Separation, Socialisation and a Sense Monastic Life

Visiting historic sites allows us to experience the sounds, spaces and structures of the medieval past in a special way, inviting new ideas and questions about their significance. At Yorkshire’s monastic sites, it can emphasise connections with nature as well as highlight isolation and the distinct ways faith was demonstrated at these places, as Scarlett Walker found when visiting of Mount Grace Priory and Rievaulx Abbey for the module The Visible Past.

As soon as the coach pulled into the car park, the first thing to notice about both Mount Grace Priory and Rievaulx Abbey is the complete isolation. Both buildings are cut off from ordinary life within the stones of their monastic building. Mount Grace is built at the bottom of a valley and is completely surrounded by nature. The sound of pheasants and geese is prominent when there and, even in modern life, the hum of the motorway is a distant sound. At Mount Grace, the idea of isolation is built into the very foundations of the monastery. This is demonstrated by the reconstructed monastic cell, which shows how the monks would have lived separately from each other. These were self-reliant houses with gardens to grow food and working tools, such as a loom in the attic. There was a hole in the wall where food would be delivered to them, which was curved to keep them from seeing each other. The monastic cells were situated around the edge of the cloister. The cloister was the only area of socialisation the Carthusian monks would have had each week when they went to church in the chapel, of which the bell tower is still visible. The tower rises above the cloister, suggesting it is the focal point of the monastery and the most significant part for the monks living there, where they could demonstrate their faith.

The isolation was also similar at Rievaulx Abbey. To get there we had to go down a rather steep hill to reach the car park which was set away from the building. It is very far away from any modern-day roads and is completely buried in the walls of nature. It was surrounded by tall, steep hills of shrubbery and trees, and was also built near the river Rye, which was visible as we drove away from the abbey. This is evidence of how the monks who inhabited Rievaulx would have used nature and ingrained it into their daily lives. Although there is a sense of isolation present in the placing of Rievaulx Abbey it has a different sense to the idea of isolation than that of Mount Grace Priory. Mount Grace believed in separation from each other as well as the world outside of the religious order, whereas Rievaulx had shared dormitories where the monks lived among each other as well as communal eating space and places of worship. This was done in the magnificent church building which is still visible today and towers over the complex. The sheer height of this church demonstrates that it was at the centre of monastic life. The church and cloisters were built surrounded by fields, which created enclosures for livestock, orchards and made it easy for agriculture, demonstrating the self-reliance of the abbey. These walls are still visible at the site today and give a sense of what life for a monk would have been like. Rievaulx Abbey also has an infirmary, the location of which is still visible at the site. This would have been where they took care of the sick, older monks and it formed the earliest surviving infirmary complex in a Cistercian building in Britain. It demonstrates the monk’s need to look after each other and their own.

Another thing noticeable after visiting both abbeys was the difference in design. Mount Grace Priory has a simplistic build to it, an idea of necessity rather than aesthetics. The monastic cells were small and simple, with a room for sleeping, a room for praying, an attic upstairs for working and a small garden in the back for growing vegetables and supporting themselves. Even the belltower, which was the centrepiece of the priory, was smaller than the typical idea of a belltower, built for purpose rather than design. Rievaulx, however, was gothic and impressive and it towered over the landscape, letting everyone know it was there. Everything about Rievaulx Abbey was lavish and striking from the large windows and high ceilings, where stained glass would have allowed light to shine down onto the altar and into the most significant part of the monastery. The abbey was built over three floors and shows its imposing nature, a dominating presence over the surrounding countryside. Although a lot of the walls are ruins, the height and the nature of the walls are still visible at the site, and it is clear that the building was seen as significant in this period.

History, Research and a Sense of Place

York is known for being an historic city and, for those studying the past, the historic environment can be truly inspiring. Second year student Leah Marshall shows just how captivating those surroundings can be, describing here the history all around her while on placement at York Explore.

Recently I had the privilege to partake in a volunteering experience at the city archive, where I had the chance to work in an amazing historical building – York Explore Library – and surround myself with beautiful and iconic historical features of the city of York.

The structure was built in 1927 and is in the heart of York, surrounded by numerous historical sites of the city. The library was dedicated on 23 September, 1927, by the Right Hon the Earl of Elgin and Kincardine C.M.G, Chairman of the Carnegie United Kingdom Trust, which contributed £13,200 to the building’s construction. Prior to the construction the library had been housed in what is now known as the York Dungeon on Clifford Street.

The building is surrounded by the very popular Museum Gardens and overlooks the ruins of St Leonard’s Hospital. These remains are amongst York’s oldest architectural ruins, with it being almost 500 years since the Reformation, which saw the hospital destroyed. The ruins of St Leonard’s initially resemble the remnants of an old church, and to some extent, this is accurate. The St Leonard’s hospital was formerly King Athelstan’s St Peter’s Hospital, but it was destroyed in a fire in 1069. King Stephen then reconstructed it in stone and some of these remnants can be found on the library grounds. During excavations, numerous Roman and medieval artefacts and items were discovered, including a Roman oven.

The historical beauty that surrounds the building immerses you into the history of York, making you want to explore it in the detail that the archives can provide. It certainly made me want to study more about York! Volunteering at the archive has allowed me to understand and appreciate some of the amazing historical features of this beautiful city. It has given me the opportunity to be able to research and analyse some of the work that has been produced over time to make the city of York the popular tourist destination it is today.

The building is also on the site of the Multangular Tower. York’s history may be traced back to at least AD 71, when the Roman 9th legion arrived at the strategic meeting point of the rivers Ouse and Foss and erected a fort to defend themselves against hostile inhabitants. The Multangular Tower, which can be seen from the windows of the library, was an important feature of the fortress defence. So, if you come to visit this outstanding historical landmark, make sure to have a look within the archives and research this amazing feature.

Inside the building, as you can see in the photograph above, there is a beautifully depicted story of some crucial historical events that took place in York, named York Panorama. I found this artwork fascinating, especially when looking at the detail it goes into and the magnificent yet emotional story it takes you on when looking at the history of York. This is just one out of many amazing things this building has to offer.

Place, space and community in Yorkshire castles

As part of the module The Visible Past, first year students study castles from different perspectives to understand the significance of these buildings and the people who used them. But it is only when exploring the sites themselves that knowledge of these spaces can really be put into context. Here, Ashanti Carlton shares her thoughts on visiting Middleham and Richmond Castles.

We began with the first site that we visited, Middleham Castle, which is in the middle of the town. The first thing you see is the gatehouse and the sheer thickness of the walls. What was also immediately evident was the size of the windows, especially in comparison to a lot of examples that we had previously studied, hinting at the occupants’ wealth with intricate designs combined in and around the windows.

As you first walk in you see a statue of King Richard III, which looks quite striking against the surroundings and stands out but shows a connection to the space. What I found to be enjoyable when learning about the space was not the focus on a specific individual in relation to the space but rather more of a focus on physical aspects in the space, such as the kitchen areas and the size of the domestic space, areas that we usually don’t associate with castles straight away but were important to everyday life. What was also interesting to see was the size of different spaces within the castle itself, for example the dorm-like space for the religious figures living within the site, also something that we don’t always immediately think of in the context of castles. Similarly communal garderobes (toilets), weirdly a common theme through both the spaces we visited!

Next, we visited Richmond Castle, which was again surrounded by the town but differed from Middleham Castle visually. For example, when you think of a castle on a hill with a large keep that’s what Richmond looks like, especially with it being on top of a hill, from which you could look out for miles. Within the castle there is a distinction of spaces that are in ruins and that are still standing, such as the space where important occupants would live and, again, another fixation on the toilet that was within the space, which I found quite funny. Next to this space are gardens in the grounds of the castle, which were quite beautiful and a nice thing to have to break up the space. I also enjoyed looking at the surrounding area from the top of the keep, despite the rain.

Looking back at the visits what was great about them was both the sense of community that you can see built up surrounding these castles, instead of them being isolated places, and also how the community is involved with the castle space.

A Community Theatre: Past, Present and Future

For her placement at the Borthwick Archive, second year student Charlotte Pearce explored the collection of the Joseph Rowntree Theatre. Here, she examines the history and importance of the theatre since its foundation in 1935.

For my work placement I helped to process a newly obtained archive from the Joseph Rowntree Theatre. The archive covered all sorts from the opening of the theatre to the present day, including items such as scripts, programmes, letters, posters and newspapers, to name a few.

The Joseph Rowntree Theatre opened 18 November 1935 and was commissioned by the Joseph Rowntree Village Trust. It’s a Grade II listed building and is the only Rowntree building left that is still used for its original purpose. Since first opening, the owners have always ensured the theatre was as well-equipped as other theatres. From the early 2000s onwards, many changes have been made to the theatre to ensure that it remains accessible to all. The theatre has undergone multiple renovations, including the refurbishment of the auditorium, upgrading the sound and lighting systems, and the replacement of technical equipment. Whilst adapting it to modern needs, there is always a focus on why it was built and a wish to preserve the best of the past. During these renovations, the community has always come together to help raise the funds needed.

Photograph of the Chocolate Works Magazine from when the theatre opened.

From the beginning, it was decided that the theatre would be in the very heart of the community, as a place of affordable entertainment, and it still is today. The theatre continues to be an integral part of society, providing entertainment and opportunities for volunteers to develop new skills. It is run for the community, by the community.

A 2001 article found in the archive – the theatre ‘continues to epitomise the community spirit so central to Joseph Rowntree’s philosophy’.

The owners believe it is the only standalone community theatre in the country, and perhaps even the world, which was built for the members of the Quaker faith. It presents a variety of shows including local amateur productions, dance, and professional productions. Thirty five groups regularly use the theatre, as well as being used to host different events. The Rowntree Players, a group formed by workers at the chocolate factory, made the theatre their home, and to this day continue to perform there on the same stage their founders did.

A newspaper article on the Rowntree Players.

York actors David Bradley (Harry Potter, Game of Thrones) and Ian Kelsey (Emmerdale, Casualty, Coronation Street) both performed for the Rowntree Youth Theatre, and the pair recently became patrons of the theatre during the 85^th anniversary celebrations. Bradley has spoken about the importance of the theatre, recognising its role as a vital part of the city, and the opportunities it has provided many young people, including himself.

The Rowntree Nestle company pulled out of managing the theatre to focus only on making confectionary. Despite shocking some, the move allowed those who took over freedom to make changes and the theatre is still continuing to thrive over twenty years since this decision.

As a theatre-lover myself, and someone who has performed and volunteered at my own local community theatre, I understand the importance of the opportunities community theatres provide. Seeing how the values of the theatre haven’t changed, despite the changing of the community around it, has been intriguing. It is the only Rowntree building that continues to be used for its original purpose, and it still brings the community together in such a big way.

‘So much history and so many productions’: Exploring a new archive collection

Being amongst the first to investigate the contents of an archive collection is a rare treat and one that second year student, Alisha Oliver, has found fascinating. Here, she shares some highlights from the experience of investigating almost 100 years of records from the Joseph Rowntree Theatre.

Archives are often an under-appreciated and overlooked part of society. Few people outside of the history sector may actually be aware of how much archives can hold, cover, and preserve. The delicate creases of paper tinted with age, tears from years of handling; reading the scrawled handwriting, deciphering in the information that was once part of someone’s life. History often feels so far away, but archives are physical evidence of human existence that came before us. The past provokes our curiosity, although for a while it may seem like words on a page, or an event told on a television screen. Archives can allow history to exist in a state of realism, offering a different kind of nostalgia bathed in poignancy.

The archives are bigger than we are, and that’s something I have certainly learned in recent months. As a part of the second-year module History, Community and Culture, I was one of six lucky students to be selected for a placement at the Borthwick Institute for Archives. This was a very exciting and unique opportunity, since they had just acquired a brand-new collection of archives from the local Joseph Rowntree Theatre. Potentially hundreds of documents and files sat untouched, waiting to be rediscovered. It was our task to box-list the archives and explore what had been left to collect dust for perhaps decades for the very first time. For me personally, as it was a placement that intertwined two of my interests – history and theatre – closely together, I was very intrigued by a lot of the content.

Modernity came hand in hand with history as the archive allowed me to develop my spreadsheet skills to detail and comprise information on each of the boxes we were given, while condensing the vast contents of boxes I was looking through. We were taught how to carefully and appropriately handle the archives, and it was honestly a lot more of an intricate job than I had initially imagined, right down to the ideal temperature for archives being around 15 degrees Celsius. My appreciation for archival work has been widened significantly by this experience, and I have definitely learned a lot that I will value after my time at the Borthwick.

The archives included colourful, sometimes beautifully designed programmes for shows, from plays to musicals, to concerts, to dance recitals. There were famous productions like Shakespeare, Peter Pan, Sweeney Todd and My Fair Lady, just to name a few popular examples. Even a musical of Anne of Green Gables, something I was particularly enthralled by. There were also smaller, more independent productions, or compilations that pulled songs from various musicals. Something I also noted was a play about famous Tudor figure Thomas More: ‘A Man For All Seasons’.

The Rowntree Theatre had links with certain local organisations that perpetuated through many years, including York St John’s own Musical Theatre Production society, which appeared in documents from the 1990s. Carpet samples, whole scripts or snippets from them, lighting manuals and instructions, negotiation letters and diaries… the variety that the archives hold is immense. Every week, there was a thrill of being excitedly uncertain of what you’d be looking at. I was able to gain an insight into the typical office and admin work for the theatre, but also instructions given to costuming departments and maintenance. It allowed me to really think and appreciate how a business like that is run for nearly a century. So much history and so many productions put on at the theatre – it’s a little difficult to comprehend. And of course, the Joseph Rowntree Theatre is still standing strong today, so to say I am a part of its archive is a special thing.

There was one document from that very first week that really caught my eye – I found within the archives a programme for ‘A Blackpool Night Out’, presented by York Hammond Organ Society. The programme is signed by the stars of the show, Ernest Broadbent, Barbara Simpson, and Ernest Clough; as well as a postcard inside also signed by Simpson. Detailed inside the programme, Broadbent was an extremely talented musician with credits for orchestration, scoring, harmonising and arranging; Simpson and Clough, “at the height of their careers”, were well-renowned singers. Celebrity culture and autographs have always been a big part of society, and there was something about this document that felt quite special. I felt a physical connection to these people through a simple piece of card. Perhaps it was the effortlessly drawn section of music by Broadbent, it was just fascinating to see and hold in person.

Overall, I have learned and developed many skills that will be beneficial to my future moving on from the placement project. But, what may be the significant part of my learning journey, is definitely my understanding of archives and their prevalent importance in both past and present, nostalgia and legacy. The Rowntree Theatre’s archives are extensive and crucial in materialising its history, and the same can be applied across all archival matters.

University Life, Victorian Style: Insights from the YSJ Archive

An examination of photographs and magazines covering over a century of university life at York St John revealed some intriguing insights into the past for placement students, Connor Brown and Jasmine Reed. From sporting achievements and gender disparity to comedy cartoons and heartfelt commemoration, the rich resources of the York St John Archive made for an interesting and rewarding placement, as Connor and Jasmine reflect here.

As part of our History, Community and Culture module, history students such as ourselves were tasked with finding a work placement. Being interested in the world of archives, we were given the opportunity to take part in a project placement based within the York St John archives. Here we would not only get a peek into the archives themselves, but also the ways in which contemporary sources are catalogued in online systems and stored in specialist temperature-controlled rooms. As the placement progressed, we were able to dive into cataloguing a range of items such as photographs and magazines dating from the mid-19^th century up to the late 20^th century, all depicting student life at both the York (St John) Diocesan Training College and the Ripon Training College. As this post will show, this placement was more than just looking at historical pieces, as the placement tested our organisation, teamworking and research skills to name a few. Overall, this placement opportunity was not only enjoyable but also gave us some vital experience working within the historic sector. 

Cataloguing – Photographs

For our first project, we catalogued photographs that were donated by family members of old students. The first step to cataloguing was to learn how to use the online archives and how to catalogue a source. Cataloguing the photographs correctly was important, as it helps archivists and historians understand what the archive includes as well as the details of sources. We decided to catalogue the photographs in year order, making it easier to collate all photos in the same year.

Within the photos there was a lot of sport photos from the men’s college, at the time known as York St John’s Diocesan Training College. It was intriguing to see the photos and the diversity of sports offered to students. There was a variety of sports being shown in the photographs from the regular sports the men played like rugby and football, to the athletics and gymnastics team.  With some of the photographs, there was a list of names of students on the team. We made the decision to catalogue the names, making finding individuals within photographs easier. It was interesting seeing the same people in multiple photographs, for example, Rev H. Walker was a common face in the photos. Being principal from 1908-1935, he had a reputation of not being liked by the students for his strictness, petty regulations and for not understanding ‘that the students were not young lads but men…’. We then arranged all photos in date order for it to be stored in a better layout.

After the men’s photos, we moved onto cataloguing the women’s photos. These photos were strikingly different to the men’s in that there were largely only year photos for the women, and a complete lack of sport or other activities pictured. Being mainly from the pre-1960s, these photographs perfectly reflect the unequal attitudes, morals and principals between the two gendered colleges; especially as the female students at Ripon were encouraged to partake in more ‘domestic’ tasks.

Cataloguing – Magazines

After the photos, we catalogued old magazines from both colleges. The first set of magazines that needed to be catalogued were the White Rose magazine, Spread-Eagle and the Ripon College Association produced for the students at York St John and Ripon College respectively. Impressively, the White Rose magazine produced over 70 volumes of the magazines from when it first started in 1893 up until the 2000s, and some years had multiple prints. As with the photographs, we catalogued them and arranged them in date order, so it was easier to find the exact magazine more easily.

Both White Rose and Spread Eagle had similarities in the content of the magazines. They listed different articles written by students about a variety of topics, such as the different theatre productions put on and short stories. Both magazines include a list of students as well as those who had graduated from the colleges. The men’s magazine from after 1918 include pages of “fallen Yorkists”, a list of students who lost their lives or were marked as missing from the First World War, we found this interesting and a nice touch to the magazine, to honour their sacrifice in such a devastating war. On the lighter note, the St John’s magazines also contain more satirical pieces, with drawings of comedic caricatures and written jokes. Comparatively, the Ripon College Association magazines appear to have less of a student input and instead are more focused on documenting events such as balance sheets of receipts and expenses, as well as chapel accounts.

Display Creating/Creating Displays 

On the more creative side of things, we were given the chance to create displays centred around the photographs, letters and books we had been cataloguing. This challenged us to think about how we wanted to display certain items and how we wanted people to engage with the display. After some consideration and experimental planning, we decided we wanted to go for a display that was easily accessible (i.e., placing captions and pieces that could easily be seen at a glance) and placing the pieces in order by year, creating the illusion that the audience could be looking at the college through the years. We had freedom in its creation, being able to pick and choose a selection of our favourite photographs and magazine volumes. We picked photographs such as one of the first principal of the college William Reed, a class photograph from the 19^th century, beautiful drawings from students depicting the front the college and the streets of York (found in the White Rose Magazines) and felt inclined to include the infamous Principal Reverend H. Walker (‘Taggy’), who appears in the group photographs more times than one can count.  

Reflections: 

Jasmine: For me personally, this placement was more than just a great opportunity to get a feel for working in an archival environment. While I gained valuable experience working with archival systems such as Archive Hub, and how to catalogue items in a systematic and organised order, it also gave me the opportunity to work first hand with primary sources, which I am familiar with as part of the history course. During the cataloguing of the photos, it was particularly interesting to match names to faces, and be able to research more about certain photos using the student magazines we had previously catalogued. Furthermore, it was especially intriguing to note the differences between the Ripon Training College’s magazine (the Ripon College Association) and the York Training College’s magazines (the White Rose and Spread Eagle) in terms of content. For example, the White Rose (men’s) issues had sections dedicated to sports results and ex-students lists while the Ripon College Association (women’s) had sections dedicated to births and marriages instead. Overall, from being able to see the archive storage room with its abundance of beautifully decorated books from the Victorian era, to being able to physically handle parts of the collection, my time at the York St John archives has been an enjoyable experience all around. Connor: The placement was a one-of-a-kind experience as I got to understand the importance of the archives and how managing it and ensuring sources are catalogued correctly can benefit the user. It has also been great in working on displays and showing off the history of the college and how it has transformed since the 19^th century through different photos, as well as important documents produced by students like the letter of reminiscence from the Second World War. The new skill sets I have learnt from working in the archives would benefit me in the future when I am working on my career, and it may lead me into a career path I have not anticipated, as it was such an enjoyable experience.

Anne Boleyn: innocent victim or cunning witch?

Next in our HCC series is Samantha Plummer, reflecting on a famous Tudor woman and the controversies that still surround her in popular history.

Most of us, if not all, have an idea about Anne Boleyn. Some of us like to believe she was merely a young woman caught up with a king’s desire for an heir, her life falling foul to his wants. Others think differently. Her so called promiscuity and cunning personality has filled books, tv shows and films for years. It would be understandable to see these portrayals as fact. 

What must be considered when thinking of Anne Boleyn is how valid these portrayals are. Can anything aimed at entertaining others really be accurate? After all, the figure that is being portrayed is being portrayed in a particular way to evoke a particular emotion, whether it be sadness or disgust. Scandal would be the perfect backdrop for these emotions to bubble to the surface. 

History that is widely available to public is considered public history. TV shows, films and books would all come under this term. They are often used to inform or as method to teach individuals. One example of this is the TV show and book series ‘The Horrible Histories.’ 

Anne Boleyn, being the popular historical figure that she is, has fallen victim of being portrayed as either an innocent victim or a cunning witch. There is no between. It could be said that public history should be accurate as it is accessible for the public but who is to decide what is accurate or inaccurate? 

Fiction books do not make any pretence at being accurate even when being based on a historical figure such as Anne Boleyn. That does not stop these portrayals influencing the way children and young teachers perceive her as an individual. It is inevitable that these portrayals leave a lasting impression on those being bombarded with it. After all, it is not often that Anne Boleyn is simply portrayed as a queen. 

Members of the public are fascinated by scandal and by impropriety. To think that a member of the royal family could be embroiled in any type of scandal is too good to not contemplate. Anne Boleyn would be an easy target. Not only was she accused of adultery, she was also accused of committing incest with her brother. 

To put it plainly, Anne Boleyn is neither a victim nor a witch. She was merely a woman trying to navigate the dangers she faced as a queen, whose legacy has been intrinsically linked with intrigue and scandal by writers and historians. Whether she deserved that title is not for me to determine…. 

Independence, skills-building, and archival experience: Reflecting on a placement with the National Railway Museum

Next in our HCC student series is Callum Rushworth, writing about a fantastic placement with the National Railway Museum.

For my second year History Community and Culture Placement, myself and 3 others volunteered at the National Railway Museum, taking part in the Packaging, Preservation and Promotion Project. Our goal in the project was to re-box and relocate National Railway Museum Technical Archive and Photography collections. My previous experience helping in the archives at the Leeds Discovery Centre in the summer of 2019 caused me to gravitate towards this project immediately, and I’m really glad I had the opportunity to help out. 

We spent most of our two weeks at the archive working in the Technical Archives, aiming to transfer objects from old archive grade boxes into new ones. Not only did this better secure the collection with more modern boxes, but it also created a lot of space (Which is a rare resource for most archives). While you could fit 6 old boxes standing vertically on a shelf, you could place 9 new ones laying downwards. That adds up to a lot of space over time, and it was space we definitely needed to use when we were working with other collections during our time at the archive. The old boxes wouldn’t be going to waste either, since they were being sent to the Science and Media Museum in Bradford. 

We also spent a lot of time working with a collection of about 5000 transparencies taken by a man called Bruce Evans. Most of these depicted Chinese Steam Locomotives, which are of interest to train enthusiasts since China was one of the last countries to phase out steam. Our task was to sort through them, decide on a proper sorting system (we eventually opted for an alphabetical order), re-sleeve them and then place them into proper labeled boxes. We were encouraged to take pictures of both any interesting ones I’d found and the overall progress we were making. I wish I’d taken a picture of the transparencies when they were fully re-boxed as that would do a better job of communicating the satisfaction of being done with them than my words could. 

We worked on many other projects as well during our time at the archive, such as organizing and transcribing the Chiltern collection, properly numbering a collection of mini-DV’s by photographer Chris Hogg and re-boxing specific corporate records in the National Railway Museum’s corporate archive. 

I was really surprised by how independent I was during the placement. The staff members always explained what to do and were always happy to help us if we needed anything, but they were also content to just let us get on with our work. We had a lot of freedom with how to manage our time and how we split the workload, which allowed me to work with each of the other volunteers at least once. I wasn’t this independent during my time at the Leeds Discovery Centre – the curator I was with was always sat at the office desk next to me – so being at the National Railway Museum was a really good experience. 

Overall, I had a really good time at the National Railway Museum and I’m really glad to have had the opportunity to go there. It was great to be volunteering in another museum/archive space while continuing to develop skills like team building, time management and object handling.

Exhibiting Inspiring Research: ‘Faith and Healing Under Fire, Fallen Chaplains and Nurses of Normandy 1939-1945.’

The ‘Faith Under Fire: Fallen Chaplains and Nurses of Normandy, 1939-45’ exhibition opened on 9 November with D-Day veterans amongst those celebrating the launch. The exhibition, on display in the York St John University chapel until 27 November, showcases history students’ work researching and displaying the moving and inspiring stories of individuals who took part in the conflict, as well as artefacts from the period.  

In the first of a series, where students, scholars and curators reflect on their involvement with work behind this project, third year student Dan Zetterstrom shares his experience of working on the Fallen Heroes of Normandy project and exhibition. 

During the History, Community and Culture module of my second year, I, like many others, was given the opportunity to take part in a placement scheme to gain valuable experience in a potential career in History. The choices did seem overwhelming at first but one project did stand out to me: The Fallen Heroes of Normandy. This project is an open-access source of casualty records of those who gave their lives in the Normandy area of France during the Second World War. The aim is to shed light on individual people who fought, as well as to potentially help family members locate where their relatives are buried.  

Me and my family had found ourselves in a similar scenario a few years earlier. We had learned of two of our relatives that had fought in the First World War and through research into their lives and military records, we successfully managed to locate and visit where they are commemorated in France. As I’m sure you can imagine, this project wasn’t just work experience for me, it felt personal. If I could possibly help someone find their relatives at any point in the future, I would feel immense satisfaction and pride. 

Joining the project with some of my fellow students, we had been tasked with researching and reviewing data on several persons. The main people we were looking at were nurses and chaplains of various nationalities and elaborating on their lives. We provided birth dates and places, enlistment dates, ranks, regiments and death dates, to name a few details. This data is invaluable in understanding who the person was and how they ended up in the position in which they found themselves.  

The project didn’t just involve research but also raising awareness of the exhibition. The data would be gathered along with artifacts collected by Carl Shillito, our placement supervisor, and presented formally in the university’s chapel so that the public may learn more about these brave men and women. We raised awareness via social media and placed leaflets and posters around the city of York. 

I attended the opening of the exhibition along with other students, university staff, local officials and our very special guests, veterans of the Battle of Normandy itself. Seeing the research that I helped collect on display in front of people that appreciated it and wanted to learn more, felt very rewarding and satisfying. It feels both odd and gratifying to see the culmination of your work and people approaching you to ask about your role was gratifying and showed to me that my work truly had a purpose. This experience has been very valuable not just from a prospective career and historical context but from a personal and emotionally resonant view. I’ll be sure to remember this experience for a long time. 

Hyper-accessible History: How it Helps and Hinders Historians

Third-year Samuel Huish starts off our student blogs for the academic year 2021/22, with this excellent reflection on the merits and pitfalls of history in the online world, partly inspired by YSJU’s recent public lecture series, and our employability/public history module, History, Community and Culture.

With the greatest amount of historical knowledge ever available at our fingertips today, it is so important for re-evaluation of history to take place. Anyone in the entire world with access to the internet has the ability to investigate key historical moments in broad strokes for simple understandings, allowing them to form opinions on these matters. Multiple critical analyses can now form with this new information, but not all are correct. Museums too have this ability now to display to others their new discoveries and change the way entire cultures are judged. For a historian, this is exactly what we do. Decipher the past, then utilise it properly the present, so the future has a place to reflect on. 

The digital age we live in allows for multiple books from around the world to be published online for free or for a small cost on websites with large user bases. This means that more interpretations are made more frequently, as more are able to easily access the information required. Blog posts, articles, video essays, all have a part in easily available reinterpretations of history. The discovery of new information which is subsequently catalogued online allows for a rapid spread of information so that it becomes common knowledge faster. For example, Richard III’s tomb was long thought lost after the friary he was initially buried at was lost in the dissolution in 1538. Theories became prevalent during the time between that explained away his possible whereabouts such as his body being thrown into the River Soar. It of course later came to light that he was still buried at the friary’s location, and once found the news spread throughout the world. Without those dedicated to finding him, deciding to ignore the theories and reflect on the possibilities, it is possible he would never have been found. 

The new Nero exhibition at the British Museum (as well as York St John’s own public lecture series freely available here) seeks to shed a new light upon the infamous Roman emperor. This is possible due to a wide range of 200 new artefacts that are being displayed within the exhibition. All together they are designed to tell the narrative of Nero’s life and rule of 14 years. Included are the key events such as the Great Fire of Rome, but also the sources themselves allow for a closer look at his personal moments.  

The most important part of this exhibition though, and indeed the public lecture series, is its openness on the topic. Neither seek to conceal the diabolical nature of Nero’s rule, instead they allow for the subject to be interpreted through the evidence they present. This is required in history;, the recognition that even though past concepts may be outdated, they were important to the time they were made in. Restricting access to the exhibition via limited tickets however means that many will not be allowed to reassess their views on Nero. Especially during a pandemic where travel is difficult or impossible for many, there are concerns that many will simply never see the history attempting to be displayed. We instead must hope that it is recorded by those that visit, and the museum itself, so that those unable to witness it can still learn from it. However, the concept of digital exhibitions could come into a new prevalence due to the pandemic. The more funding that goes to museums, the more exhibitions like these [Link to renaissance exhibits here] will be available to all.

YouTube series such as ‘Extra History’, a subdivision of the ‘Extra Credits’ channel, are examples which display the utility of this form of history. The videos typically last around the ten-minute mark and explain in simple terms with visual aids what occurred during specific events. For someone who may need a quick refresher on the topic or just wants to learn the basics, videos such as these are perfect. 

Problems arise with this new, easily accessible history however. Misinformation is rampant due to the fact that anyone can make a video discussing a historical topic with their own skewed views. For sensitive subjects such as the Holocaust, this can be detrimental if who made the video has a large enough following. There have been efforts to correct this;, often YouTube will have a small banner beneath the video to link reliable sources in. However, this is based on an algorithm which is far from consistent. There are also imbalances in how accessible some of this history is. The paywalls that lock content away from those with less funding, even some universities, means that what should be read by all is now available to a limited number of people. For correct information to thrive in this hyper accessible era, there must be some balance in how it is made available, while still paying those who worked on it. 

Hyper-accessible history is a fantastic development in our lives. The ability to locate masses of information with a simple search is incredibly useful for the sake of education and re-education. A key part of understanding history is the ways in which the past is viewed by the wider world. Having multiple views on certain aspects allows for a better comprehension of the whole, however there must be limits. Misinformation must be regulated to an extent where those who find it are not influenced for the worse into the future.