, The Salvation Army has worked in many surprising ways and places. Since hiring its first professional archivist in 2007, The Salvation Army International Heritage Centre has steadily been opening up the organisation’s rich documentary heritage. Its recently catalogued archives provide a window into The Salvation Army’s diverse activities and the ways these have affected lives and shaped histories.

A series of tent meetings held in East London in August 1865 led to the development of the East London Christian Mission, which became known as The Salvation Army in 1878. The Mission spread quickly outwards from London throughout the UK, and within two years of becoming The Salvation Army it had begun expanding overseas. The organisation had always aimed to bring the gospel to the poor and vulnerable but in the mid-1880s, it started developing new ways of helping struggling and marginalised people materially as well as spiritually through social work.

The international and social dimensions of The Salvation Army’s work are particular strengths of the Heritage Centre’s collections and expertise. This feature highlights just two among many aspects of this work that can be researched in depth using the archives at the Heritage Centre. ‘Criminal Tribe’ settlements in India and early women’s rescue work are now easily accessible subjects thanks to catalogues and other finding aids that have been produced as a priority because of increasing interest from and collaborations with the research community.

India: Denotified Tribes

The Salvation Army describes India as its oldest mission field. Evangelical and social work started in Mumbai in 1882.

An important aspect of The Salvation Army’s work in India in the early to mid-twentieth century was its work with so-called ‘Criminal Tribes’. In 1871 the British Raj enacted the Criminal Tribes Act, which proposed that certain adivasi or ethnic, tribal communities in the Indian sub-continent were ‘habitually criminal’. As a consequence of the Act, Criminal Tribe settlements were established with the intention of altering the behaviour of these communities.

Anglo-Indian Salvation Army officer Frederick Booth-Tucker was a key exponent of developing agricultural and industrial settlements for Criminal Tribes. At first the British Raj did not agree to The Salvation Army’s attempts at rehabilitating Criminal Tribes but by 1908, after years of difficulties in managing settlements, it was willing to utilise missionaries. Within three years The Salvation Army was receiving government subsidies to run 22 settlements with approximately 10,000 residents and further settlements opened later.

The Salvation Army was still running five settlements when the Criminal Tribes Act was repealed by the newly independent Indian government in 1949. In 1952 Criminal Tribes were officially ‘de-notified’, but the impact of the former law is still being felt by communities today.

There has lately been considerable interest in the treatment of Criminal Tribes from a variety of researchers, including the production team of the documentary film Birth 1871: History, the State and the Arts of Denotified Tribes of India, so the Heritage Centre has prepared a guide to relevant records in its collections, now available on the Heritage Centre website. You can also read more about Salvation Army work in India and elsewhere on our blog.

Women’s Rescue Work

A number of highly successful student placements hosted by the Heritage Centre have led to an improved knowledge of The Salvation Army’s early rescue work with ‘fallen’ women, and better access to the relevant records. Each year, the Heritage Centre welcomes a student from UCL’s MA in Archives and Records Management and another from Birkbeck’s MA in Victorian Studies. In recent years, these students have focussed on the records of The Salvation Army’s Women’s Social Services resulting in a full catalogue of the collection and original research using the records.

The research of this year’s Victorian Studies student, Cathy David, has given new insight into the day-to-day running of The Salvation Army’s first rescue home for women, Hanbury Street Refuge, and the teething problems encountered in its earliest days. Cathy has also shown how different sets of our records can be read productively together to expose biases and subtext. Last year, Kate Taylor shed light on the extent to which the experiences of girls taken in by Hanbury Street Refuge influenced WT Stead’s journalistic exposé The Maiden Tribute of Modern Babylon, which led to the passing of the Criminal Law Amendment Act and the raising of the age of consent from 13 to 16 years of age. Their research was greatly aided by the catalogue produced by UCL student Arlinda Azaredo, which we hope to add to our existing descriptions on Archives Hub later in the year. It is already available on our online catalogue.

This year

The 150th anniversary has afforded a wealth of further opportunities for the Heritage Centre to engage with communities, researchers and the media, improve its range of descriptive resources, and for staff to develop their expertise in a variety of ways. The Heritage Centre’s collections are expected to feature in a number of family history magazines in the coming months, and a two-week exhibition and programme of associated events in Tower Hamlets in early July is the outcome of a collaboration between the Heritage Centre, Stepney Salvation Army Corps and Tower Hamlets Council. The Heritage Centre also supplied images and loaned documents to the Geffrye Museum for the Homes of the Homeless exhibition, on now until 12 July. Subject guides and a blog have been added to our website, and more will appear throughout the year.

The Heritage Centre will be open longer during the Boundless Congress (29 June-6 July), and we look forward to welcoming many new visitors to our museum and archive reading room then. Full details of our extended opening hours are available on our website.

Ruth Macdonald
Archive Assistant, Salvation Army International Heritage Centre

 

Search for the Salvation Army descriptions on the Archives Hub

All images copyright the Salvation Army International Heritage Centre, and reproduced with the kind permission of the copyright holder.

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