American Collections blog

130 posts categorized "Eccles Centre"

02 February 2021

We're calling for your Caribbean food stories

Newspaper article titled 'Ridley Rd Market', black and white images of market stalls selling yams and bananas.
West Indian World, 9 July 1971. British Library shelfmark: LOU.4359 [1971]

Following Riaz Phillips’s wonderful blog, I would like to introduce a new project that the Eccles Centre is launching – ‘Caribbean Foodways at the British Library’. It is inspired by an exciting spread of food-related collection items, Steve McQueen’s Mangrove (2020) and a desire to hear your stories and have your input in collections development, here at the library.

As Phillips describes in his blog, food has often been a battleground for survival, culture, home-making and resistance. A critical roadmap for understanding histories and experiences of migration, ‘Caribbean Foodways at the British Library’ aims to explore and highlight these histories in a collaborative way, through conversation and exchange.  In recognition of food’s vital place in community and struggle, this project seeks to listen to and learn from your stories.

Front-cover of pamphlet-style cookbook.
Teresa E. Cleary, Jamaica Run-dung: Over 100 Recipes. Kingston: Brainbuster Publications, 1973. British Library shelfmark: YA.1989.a.11640

The British Library’s collections are stuffed with fascinating and largely untapped resources relating to Caribbean food, scattered through manuscripts, printed books, newspapers,  magazines, sound and oral histories. Over the coming months we are embarking on a series of connected projects, working with communities and partners in the Caribbean and the UK, to select key collection items to digitize and make freely available online; to identify significant gaps in the collection; and to tell and record new stories and memories of food, culture and experience amongst the global Caribbean diaspora.

From Black British magazines such as Tropic (1960) and Flamingo (1961-65), to community-published cookbooks in London and colonial cookbooks published in the Caribbean, the British Library holds a variety of collection items that speak to the complexities of Caribbean food history.

Front cover of the magazine with a woman posing in blue summer dress, a red and white head scarf and jewellery.
Flamingo, October 1961. British Library shelfmark: P.P.5109.bq

 

Advert for Edwin McKenzie Tropic Food, drawing of palm trees with a list of foods available e.g. hot pepper sauce and guavas.
Tropic, September 1960. British Library shelfmark: P.P.7615.kf

 

Introduction page including a list of contributors.
Captain Blackbeard’s Beef Creole and other Caribbean recipes. London: Peckham Publishing Project, 1981. British Library shelfmark: X.629/17620

Caribbean Food and You!

Through a series of initiatives, including oral history interviews, the British Library wants to engage participants in conversations about life, history and politics through food. This marks an opportunity for people to tell their food stories and memories which will inform new collection perspectives and development at the British Library.

The interviews recorded for this project will be deposited in the British Library’s Sound Archive, becoming a part of the Library’s collection forever. They will also be the basis for a series of blogs, as part of the British Library’s 2021 Food Season. In preparation for these interviews, Eccles staff will search for collection items which connect to participants’ food memories, as well as drawing up a list of new items to acquire (with public input).

There are different ways to get involved, whether the Library's buildings are open or closed:
   • Put yourself forward for an interview
   • Home collections: we are all the archivers of our own lives and homes, so why not explore your own shelves, photo albums, cupboards and memories to discover collection items  in your own home and tell us about them
   • Researching from home: we invite you to scour the British Library's online catalogue for food-related items and to write to us about items that you’re interested in.  Look out   for an upcoming blog on navigating the digital Caribbean collections
   • Expanding the collections: have you noticed something missing from the Library's catalogue?  If so, please get in touch and we can try to acquire those items
   • Digitizing: we would like to expand the range of items available to view online, and would like to hear your suggestions for new items to be digitized – excerpts of books, newspapers, diaries and letters from the modern era that you think people should be able to see, for free, anywhere in the world
   • Once the Library is open, come in and look at these fantastic items!

‘Caribbean Foodways at the British Library’ is about opening up the Library’s collections and creating a platform for people to tell their own story, so that, together, we can explore the relationships between personal experience and national knowledge.  For us, it’s an opportunity to listen to your stories, learn more about our collections and make them better by adding your voice.

NB: Being Interviewed: If you’d like to put yourself forward to be interviewed, please send an email with some information about yourself and why you would like to share your story about Caribbean food with the British Library. Please send your statement of around 250 words to naomi.oppenheim@bl.uk by 5pm on Sunday 28 February 2021. Unfortunately, we can’t guarantee to interview everyone who gets in touch, but we promise to reply to everyone by 5pm on Friday 12 March. We expect interviews to take place between Monday 15 March and Friday 2 April 2021.

Naomi Oppenheim, Caribbean Collections and Community Engagement Intern at the Eccles Centre for American Studies at the British Library @naomioppenheim

Further Online Reading/Listening

• Abdul Rob, ‘The Origins of ‘slave food’: Callaloo, Dumplings and Saltfish’, Black History Month, 20 December 2016
• Bernice Green, ‘Food: From Source to Salespoint’, British Library Sound Archive, C821/49
• Charlie Brinkhurst-Cuff, ‘Beyond the scotch bonnet: the rise of Caribbean food in the UK’, Guardian, 20 January 2019
• ‘Frank Critchlow’, Waking the Dead, Octavia Foundation
• ‘Is it harder to make it in the food industry if you’re black?’, The Food Programme, BBC, 5 July 2020
• Keshia Sakarah, ‘Jouney Cakes’, Vittles 2.14 – The Diversity of Caribbean Cuisines, 12 June 2020
• ‘Mangrove Nine: Directed by John La Rose and Franco Rosso’, George Padmore Institute
• Nadine Chambers, ‘The Black and Indigenous present in the story of how Breadfruit came to the Caribbean’, British Library Americas blogs, 9 July 2020
• Organised Youth, Altheia Jones-LeCointe, SoundCloud
• Riaz Phillips (editor and curator), Community Comfort, online cookbook. Tezeta Press, 2020
• Riaz Phillips’ Top Caribbean Spots, Trippin

Curry goat to political rallying

Riaz Phillips on Caribbean takeaways, foodways and politics

When people ask me for intel on the best jerk chicken or Trini roti in London or where to visit for some Caribbean goodness when they are in a number of other cities across the country, while I do of course have some small personal favourites, the question for me always misses the point.  For me the importance of Caribbean food institutions in the UK has never been about the food but rather their importance as a community hub.

An open book, with a page of text on the left about 'Caribbean Food in the UK' and a mural of the Empire Windrush on the right.
Riaz Philips, Belly Full: Caribbean Food in the UK. Second Edition. London: Tezeta Press, 2020. Photo courtesy of Tezeta Press. First edition, London: Tezeta Press, 2017. British Library shelfmark YKL.2017.b.4909..

The particular plight of the post-war Caribbean community in the UK and the treacherousness of everyday life has been wonderfully depicted in all manner of media.  Favourites include Samuel Selvin’s 1956 book The Lonely Londoners to films like Horace Ove’s 1975 film Pressure.  While much of focus of the Caribbean community in the UK, like in other diaspora regions such as the USA and Canada, is placed on the globally renowned subculture of Reggae, I struggled to find much, if anything, about the places and spaces outside one’s home where people congregated to eat.

Book cover of The Lonely Londoners depicting a woman and two men, all smartly dressed. The woman is wearing a white blouse, white jewellery and black skirt; both men are wearing jackets, ties and hats.
Samuel Selvon, The Lonely Londoners. London: Allan Wingate, 1956. British Library shelfmark: RF.2013.a.2

In books and magazine clippings, mostly found researching at the British Library, I rejoiced whenever a restaurant or eatery was mentioned in passing.  Early instances of particularly Caribbean food and drink establishments - cafés, bars and social clubs selling Caribbean food and cooked meals - date back to the late 1920s.  This handful included the likes of the Caribbean Café at 185a Bute Road in Tiger Bay, Cardiff, which was the locale of the 1919 South Wales riots, and 50 Carnaby Street in Central London.1   The latter, founded by Sam Manning and Amy Ashwood, a political activist and first wife of famed Pan-African icon Marcus Garvey, was described as an intellectual hub, “guests were attracted to the rice n peas West Indian Cuisine.”2  The fact that many of these food-related histories are hard to find is why the British Library is a launching a Caribbean foodways project which seeks to amplify food stories and memories.

Black and white photograph of one woman and four men standing next to each other in front of a short wall; all are smartly dressed.
Amy Ashwood Garvey stands on the left Ethiopian Sympathizers at London Meeting, 1935. British Library shelfmark 515019168. © Bettmann / Contributor

From their inception, these institutions went beyond simply being buildings at which to summon a takeaway box of curry goat to being places at which to politically rally, to be merry and more importantly to be free from persecution.  All this - the banter, the arguments over the hottest latest musician, the comedic tiffs between nuances of the different Caribbean islands and, when necessary, the planning of political upheaval - were pleasingly depicted in 2020’s Mangrove feature film directed by Steve McQueen.  However, years before this, I felt that the breadth of these spaces hadn’t truly been given the documentation they deserved in the wider story of this vivid group of people in the UK.

Collage of photographs taken at Mister Patty in Brent.
Photo courtesy of Riaz Phillips.

I like to use the word "vivid" because one thing I feel that outsiders don’t realise about the Caribbean is the great diversity of its people - from African-descendant Rastafari and generational Chinese in the west of the Island group, to Muslim southeast Asians at the other reach of the Caribbean.  Be it the Ital vegan spots, the Guyanese roti shops, Jamaican jerk huts or even home cooking, foodways are the perfect route in convoying stories and memories of the Caribbean and any project encompassing this will always reveal some gems.

Riaz Phillips is a writer, videomaker and photographer.  His book Belly Full: Caribbean Food in the UK was published in 2017 and a second edition was published in 2020.
@riazphillips

If you would like to read more about 'Caribbean Foodways at the British Library', please read We're calling for your Caribbean food stories to find out more about the project, including information on how you can participate.  We look forward to hearing from you.

Footnotes:

1.  Cardiff Migration Stories. London: Runnymede Trust, 2012. 
2.  C. Grant, Negro with a Hat: The Rise and Fall of Marcus Garvey and His Dream of Mother Africa. London: Vintage, 2009., p. 437. British Library shelfmark YC.2010.a.1521;  S. Okokon, Black Londoners, 1880-1990. Stroud, Gloucestershire: Sutton Pub., 1998. British Library shelfmark YC.1999.b.664

References

Riaz Phillips, Belly Full: Caribbean Food in the UK. London: Tezeta Press, 2017. British Libary shelfmark YKL.2017.b.4909

 

08 January 2021

25 Years of the Moby-Dick Marathon

Did you know it's the 25th anniversary of the @whalingmuseum's Moby-Dick Marathon this weekend? Dig out your favourite edition of Herman Melville's sprawling epic and join the New Bedford Whaling Museum for a live-stream of this collaborative reading beginning Saturday at 11.30am EST (16.30 GMT), and partake in the conversation on the @britishlibrary twitter feed using #mobydickmarathon.

2021 MD Marathon
Logo 25th Anniversary Moby Dick Marathon

The New Bedford Whaling Museum’s Moby-Dick Marathon is a 24-hour, cover-to-cover reading of Herman Melville’s iconic American novel. Editorial Nascimento and the British Library are proud to explore the impact and complex literary meanings of the novel while tuning in to the New Bedford Whaling Museum’s Moby-Dick Marathon.

To celebrate this anniversary, we will be posting a series of Moby-Dick related blogs over the weekend. Pulling together these posts has proven to be an endeavour that is worthy of the book itself, bringing in a wide assortment of characters, thematic deviations, and book histories: basement staff who went delving through our holdings of Moby-Dick editions (during which a “missing” Poe edition was rediscovered!); language cataloguers who spent time digging into interesting translated editions with their own unique histories; publishers, academics and Moby-Dick aficionados whose lives have been irrevocably influenced by Melville’s words and ideas.

We hope that you enjoy these posts, and revel in the range of stories and resources that they introduce you to. Opening the series is a post from Pablo George-Nascimento, director of Editorial Nascimento. Pablo follows the multiple threads between the publishing company established by his great grandfather, New Bedford, whaling, Moby-Dick, and the British Library.


“What surprised me the most, as I relaunched my old family publishing house more than a century after my great grandfather (Manuel Carlos George-Nascimento - a.k.a. Don Carlos) had opened it in Santiago de Chile, was just how well known the Nascimento name still was, and not only among bibliophiles.

Don Carlos
Don Carlos, founder of Editorial Nascimento

Our presentation in the auditorium of the British Library went amazingly well, lasting nearly eight hours with interest bubbling until the end. Something special engaged the audience's attention. It was hard to know whether that was the famous authors in the Nascimento back catalogue or the story of the publisher himself, whose journey to publishing stardom was both a novel and a poem in itself. Whatever the answer, there is no doubt that having Pablo Neruda, Gabriela Mistral and Nicanor Parra, two Nobel Prize winners and one nominee, on the list of your ‘discoveries' will never be bad for your legacy.

Gabriela Mistral
Gabriela Mistral, Chile's first Nobel Laureate in literature

Don Carlos was born on a small island in the middle of the Atlantic Ocean, half way between Europe and America, He had dreamed of going to Chile since he was a young boy, to work with an uncle who had emigrated there and opened a famous bookshop in 1873: the Libreria Nascimento. His love for books was fostered by his brother, a parish priest, who had built a substantial library in the house. But the thing that stoked the young man's ambition most was his father's adventures alongside another famous whaler, Herman Melville. Throughout his life, Don Carlos often called this his greatest source of inspiration for his love of books.

CARLOS LOURENÇO JORGE (whaler portrait)
Carlos Lourenço Jorge, Don Carlos’ father, a whaler who was credited by Herman Melville at the time of publishing Moby Dick.

Of eleven siblings, nine left the Portuguese Azores for the USA from the mid-1800s onwards. All of them arrived first in New Bedford. Don Carlos’ priestly brother, Francisco Lourenço,  became the parish priest of the Azorean whalers in the city.

New Bedford & Fairhaven map
Map of New Bedford and Fairhaven. By Robert G. Ingraham. Scale of feet, 3,000[ = 101 mm]. Cartographic Items Maps 73435.(81.)

 

Don Carlos was the only one to head to South America. After adventures and disappointments, eventually, in 1917, he opened the first publishing house in Latin America, in Santiago de Chile.  He kept the book manufacturing process in house by building a printing factory. Some of the most beautiful and innovative designs worldwide came out of Nascimento.

Crepusculario limited edition
Limited edition Editorial Nascimento 1937 of Pablo Neruda's 'Crepusculario'. The British Library holds the 4th edition at shelfmark X.908/23180.

The greatest artists of the period worked at Nascimento and, during his lifetime, Don Carlos built a catalogue of more than 6,500 titles, which included the first women authors at a time when women were still unable to vote. Gabriela Mistral, Marta Brunet, Maria Luisa Bombal, Teresa Wilms Montt and Maria Monvel are but a few of them.

Montana Adentro - Marta Brunet
Marta Brunet 'Montaña Adentro', 1923 Editorial Nascimento. Shelfmark X.908/85120.

Don Carlos surpassed his wildest ambitions. When he died in 1966, Nascimento had 35 of the 37 National Literature Awards on its catalogue, and had published Neruda's Twenty Love Poems, which has been the best selling poetry book in the history of the Spanish language.

Who would have ever imagined that this young Portuguese immigrant, born of a whaling and navy family going back more than 500 years, could have become such an important figure in world publishing? His vision was such that, every month, he would pack boxes with his latest publications and post them to the world's leading libraries, including the British Museum library. These went on to have a home in the British Library following its formation in 1973.

Poemas y Antipoemas - Nicanor Parra
Nicanor Parra, 'Poemas y Antipoemas', Editorial Nascimento, 1954

Today we are proud to knit this story together again. Nascimento was reborn in Chile and now in the UK with a series of innovative projects encompassing books, art books, performing arts and digital creations. With the imminent centenary celebrations of Neruda's and Mistral's first books, from 2023 we will be hosting a series of events and publishing a number of carefully selected limited artistic editions from our original back catalogue.

We start by bringing you a celebration of the most famous book of that period: the Moby-Dick Marathon. The New Bedford Whaling Museum celebrates the 25th anniversary of this 24-hour-long annual event held in the museum. Editorial Nascimento have previously worked with the Museum to produce a simultaneous Portuguese language version of the marathon.

New Bedford Whaling Museum logo
New Bedford Whaling Museum logo

This year, in these unique circumstances, the Moby-Dick Marathon moves online, giving many thousands the chance to share this intimate occasion. In association with the British Library we bring you this unique opportunity to take part in this non-stop reading.”


Join the Americas blog again tomorrow to hear from more people about how Moby Dick has influenced them, and join in watching the livestream of the Moby-Dick Marathon.


Prodcued by the New Bedford Whaling Museum and presented by Editorial Nascimento in association with the British Library.

18 December 2020

Cooking a Christmas Meal in the Caribbean Collections

Given there is no canteen Christmas lunch on offer this year, I thought I would ‘cook up’ a Caribbean Christmas meal out of the collections.

Colourful painting of a street scene with a man dressed in costume with a feathered headpiece.
Jackie Ranston, Belisario: Sketches of Character: A historical biography of a Jamaican artist. Kingston, Jamaica: The Mill Press, 2008. Shelfmark: LD.31.b.1989

“Koo-Koo, Koo-Koo” an attendant chorus repeated, imitating the ‘rumbling sound of the bowels, when in a hungry state.’1  This was the origin of the ‘Koo-Koo’ chant according to Isaac Medes Belisario, the Jamaican Jewish painter, engraver and lithographer.  The calling of Koo-Koos would sound the streets of Kingston during Junkanoo – the carnivalesque celebration that occurs around Christmas time in parts of the English-Speaking Caribbean.  Rooted in the era of slavery, Junkanoo festivities were performed during the planter-sanctioned Christmas holiday, which overlapped with the main annual break in the plantation cycle.  While the concept of Christmas was a colonial imposition in the Caribbean, the short break that this Christian holiday instigated became an opportunity for the creation of independent, creolized, defiant and delicious traditions.  From the rumbling stomach of Junkanoo to the ceremonial soaking of fruit in rum, Christmas through the mouth of the Caribbean collections is a varied and delectable affair.

The Main Event

Deviating from the oft-dry Turkey, the centrepiece of a Caribbean Christmas meal might be a ‘Christmas Goat’ or a pig.  As contributors to the community-published cookbook, Captain Blackbeard’s Beef Creole explain, Christmas in St. Lucia is a big celebration, where pigs are fattened up to be eaten on Christmas day and there are lots of dances and parties that ‘carry on through Christmas and New Year’.

Text from a book which describes Christmas in St Lucia.
Captain Blackbeard’s Beef Creole and other Caribbean recipes. London: Peckham Publishing Project,  1981. Shelfmark: X.629/17620

Much more efficient to rear than cows and easier to farm on smallholdings, the goat has consistently been one of the most consumed meats in Jamaica since the nineteenth century. Goat was ‘also the most commonly eaten mammal in India, after the sheep,’ which made it appealing to Jamaica’s East Indian community.The curry goat, a classic of Jamaican cuisine, is a product of East Indian and African creolization in Jamaica.

Text from a book which describes the Christmas Goat.
Captain Blackbeard’s Beef Creole and other Caribbean recipes. London: Peckham Publishing Project,  1981. Shelfmark: X.629/17620

 

Trimmings

As Carly Lewis-Oduntan writes in her article, ‘When Christmas Dinner Comes with a Side of Rice and Peas,’ a British and Caribbean Christmas food fusion might encompass roast turkey accompanied with rice and peas.  Derived from Akan cuisine, variations of rice and bean dishes have been a staple of Caribbean diets for centuries.  During the era of slavery, enslaved peoples in the English-Speaking Caribbean subsisted on their provision ground harvests (small plots of land where anything from yams to beans were grown), which have profoundly shaped the ingredients, processes and tastes that remain central to Caribbean cuisine.  Ripening just in time for Christmas, the perennial Gungo pea is an ‘essential part of the Christmas Day menu’, replacing the often-used kidney bean in rice and peas.

Sketches of different shaped beans.
B. W. Higman, Jamaican Food: History, Biology, Culture. Kingston, Jamaica: University of the West Indies Press, 2008. Shelfmark YC.2009.b.918.

 

Front-cover with a palm tree on an island amongst a background of blue.
P. De Brissiere, Caribbean Cooking: A Selection of West-Indian Recipes. London: The New Europe Publishing Co. Ltd, 1946. Shelfmark: YD.2005.a.5048
Recipes for Savoury Carrot Mould, Peas and Rice, Indian Cabbage and Bean Pie.
P. De Brissiere, Caribbean Cooking: A Selection of West-Indian Recipes. London: The New Europe Publishing Co. Ltd, 1946. Shelfmark: YD.2005.a.5048

 

The Proof is in the Pudding

The Caribbean Christmas cake or pudding is the product of months (or even years) of rum soaking.  Atop of kitchen cupboards you might spot dried fruit soaking in deep amber jars of rum, in preparation for baking the spiced, boozy and dense Christmas cake.  From the sugar grown and harvested on plantations, to the by-product of sugar (rum is made from molasses which is produced when sugarcane is refined) and regionally grown spices like nutmeg, Christmas pudding is an example of the region’s history melding together.

Recipe for Jamaican Christmas pudding
Captain Blackbeard’s Beef Creole and other Caribbean recipes. London: Peckham Publishing Project,  1981. Shelfmark: X.629/17620
Recipe continued with an illustration of a small bottle of liquor and nutmegs.
Captain Blackbeard’s Beef Creole and other Caribbean recipes. London: Peckham Publishing Project,  1981. Shelfmark: X.629/17620

 

A drink with that?

Colourful illustration of a sorrel flower
Floella Benjamin, Exploring Caribbean Food in Britain. London: Mantra Publishing, 1988. Shelfmark: YK.1989.b.1722
A drink recipe using sorrel and rum.
Teresa E. Cleary, Jamaica Run-dung: Over 100 Recipes. Kingston: Brainbuster Publications, 1973. Shelfmark: YA.1989.a.11640

 

How about a deep red glass of tart, sweet and cool sorrel drink, made from an infusion of fresh or dried sorrel.  The Jamaican name for hibiscus, B. W. Higman cites sorrel as arriving during in the eighteenth century, from Africa. Planted in August, the sorrel plant is harvested in December and January, hence, its Christmas association.  The refreshing drink is made by steeping sorrel in water for two days with ginger, cloves, orange peel, rum or wine.  These classic Christmas flavours encompass Britain’s colonial history and the far-reaching impact of the Spice Trade.

Drawing of a yellow hibiscus flower.
Marjorie Humphreys, Cerasee & Other Jamaican Flowering Plants. Kingston, Jamaica: The Mill Press, 1999. Shelfmark: YA.2003.a.26672

 

I hope this has whet your appetite for a Merry Christmas and has maybe even inspired you to test out one of these recipes – please get in touch if you do!

In 2021, we will be launching an exciting project that seeks to re-interpret, locate and co-create more sources on the history of Caribbean food, spanning from colonial materials, to post-independence and contemporary sources. We will need your input and participation … so watch this space and have a relaxing winter break.

Naomi Oppenheim, community engagement and Caribbean Collections intern at the Eccles Centre for American Studies at the British Library and CDP student researching Caribbean publishing and activism.  @naomioppenheim

Endnotes

1. Jackie Ranston, Belisario: Sketches of Character: A historical biography of a Jamaican artist (Kingston: The Mill Press, 2008), p.250.
2. B. W. Higman, Jamaican Food: History, Biology, Culture (Kingston: University of the West Indies Press, 2008), p.387-9.

Works Cited

* B. W. Higman, Jamaican Food: History, Biology, Culture (Kingston: University of the West Indies Press, 2008), BL Shelfmark YC.2009.b.918
* Carly Lewis-Oduntan, ‘When Christmas Dinner Comes with a Side of Rice and Peas’, VICE, 14 December 2018
* Floella Benjamin, Exploring Caribbean Food in Britain (London: Mantra Publishing, 1988) BL Shelfmark YK.1989.b.1722
* Jackie Ranston, Belisario: Sketches of Character: A historical biography of a Jamaican artist (Kingston: The Mill Press, 2008). BL Shelfmark LD.31.b.1989
* Marjorie Humphreys, Cerasee & Other Jamacian Flowering Plants (Kingston: The Mill Press, 1999)
* P. De Brissiere, Caribbean Cooking: A Selection of West-Indian Recipes, BL shelfmark YD.2005.a.5048
* Teresa E. Cleary, Jamaica run-dung: over 100 recipes (Kingston: Brainbuster Publications, 1973) BL Shelfmark YA.1989.a.11640
* ‘14th Day of Christmas – Gungo Peas & Christmas’, Jamaica Information Service

Further Reading

* B. W. Higman, ‘Cookbooks and Caribbean Cultural Identity: An English-Language Hors D’Oeurve’, New West Indian Guide, 72 (1998).
* Catherine Hall, ‘Whose Memories? Edward Long and the Work of Re-Remembering’ in K. Donington, R. Hanley, & J. Moody (Eds.), Britain's History and Memory of Transatlantic Slavery: Local Nuances of a 'National Sin'’ (Liverpool: Liverpool University Press, 2016), pp. 129-149.
* Chanté Joseph, ‘Confronting the Colonial Past of Jamaica’s Hard Dough Bread’, VICE, 25 April 2019
* Colleen Taylor Sen, Curry: A Global History (London: Reaktion, 2009) BL Shelmark YK.2010.a.31951
* Edward Long, A History of Jamaica (London: T. Lowndes, 1774), 981.f.19-21. [Version available online]
* Malini Roy, ‘Reopening and reinterpretation – our Front Hall Busts’, Living Knowledge Blog, 28 August 2020
* Naomi Oppenheim, ‘A Belated Happy Junkanoo: the Caribbean Christmas’, American Collections blog, 7 January 2019
* Riaz Phillips, Belly Full: Caribbean Food in the UK (London: Tezeta Press, 2017) YKL.2017.b.4909

 

16 December 2020

The American newsroom as seen in cartoons: 1930-1960. By Dr Will Mari

In the mid-century United States, the newsroom was at the heart of journalism’s professional world, the place where reporters and editors produced and published stories that shaped their society, and their own. In their numerous depictions on stage and screen, newsrooms have been romanticized and idealized, but they were very human places, complete with the failures and foibles of the cultures they were embedded in.

They could be macho, sexist and racist places, where white men dominated. They could be places where publishers and owners demurred too much to corporate or political interests.

But they were also spaces where true stories—however imperfect—were told to people in power, and, gradually, were becoming more open to women and people of color by the 1960s.

Cartoonists and other artists, working in newsrooms, captured and caricatured their working lives, including their colleagues, in these places. What follows is a small sample of the images I have gathered in my research for my new book on the history of the American newsroom from the 1920s through the end of the 1950s, to be published with the University of Missouri Press early next summer. I’ll describe what’s happening in each image and provide further context.

Note: several of the images below come from a trade publication, Editor & Publisher (the equivalent in the UK would be the Press Gazette), which can be found in the British Library’s holdings at the following shelfmarks: Document Supply 3661.077000 or the General Reference Collection, PP.1423.lgt.

The British Library holds an extensive collection of historical and current newspapers and magazines published in the United States. All of them can be accessed via the Explore catalogue. An Eccles Centre guide to the Library's printed and microfilm holdings is available here (https://blogs.bl.uk/files/british-library-newspapers-us-canadian-holdings.pdf). The guide lists the newspapers by title and provides an index to available holdings by state and town. In addition to these printed and microfilm materials, the Library subscribes to several online databases containing full text searchable newspapers and magazines. The blog post Americas Digital Newspapers Resources, provides more information on digital newspaper databases, many of which are available remotely once you obtain a British Library reader pass.  

 

Image of cartoon stripe from the newspaper Editor & Publisher published on April 18, 1936
The other fellow’s job. Cartoon stripe from the newspaper Editor & Publisher published on April 18, 1936. Caption to the cartoon reads: “Specially drawn for Editor & Publisher by Louis A. Paige. Utica (N.Y.) Observer-Dispatch”. Image used with permission from Editor & Publisher, copyright ©Editor & Publisher

 

In this first image from Editor & Publisher and published on April 18, 1936, Louis Paige, a cartoonist at the Utica, New York, Observer-Dispatch, shows a columnist typing away behind an office partition in a newsroom, with a younger reporter working out in what is implied to be the open newsroom. The older columnist says, “Gosh -- I wish I were in that reporter's shoes -- up and around hustling news, meeting people, seeing things, etc. --.”

The second part of the cartoon shows the unnamed younger reporter looking into the office, on the columnist, and saying, wistfully, “Gee -- That's how I'd like it some-day -- sit in your own office, sway the nation with editorials, etc.”

While more touching than tongue-in-check, this scene gently teases news workers for envying each other’s jobs. For many rank-and-file reporters, working as a columnist seemed like a pretty easy gig. After all, columnists could stay inside and work at a more leisurely pace, but columnists, for their part, missed the carefree semi-independence of their younger days as reporters.

 

Image of cartoon stripe from the newspaper Editor & Publisher published on March 27, 1948
The Fourth Estate, by Trent. Cartoon stripe from the newspaper Editor & Publisher published on March 27, 1948. Image used with permission from Editor & Publisher, copyright ©Editor & Publisher

 

In this image, a group of reporters are playing a game of cards in a “press room” located in a city building. A flummoxed functionary is seen opening the door on them, and one reporter turns and says, “Bring the Mayor’s statement down later, neatly typed!

This cartoon, published in Editor & Publisher on March 27, 1948, shows how reporters spent their time between assignments, or even on assignments, and what they thought of local government officials.

 

Image of cartoon stripe from the newspaper Editor & Publisher published on April 21, 1934
The paths of glory. Cartoon stripe from the newspaper Editor & Publisher published on April 21, 1934. Cartoon by Denys Wortman of the New York World-Telegram. Image used with permission from Editor & Publisher, copyright ©Editor & Publisher

 

In this image, a cartoon by Denys Wortman, of the New York World-Telegram, a brash young reporter is complaining to a coworker about his editor. He says, leaning casually against a table, “I went and won the Pulitzer Prize, Jack, and the managing editor hasn’t spoken to me for a month because he’s afraid I’ll ask for a raise.” Published on April 21, 1934, in Editor & Publisher, it spoofs the constant clamoring for raises that American editors faced, but also the harsh reality of the Great Depression, where winning a major journalistic award was not enough to guarantee a pay bump.

 

Image of cartoon stripe from the newspaper Editor & Publisher published on February 18, 1956
The Fourth Estate, by Trent. Cartoon stripe from the newspaper Editor & Publisher published on February 18, 1956. Image used with permission from Editor & Publisher, copyright ©Editor & Publisher

 

In this cartoon from Feb. 18, 1956, and published in Editor & Publisher, a couple of reporters in a “radio car”—a car equipped with an expensive, two-way radio system for calling stories into the newsroom, or receiving instructions from editors—is shown on a busy city street. Both reporters appear grumpy, and one is saying into a microphone, not visible, but probably on the dashboard, “Calling City Desk, calling City Desk … where are we?.”

 

Image of cartoon stripe from the newspaper Editor & Publisher published on September 18, 1953
The Fourth Estate, by Trent. Cartoon stripe from the newspaper Editor & Publisher published on September 18, 1953. Image used with permission from Editor & Publisher, copyright ©Editor & Publisher

 

In this cartoon, a reporter with a radio strapped to his back with a long antennae, is busy cornering interview subjects in a hallway in a city hall building, and is saying into a receiver, “Hi, Betty, this is Al; give me the Desk.” The image, published in Editor & Publisher on Sept. 19, 1953, both pokes fun at the new portable technologies possible in the postwar world, but also takes, perhaps, a subtle pride in how they’re changing journalism.

 

Image of cartoon stripe from the newspaper The Guild Reporter published on September 26, 1952
Grin and bear it, by Lichty. Cartoon stripe from the newspaper The Guild Reporter published on September 26, 1952. Image used with permission from The Guild Reporter, and the NewsGuild-Communication Workers of America. Copyright ©The Guild Reporter ©NewsGuild-Communication Workers of America

 

This final image, published on Sept. 26, 1952, in The Guild Reporter, a publication of the American Newspaper Guild (ANG), shows a labor negotiator being tossed forcibility through a glass window, in a door. A receptionist and two male editors look on. One says, “Looks like the union and management have agreed on one thing, at least…they’ve thrown out the mediator…”. The cartoonist, George Lichty, drew the image for the Chicago Sun-Times Syndicate. While it exaggerates, of course, it does show how the unionization efforts of the ANG had helped journalism, at least partially, become a more white-collar occupation.

Guest post by Dr. Will Mari, Assistant Professor of Media Law and Media History, Louisiana State University.

 

 

 

08 December 2020

Art in a pandemic: exploring manifestation of art and design

The coronavirus pandemic has undoubtedly given us the difficult task of witnessing one of the most unmerciful global challenges since the world wars.

As it happens during times of crises, artists start producing objects, or creating digital content, which reflect part of the daily struggle for life. Their creation can be seen as a process that transforms art in ephemera and ephemera in arts, and the boundaries between what is art and what is not are often impalpable and undefinable. How do we see these objects now, through the lens of time, and while enduring another lockdown? 

The descent of the lockdown on our bodies and souls has forced us into living in a dystopian society, as well as a forced daily exploration of digital content and images or, at least, that is what has happened to me.

Last spring, during one of my virtual exploration sessions at @CovidArtMuseum, I was particularly attracted by artistic responses from the southern hemisphere. I met an inspirational graphic artist on Instagram, and having decided to use a couple of graphic creations, I contacted her to discuss copyright but we ended up talking about books, art inspirations and feelings of deprivation.

 

Graphic art from Guatemala: the soap dispenser

 

Soap dispenser embellished with details from Vincent Van Gogh’s painting Starry Night on the lower part. On the upper part a yellow writing in block letters reads: make art not panic
Make art not panic, by Mayte Oliva @mayteoliva –Guatemala City, Guatemala. Photo sourced by Instagram, March 2020 @CovidArtMuseum. Photo courtesy of the artist ©mayteoliva

 

An embellished soap dispenser represents the dispensation of creativity and thoughts of positivity as a remedy to panic and desperation in a moment of crisis. Behind the dispenser, a sky coloured background and an invisible sub-message that reads: wash your hands.

Art is vital for human kind. Keep creating. El arte es vital para tu humanidad. En cualquier disciplina, forma, con cualquier material, con desafíos físicos o emocionales, sin importar quien lo vea o si es solo para tus ojos. Crear es bueno para ti (Caption to the image. @mayteoliva). [Art is vital to your humanity. In any discipline, shape, with any material, with physical or emotional challenges, no matter who sees it or if it is only for your eyes. Creating is good for you].

 

Image of one of Vincent Van Gogh's most famous paintings. It depicts the view of a starry night just before the sunrise. In the lower part of the painting, on the left, there is a tree in the foreground, and in the right part of the painting, a village. The sky and the stars are painted with large brushstrokes of colour in multiple shades of blue and yellow
Vincent van Gogh, The Starry Night. Saint Rémy, June 1889. Museum of Modern Art. Floor 5, 501. The Alfred H. Barr, Jr. Galleries. Photo sourced by MoMA website ©MoMA

 

The reference to Van Gogh's Starry Night is brilliant. Entirely painted from memory during the day while in isolation at the sanatorium of Saint-Rémy-de-Provance, Van Gogh reproduced the vision of the stars in the dark from outside his sanatorium room window. It represents the oneiric interpretation of the reality of the asylum experience as he perceived it, apocalyptic, terrifying and yet astonishingly creative.

“Through the iron-barred window I can make out a square of wheat in an enclosure, above which in the morning I see the sunrise in its glory” (from Vincent van Gogh’s letters to his brother Theo).

 

Graphic art from Brazil and Australia: the toilet paper

Another curious object strongly associated with life during the pandemic, is the toilet paper roll. I was particularly attracted by this image with its direct message, and all that goes with it, on the unrolled paper square. This visual reprimand, created on the eve of the first lockdowns, would have resonated with people around the world and at more or less the same time.

 

Image of a white toilet paper roll on a pink background with a message on the unrolled paper square that reads: Este papel no limpia tu egoísmo / This paper doesn’t clean your selfishness
Este papel no limpia tu egoísmo /This paper doesn’t clean your selfishness, by Mayte Oliva @mayteoliva –Guatemala City, Guatemala. Photo sourced by Instagram, March 2020 @CovidArtMuseum. Photo courtesy of the artist ©mayteoliva

 

“I made this piece the day that the government in my country announced the curfew, supermarkets were crowded, and people took very selfish attitudes. I think it is important to raise awareness of this type of actions on social networks, so that more people see it as something negative and can take positive attitudes in difficult situations” (In conversation with @mayteoliva).

During the same time, a colleague in the library started a very difficult newspaper-copy hunt for a particular issue of the  Northern Territory News which wryly included an 8-page insert of toilet news-paper. Libraries around the world had started collecting this special issue, and it soon became very difficult to obtain one. It was immediately clear that this item would become a collectable item documenting a certain aspect of  consumer society; one of those objects that you could easily imagine seeing in an exhibition, perhaps entitled “Art Pandemic: incubation 2020”!

 

Image of Northern Territory newspaper and 8 page toilet paper insert
NT News, Thursday 5th March 2020 with 8 page toilet paper insert. British Library cataloguing and shelf-marking in process

 

The toilet paper Instagram colloquium with the graphic artist @mayteoliva, evolved into a much freer talk and exchange of ideas. When asked which books have recently inspired her, she promptly sent photos of covers, and her thoughts on the books incriminated.

In conversation with the artist @mayteoliva

“There is beauty in everything, and this is a great guide to find it. I find this book really inspiring, makes me want to create something, draw something, cook something, try something new and appreciate it. The other night I was making cinnamon rolls for the first time, and the process was beautiful, this book has helped me appreciate these things of everyday life and then translate my experiences into visual art” (In conversation with @mayteoliva in reference to Alan Moore, Do / Design: why beauty is key to everything).

 

Image of a hand holding a book and showing its cover. Book title reads: Do/Design: why beauty is key to everything
Alan Moore, Do / Design: why beauty is key to everything, London, Do Book Co., 2016. Shelfmark: YKL.2017.a.11507

 

“Madame & Eve, Women portraying women is an amazing compilation of women artworks in contemporary art. Here are some of my favourite artist, like Jenny Holzer and Barbara Kruger, but I have found many other artists who have impressed me a lot” (In conversation with @mayteoliva).

 

Image of an open book. It shows portraits of woman on both pages
Liz Rideal, Kathleen, Soriano, Madam & Eve: women portraying women, London: Laurence King Publishing, 2018. Shelfmark YC.2019.b.367.

 

Embroidered poetry from Brazil

From the collection #museodoisolamento (museum of isolation), I found this incredible piece of concrete poetry. From the visual exploration of it, I immediately had multiple sensorial messages sent to my brain. I needed a few minutes to fully decode them into sensation and emotions, and to have them automatically connected to my personal consciousness which was strongly affected by the circumstances of the moment.

My first sensorial association was the light blue impressions of the fabric to the pale blue of surgical masks. In this case it was transformed in a wide canvas ready to receive a concise and concrete message behind which the essence of art is explained.

 

Image of a white canvas with light blue impressions and a phrase embroidered on it which reads: A arte existe porque a vida não basta/ Art exists because life is not enough
A arte existe porque a vida não basta/ Art exists because life is not enough, by Mayara Silva @mayara5ilva –Rio Grande do Norte, Brazil. Photo sourced by Instagram, June 2020 @CovidArtMuseum. Photo ©mayara5ilva

 

“Uma das minhas frases preferidas. É de Ferreira Gullar, poeta maranhense, ao falar sobre sua trajetória na arte durante uma entrevista. ‘Arte é uma coisa imprevisível, é descoberta, é uma invenção da vida. E quem diz que fazer poesia é um sofrimento está mentindo: é bom, mesmo quando se escreve sobre uma coisa sofrida. A poesia transfigura as coisas, mesmo quando você está no abismo. A arte existe porque a vida não basta’“(Caption to the image. @mayara5ilva)

[One of my favourite phrases. It is by Ferreira Gullar, a poet from Maranhão, when talking about his career in art during an interview. "Art is an unpredictable thing, it is discovered, it is an invention of life. And whoever says that making poetry is suffering is lying: it is good, even when writing about something suffered. Poetry transfigures things, even when you are in the abyss. Art exists because life is not enough”].

 

Emerging formats: poetry from the US

And people stayed home. And read books, and listened, and rested, and exercised, and made art, and played games, and learned new ways of being, and were still.

And listened more deeply …

(From the web, by Kitty O’Meara).

 

Image of the screenshot of the Instagram page @CovidArtMuseum showing the text of the poem by the title “And the people stayed home”, by Kitty O’Meara.  “And the people stayed home. And read books, and listened, and rested, and exercised, and made art, and played games, and learned new ways of being, and were still. And listened more deeply. Some meditated, some prayed, some danced. Some met their shadows. And the people began to think differently. "And the people healed. And, in the absence of people living in ignorant, dangerous, mindless, and heartless ways, the earth began to heal. "And when the danger passed, and the people joined together again, they grieved their losses, and made new choices, and dreamed new images, and created new ways to live and heal the earth fully, as they had been healed." Kitty O'Meara
And the people stayed home, by Kitty O’Meara –Photo sourced by Instagram, June 2020 @CovidArtMuseum

 

Kitty O’Meara, awarded the “poet laureate of the pandemic” by the web arena, is an Irish American teacher who wrote the poem during the days of the pandemic outbreak last March. The poem went immediately viral, and has now become an illustrated book for children. This represents an emerging format type of literary production: those produced, acclaimed, and published in a very short interval of time.

The circulation of ideas, inspirations, and artistic products have been floating around the world, not only via the powerful means of the World Wide Web, but also through the most traditional and time-sensitive channel: the postal service.  

 

Mail art: mailing hope from New York and Mexico

In May, New York-based artist and researcher Lexie Smith, founded a food-based art project, Bread on Earth, offering to send free active sourdough starters preventively dehydrated via UPS to anyone who would have made requests. Over 700 people responded to the call at the beginning. As she explains on her website: “Stay safe, and let this time remind you that bread is only a threat when in the hands of few, and power when in the hands of many”.

The project also aimed to create a ‘locations of the jars’ map. As the sourdough travelled to people around the world, the map would show the spread of this happy bread-making community, since sourdough starters can be easily shared with friends, family and neighbours. She has sent parcels all over the U.S. and Canada, Singapore, India, Bulgaria, Australia, New Zealand, Italy, Paris, London, Switzerland, Sweden, Denmark, Spain, Mexico, and Hawaii amongst other places.

 

Image of heart-shaped bread served on a chopping board
Heart shaped bread. I received this heart shaped bread from my partner who, despite the distance, made my living with the pandemic days an artistic adventure (blog post author's personal image) 

 

Mail Art has never been so vivid since its glorious time of the 60s, and it has now become so iconic that I have found it portrayed in an oil on canvas, and it looks great.

 

Image of a brown paper parcel painted on canvas. A read sticker on the parcel reads "FRAGIL" in white characters. The Mobius loop, the sign for recycling paper, is stamped in white on the left part of the parcel. On the right part of the envelope, there is a white label with three bar codes and a text that reads: besos y abrazos urgentes / urgent kisses and hugs
Envios urgentes de cuarantena / Urgent quarantine shipments, by Mariana Lagunas @marianalagunasart -Culiacán, Sinaloa, Mexico. Photo sourced by Instagram September 2020 @CovidArtMuseum. Photo ©marianalagunasart

 

“Por medio de mi obra exploro el concepto de optimismo, pues a mi modo de ver es un tema que contiene una dualidad entre conformismo y ambición. El optimismo llega a ser en algunos casos incluso doloroso, pues la presión por ser agradecido, así como la culpa por no serlo, se traducen en frustración. Este último es un sentimiento que se generaliza, crece y que está directamente relacionado con el fortalecimiento de las redes sociales, el microtargeting, la publicidad y los medios de comunicación masiva” (Mariana Lagunas’ website)

[Through my work I explore the concept of optimism, since in my view it is a theme that contains a duality between conformity and ambition. Optimism can be, in some cases, even painful, since the pressure to be grateful, as well as the guilt for not being grateful, translate into frustration. The latter is a sentiment that is generalizing, growing and that is directly related to the strengthening of social networks, micro-targeting, advertising and the mass media].

 

Banner Art: from Toronto and London

First exhibited at the Art Gallery of Ontario, Mark Titchener’s banner "Please believe these days will pass," have been found all around the city during the days of the first lockdown. It made London and many other UK cities the perfect hosts of this gigantic artist’s book. With this banner, Titchener visually confronted the passers-by using his typical language-based graphic statement. In those early days of desperation and fears it came as a revelation, a vector towards the mass common denominator: to believe that these days will pass for us all.

 

Photographic image of Mark Titchner's banner. The image covers the entire wall of a two-story house. It presents impressions of colour in shades of red, yellow and blue and in the centre a message written in large letters that reads: Please believe these days will pass
London Fields. A shot I took during my one form of exercise per day in the vicinity of my house on the days of the first lockdown. The banner reproduces Mark Titchner’s work "Please believe these days will pass". It was presented at the Art Gallery of Ontario in 2012. 

 

The 2006 Turner Prize-nominee's work particularly fits with studies in typography and typographical characters when they are used to inspire people, communicate to the core of the community and bring art to a street-based-level. The people become part of it, deciding how to read it and which voice to give to it. No captions are provided, just the imagination and personal, or common, feelings and circumstances of passers-by. Here is a piece of art in which each of us is part of it.

[Blog post by Annalisa Ricciardi, Cataloguer, Americas and Oceania Collections]

 

Bibliography and suggested readings:

Alan Moore, Do / Design: why beauty is key to everything, London: Do Book Co., 2016. Shelfmark: YKL.2017.a.11507

Liz Rideal, Kathleen Soriano, Madam & Eve: women portraying women, London: Laurence King Publishing, 2018. Shelfmark: YC.2019.b.367.

Leo Jansen, Jans Luijten and Nienke Bakker (editors), Vincent Van Gogh. The letters: the complete illustrated and annotated edition, London: Thames & Hudson, in association with the Van Gogh Museum and the Huygens Institute, 2009 (Volume 5: Saint-Rémy-de-Provence. Letters to his brother Theo). Shelfmark: YC.2010.b.362 vol. 5.

Mark Titchner, Why and why not: vibrations, schizzes and knots, London: Book Works, 2004. Shelfmark: YC.2007.a.6117.

Martin Clark, Mark Beasley, Alun Rowlands, Tom Trevor, (editors), Mark Titchner, Bristol: Arnolfini, 2006. Shelfmark: YC.2011.b.820.

Richard L. Hopkins (editor), The private typecasters: preserving the craft of hot-metal type into the twenty-first century, Newtown, Pennsylvania: Bird & Pull Press, 2008. Shelfmark: RF.2017.b.103).

On the art and poetics of Ferreira Gullar, see the British Library holdings at: https://bit.ly/3qaHmXs

From the web to the publisher. Kitty O’Meara’s "And the people stayed home: https://trapublishing.com/products/and-the-people-stayed-home

 

Collect, preserve and cataloguing emerging format at the British Library:

https://www.bl.uk/projects/emerging-formats?_ga=2.68841681.1751897924.1590397461-675682078.1590397461

https://blogs.bl.uk/digital-scholarship/2019/04/collecting-emerging-formats.html

 

On the definition of Mail Art as an artistic phenomenon: https://bit.ly/2JvBW8E

Mail Art initiatives at the time of the first coronavirus pandemic wave:

https://news.artnet.com/art-world/quarantine-mail-art-initiative-usps-1902009

https://news.artnet.com/art-world/mail-art-renaissane-1850670

On Mail Art publications and items at the British Library:

https://bit.ly/3qgqK0w

https://bit.ly/3mtuUjh

 

 

 

28 August 2020

Paradise in London: the Paraíso School of Samba and the beginnings of urban Brazilian carnival in Rio de Janeiro

One event that is certainly going to be missed this summer is the Notting Hill Carnival. To avoid mass gatherings during the Covid-19 crisis, this year’s carnival takes place online. Usually on this weekend, the streets of west London become alive with the vibrant colours and sounds of costumes, steel bands and floats. The European & Americas Collections Team celebrates this popular London event with a joint blog. 

Initially, Trinidad-born activist and West Indian Gazette founder Claudia Jones started an annual indoor Caribbean carnival in response to the racist violence and riots that swept through Britain in the summer of 1958. The first London Caribbean carnival took place in January 1959 and was televised by the BBC, subtitled ‘A people's art is the genesis of their freedom’. The British Library holds a copy of a West Indian Gazette special edition about the event:

 

Image of black, white and red illustrated cover. It shows drawings depicting Caribbean dancers. Title reads: "Caribbean Carnival Souvenir, 1960: televised by BBC television. Organised by the West India Gazette.
Caribbean Carnival Souvenir 1960: televised by BBC Television, organised by the West Indian Gazette. Cover page with West-Indian musicians and dancers [BL Andrew Salkey Archive Dept. 10310, Box 33]

 

You can find out more about these beginnings at: https://www.bl.uk/collection-items/claudia-jones-caribbean-carnival-souvenir-programme-1960. In 1966 carnival finally took to the streets in Notting Hill and has stayed there ever since. For three days, music and dance now bring together two million people in celebration of Caribbean cultures. 

My own initiation to the Notting Hill Carnival has been through Brazilian influence and close involvement with the Paraíso School of Samba, the most prominent school of Brazilian samba in London. Every year since its foundation in 2001, Paraíso has taken part in the Notting Hill Carnival parade, featuring costumed percussionists, dancers, and carnival floats.  Just like in Rio!

 

Paraiso School of Samba dancers at the Notting Hill Carnival 2017, © Vinko Kalčić Photography, reproduced with permission. Image shows dancers of the Paraíso School of Samba in traditional Brazilian Carnival wear.
Paraíso School of Samba dancers at the Notting Hill Carnival 2017, © Vinko Kalčić Photography, reproduced with permission

 

The president and founder of the Paraíso School of Samba, Henrique da Silva has since the age of eight been involved with one of Rio’s most traditional schools of samba: Grêmio Recreativo Escola de Samba Estação Primeira de Mangueira or simply Mangueira. This inspired him to form a samba school in London following the same principles. The main idea of Paraíso is for people to celebrate and express their cultural identity through dance and music. To quote from Paraíso’s website  ‘samba is truly the popular art of people, especially in its inclusivity where everyone has a place. Paraíso plays samba as it is played by the baterias (percussions) of Rio’s samba schools.’

Samba music and dance originate from the Northeast of Brazil, where it was developed from the musical traditions of the African slaves. The style of Samba as we know it today, developed in the first half of the 20th century in Brazil’s urbanising Southeast, mostly its then cultural centre Rio. The style emphasises the polyrhythmic sounds of multiple percussion instruments, like African drumming music, which uses call and response.  This has become the pulsing sound of Rio’s modern carnival. The main driving force behind this style of samba were and still are organized groups known as escolas de samba (samba schools).  They are devoted to playing and dancing, as well as preparing for a yearly carnival parade. In Rio, samba is now inseparable from the Carnival.  

 

Paraiso School of Samba dancer at the Notting Hill Carnival 2018, © Vinko Kalčić Photography, reproduced with permission. Image shows a close-up portrait of a smiling dancer of the Paraíso School of Samba. The dancer wears a dress made of blue coloured gems and feathers
Paraíso School of Samba dancer at the Notting Hill Carnival 2018, © Vinko Kalčić Photography, reproduced with permission

 

My initial reaction to co-writing this blog was reluctance, as I have mostly stayed away from carnival on my visits to Brazil. Looking after the Latin American Collections, however, I felt I should give it a go and was rewarded with joyful browsing and listening on the internet for a couple of hours. I hope you’ll do the same for this year’s Notting Hill Carnival until we can take to the streets once more.

Our guide to the first decades of urban Rio carnival is Brazil’s most famous composer Heitor Villa-Lobos (1887-1959), a keen participant in his hometown’s carnival celebrations. During his lifetime, modern urban carnival developed and he knew its local protagonists and different musical traditions like no other person. In his own classical compositions, Villa-Lobos sought inspiration in the country’s popular cultural traditions to create a distinctive Brazilian style of music. He even composed two pieces of music on the theme of children’s experience of carnival: Carnaval das Crianças (Children’s Carnival) in 1919 and Momoprecoce (the precocious king of carnival) in 1928. The first, a work for piano describes in eight vignettes well-known carnival figures popular at the time like the diabinho (little devil) or the rei momo (king of carnival). The later work reinterprets and elaborates these themes into an orchestral work with solo piano.

Popular narratives of samba usually mark important milestones of modern urban carnival around similar dates. In 1916, Ernesto dos Santos, known as Donga, and Mauro de Almeida registered the first samba with Brazil’s National Library in Rio, while in 1928, José Gomes da Costa, known as Zé Espinguela, launched the first samba competition from the same Mangueira neighbourhood, where the famous samba school developed from existing older carnival groups.

Vanessa Rodrigues Cunha (2015) describes the different musical traditions from which samba emerges as predominant by the end of the 1920s. The music played at the time was slower, however, than the samba we know from later Brazilian carnival, which also developed different dance routines. A good way to experience the greatest musicians of the early time of urban carnival is through browsing the recent digital exhibition Native Brazilian Music: 80th anniversary: the history behind one of Brazilian music’s most iconic albums.

 

Native Brazilian Music Museu VL; Cover of the record ‘Native Brazilian Music’ by Colombia Records, Museu de Villa-Lobos as reproduced in the digital exhibition
Cover of the record ‘Native Brazilian Music’ by Colombia Records, Museu de Villa-Lobos, as reproduced in the digital exhibition

 

It tells the incredible story behind the famous recordings of Brazilian popular music organised by Villa-Lobos and Donga for the British composer Leopold Stokowski. His tour through Latin America was part of U.S. president Roosevelt’s ‘Good Neighbor policy’ and Stokowski had asked Villa-Lobos for help in finding Brazilian musicians for recordings. These took place in 1940 on board the steamship U.S.S. Uruguay in Rio’s harbour and would be released by Colombia Records in 1942. The exhibition contains some recordings, which give a good flavour of the musical style of the time. It is refreshing to hear them and you can see how they compare to the musical offerings of Notting Hill Carnival Online.

At the end of the weekend, you can sit down to listen to Villa-Lobos’ reinterpretation of the carnival theme with a recording (25 min) of his ‘Momoprecoce’ performed at the Proms in 2012 by the São Paulo Symphony Orchestra with Nelson Freire at the piano and conducted by Marin Alsop. The recording includes a brief introduction to the piece by Alsop, and I could hear it over and over again. I’m sure that a weekend immersed in Caribbean carnival music will only enhance our appreciation of this wonderful ode to carnival!

Lora Afrić, Languages Cataloguing Manager & Iris Bachmann, Curator, Latin American Collections.

Bibliography:

In the absence of access to our physical collection items, Vanessa Rodgrigues Cunha’s dissertation has been an invaluable, well-written guide to information on Villa-Lobos carnival pieces and the beginnings of urban Rio carnival:

Cunha, Vanessa Rodrigues. The Symbiosis Between Villa-Lobos's Carnaval Das Crianças And Momoprecoce: A Comparative Study. Dissertation. CUNY. 2015. Accessed 28.08.2020 https://academicworks.cuny.edu/gc_etds/896/ 

Daniella Thompson’s research for ‘Stalking Stokowski’ (2000) http://daniellathompson.com/Texts/Stokowski/Stalking_Stokowski.htm underpins the digital exhibition on the record ‘Native Brazilian Music’ and gives a more detailed account of its history and the marginalization of black musicians as samba goes mainstream.

Further suggested readings at the British Library:

Goldman, Albert. Carnival in Rio (New York, 1978). f78/3978

George, Terry. Carnival in Rio: samba, samba, samba! (Hamburg, 2005). EMC.2009.a.372

Hertzman, Marc A. Making samba: a new history of race and music in Brazil. (Durham, North Carolina/London, 2013). YD.2017.a.606 

Neto, Lira. Uma história do samba. (São Paulo, 2017). YF.2017.a.22063 

 

26 August 2020

The Centenary of the Nineteenth Amendment and US women's right to vote

To celebrate this important anniversary, this blog highlights some of the US women's suffrage music held at the British Library.

Today - 26 August 2020 - marks the centenary of the Nineteenth Amendment becoming part of the Constitution of the United States. This 39-word Amendment states: "The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex. Congress shall have power to enforce this article by appropriate legislation."  

Text of what would become the Nineteenth Amendment to the US Constitution.
The Nineteenth (XIX) Amendment to the US Constitution passed a vote in the House of Representatives on 21 May 1919 and in the Senate on 4 June 1919; it was then sent to the states for ratification.  On 18 August 1920 it was ratified by Tennessee, the 36th - and final - state needed to ensure its adoption.  Image: National Archives and Records Administration (NARA); courtesy Wikimedia Commons. 

Although brief, this Nineteenth Amendment was the culmination of a decades-long struggle for women's suffrage. This struggle formally began in July 1848 at Seneca Falls, New York, where, at a convention organised by Elizabeth Cady Stanton and Lucretia Mott, around 300 people gathered to discuss "the social, civil and religious condition and rights of women." In the 72 years that followed, activists for women's suffrage created many organisations and used many strategies to achieve their goal. In the end, however, it was amending the Constitution - rather than persuading individual states to extend the franchise - that was successful.

To commemorate this milestone, US institutions, including the Library of Congress, the National Archives Museum, and the Smithsonian's National Museum of American History, are illuminating the complex, challenging and inspirational story of the movement for female suffrage with brilliant online exhibitions.

The cover photograph of this sheet music shows women in long white dresses and sashes marching in New York City for women's suffrage.
The copyright for this song was held by the New York Women's Suffrage Association which would have benefited from any sales. The cover photograph depicts one of the suffrage rallies held in New York City, 1912-14. In 1917 women gained the right to vote in New York State; this played a critical role in US President Woodrow Wilson's decision to support what would become the Nineteenth Amendment to the US Constitution.
Zena S. Hawn, Fall in Line: Suffrage March. New York: Arthur W. Tams Music Library, c.1914.  British Library Music Collections: H.3826.r.(27.) 

In the late 1980s, I had the great good fortune to work as an intern on the Papers of Elizabeth Cady Stanton and Susan B. Anthony. Spanning the years 1831 to 1906 this vast microfilm project – then housed at the University of Massachusetts, Amherst – brought together more than 14,000 documents relating to these two extraordinary women. As a new graduate student with little experience of working with primary sources, transcribing Stanton and Anthony’s correspondence and indexing their weekly newspaper, The Revolution, was priceless. Yet, even then it was clear that Stanton and Anthony’s activism was not without flaws; particularly, regarding issues of race. 

What excites me today as I browse these centenary exhibitions, is seeing Stanton and Anthony's contributions as one strand - albeit a hugely significant one - of the suffrage journey and realising how much is still being discovered about all of the women and men who petitioned, organised, marched, wrote to representatives, senators, and presidents, argued with friends and family, argued with each other, and ultimately refused to give up.  

Viewing these virtual exhibitions has also made me extremely jealous of the collection items held by these American institutions; but that is for another day! Today, we are simply celebrating this 100th anniversary by sharing some of the women’s suffrage sheet music held by the British Library. 

The Liberty Bell and the American flag are colourfully depicted on the cover of this sheet music.
This song is dedicated ‘To Dr Anna Shaw and the Great Cause of Woman Suffrage’. Born in Britain Anna Shaw received her MD from Boston University in 1885 and was President of the National American Woman Suffrage Association from 1904-1915.
M. Zimmerman & E. Zimmerman, Votes for Women: Suffrage Rallying Song. Philadelphia: E. M. Zimmerman, 1915. British Library Music Collections: H.3992.r.(18.) 

Like all great American reform movements in the nineteenth and early twentieth century, the one for women’s suffrage was imbued with songs and marches. This is not surprising, given the prominent role that music played in homes, churches and social and political gatherings at this time. 

A woman holds a banner saying 'Universal Suffrage' on the cover of this sheet music.
This song was privately printed by its female composer and in her  dedication she urges women to: 'Never fail to keep the cause of woman's suffrage foremost in your mind ... it is your cause and you must support it.'
Lucenia W. Richards, Suffrage March Song. Chicago: Richards & Richards, 1914.  British Library Music Collections: H.3995.nn.(18.) 

Today, historians often categorise suffrage music into "parlour songs" and "rally songs". Although the lines of demarcation between these two are somewhat blurred, rally songs tended to be well-known tunes - usually hymns or anthems - that had been given new, pro-suffrage lyrics. At public gatherings, this style of music-making was particularly advantageous since the new lyrics, printed inexpensively on a single sheet of paper, could quickly be passed around a crowd. One or two people would then kick off the melody and everybody else could join in. 

Compilations of suffrage songs - often a combination of these re-worded hymns with original compositions - were frequently published by local and national suffrage associations as a means to raise funds. Others, including the one below, were created by single individuals:

The decorative inside cover of a pro-suffrage songster.
Woman's Suffrage Songs. For Public Meetings, Conventions, Entertainments or Vaudeville.  Words and Music composed by Pauline Browne.  Indianapolis: P. R. Browne, 1913.  British Library Music Collections: F.328.s.(5.) [Image courtesy Library of Congress, due to Covid restrictions].

In contrast to rally songs, "parlour songs" tended to have both original lyrics and original tunes. They enabled the singer – in the non-threatening environment of her own home – to express why women wanted the vote and the benefits this would bring to society. Many appealed to the listener’s sense of justice and fair play, including the one below, which opens with the declaration that: "No man is greater than his mother / No man is better than the wife he loves." It then lists women's qualities and accomplishments, before arriving at the surely inevitable conclusion that women also deserve to vote:  

A smiling well-dressed woman and a baby look out of an open window; the baby waves while leaning on a red cushion.
H. Paley & A. Bryan. She's Good Enough to Be Your Baby's Mother and She's Good Enough to Vote With You. New York: Jerome H. Remick, c.1916. British Library Music Collections: H.3995.q.(70.) 

Opposition to female suffrage took many forms, but particularly common were accusations that women would become "sexless" (scathing references to "spinsters" were common) or would neglect their homes and families. These views were reflected in the sheet music of the time, including in the song below. Published in 1913, this song is full of stereotypes not only about those supporting women's suffrage but also about Italian Americans. The song's protagonist bewails the fact that since "his" Margarette became a suffragette, not only does she no longer cook or clean the house, but, worst of all, "She wear a-da pants / Dat kill da romance..."

A woman in flamboyant dress points dismissely at the floor as a man with curly hair and an earring begs in front of her on bended knee.
G. Edwards & Will D. Cobb, Since my Margarette became a-da Suffragette. New York: Jerome H. Remick, c.1913. British Library Music Collections: H.3992.x.(9.)

From the earliest days, there were strong ties between those working for women's suffrage in the United States and their counterparts in Great Britain. In the 1910s, concern about the increasing militancy of the British movement was reflected not only in the American press but also in popular music. The cover illustration of the song below, published in New Jersey in 1912, depicts British suffragettes marching in their sashes while throwing bricks and breaking windows. The song’s protagonist – recently arrived from England – shares the horrors he has witnessed there and concludes in the chorus: "They’re growing too strenuous by jingo/ These women on mischief are bent/ With brick bats they’ve smashed all the windows/ And raided the Houses of Parliament/ They’re wearing men’s collars and shirt fronts/ Less bashful are these sweet coquettes/ They’re after our votes just as well as our notes/ And our trousers! Oh! You suffragettes": 

In the sketch suffragettes wearing sashes and long dresses are breaking windows while holding a Votes for Women banner aloft.
B.A. Koellhoffer & J.J. Gallagher, Oh! You Suffragettes. Irvington, NJ: B.A. Koellhoffer, c.1912. British Library Music Collections: H.3994.u.(20.).  [Image courtesy Lester S Levy Sheet Music Collection, Johns Hopkins Sheridan Libraries & University Museums, due to Covid restrictions.]

In spite of the vigorous efforts of the anti-suffrage contingent, on 19 January 1918 US President Woodrow Wilson announced his support for an amendment to the Constitution of the United States that would guarantee women the right to vote. This Nineteenth Amendment was passed by Congress on 4 June 1919, ratified on 18 August 1920 and officially incorporated into the Constitution on 26 August 1920.  

Just over fifty years later, on 16 August 1973, Congress approved H.J.Res. 52 - introduced by Rep. Bella Abzug (D-NY) - designating 26 August as Women's Equality Day.  

Jean Petrovic

Due to Covid restrictions, some of the images in this blog are from non-British Library sources; I wish to express my thanks to these institutions.

Please note, you can read more about Bella Abzug and other women involved in the (still-ongoing) battle for the Equal Rights Amendment in my colleague Rachael Culley's evocative two-part blog inspired by the recent TV series Mrs America. Please also note that the British Library's next major exhibition 'Unfinished Business: The Fight for Women's Rights', is currently on hold until later in the year. 

 

 

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