#heritagelotteryfund

[weehughie]

Evelyn Tentions... • • #evelyn #tentions #evelyntentions #fairey #firefly #faireyfirefly #tt1 #faireyfireflytt1 #ww2 #worldwar2 #worldwartwo #z2033 #royalnavy #faireyaviation #fleetairarmmuseum #fleetairarm #navalaviation #fleetairarmmuseumreservecollection #reservecollection #cobhamhall #faa #faamuseum #yeovilton #heritagelotteryfund #history #historic #flying #iphonex #iphone (at Fleet Air Arm Museum)

[maryrosemuseum]

Happy Heritage Treasures day!

From a cook's bowl with his name on, to a makeshift board game on a barrel lid, From a replacement bottle cap to a souvenir of foreign climes,

#HeritageTreasures are the objects that tell a story.

[mindofmonotony]

Beautiful day to visit Salford today ! Was amazed by the outside of the building too, not just the great exhibit 😊

• • • #salford #city #spring #museum #heritagelotteryfund #sunny #blueskies (at Imperial War Museum North)

[heritagelotterychanginglives]

Antoinette and Wayne really dig their new-found interest

Although not new to volunteering in their local community Antoinette Scivier and her brother Wayne had never undertaken any archaeology, despite Wayne being an avid fan of TV’s Time Team.

But then they joined with other local people in trying to make sense of the unpublished archive of a 1950s excavation at the site of Preston Hawe Manor, a medieval mansion at Tadworth in Surrey, the site of which had all but long since disappeared beneath a housing estate.

It was decided that the only way to resolve a number of unanswered questions from the archive was for the local community to carry out their own excavation, organised by the Raven Housing Trust and backed by professionals from Surrey County Council’s Archaeological Unit. Thus the Community Excavation project was born, supported by the Heritage Lottery Fund.

Taking part

Antoinette and Wayne were keen to take part. “It was a chance to learn more about the history of our area, “ she says and the pair of them soon found themselves re-bagging and cataloguing finds, sorting them by type and area found and re-ordering the archive which dated from the original excavation by local archaeologist Brian Hope-Taylor in 1952-4.

Both Antoinette (40) and Wayne (44) became fully involved. Antoinette uses a wheelchair but says that although the site was bumpy is was flat enough and access was not a problem. Both are delighted with the range of skills they acquired during the course of the project, made possible by National Lottery players.

Exciting excavation

“We learned about different styles of pots and medieval tiles and weighed and sorted them into their types, cross referencing the finds with the archive and the overall site plan,” says Wayne. They also got involved in laying and cutting a practice trench in the back garden of a fellow member of the community group. And they learned about excavation, supervision and geophysical surveying.

“The whole project was exciting but especially finding the south west corner of the chapel that matches up with the black and white photo from the Brian Hope-Taylor 50’s dig,” he says.

He adds: “It enhanced my skills, I got to engage with members of the public, and how to work as part of a team.”

Antoinette says she gained confidence, enjoyed working in a group and made some good friends. “And I learned how to make a short film about the project.

“Our group went to the Beacon School in Banstead and used their media suite, with the help of two media studies teachers.” 

A DVD of the project has now been produced and will be shown soon alongside a talk at a local venue.

Planning a future

The brother and sister team are now building on their new-found interest. They are hoping to form a Friends of Preston Hawe Manor and Chapel group, are still researching the site and looking for new funding to take the project forward.

Wayne has been volunteering at other nearby digs, such as one at Woking Palace, and is also in charge of maintaining the display cabinet of finds from Preston Hawe situated at nearby Tadworth Community Leisure Centre. He also looks after the interpretation board that has been installed on the Manor site.

From having no previous practical experience of archaeology, Antoinette and Wayne became the project’s mainstay volunteers, and vital to the ongoing story of Preston Hawe Manor.

[friendsoftheharris]

For #WorldBookDay, Rachel Teale looks at #ArthurRackham & #Shakespeare @harrispreston

@lancspublib @WorldBookDayUK @WstonesPreston #Preston

Rachel Teale, a third year student from Lancaster University, has been spending some time working at the Harris Museum on a placement. One way that she has been able to put her English Literature degree to use is by looking at paintings and illustrations that are linked to various literary works. Here, she compares and contrasts different artistic interpretations of a famous play by William Shakespeare.

"Painted in 1841, Richard Dadd’s Puck (displayed in the Fine Art gallery at the Harris after it was acquired in 2011 with the help of the Friends of the Harris and Heritage Lottery Fund) is a not only a classic example of the contemporary Victorian painting style, but also of the culturally important ‘fairy’ painting sub-genre that flourished from the 1830s to the 1870s. Inspired by William Shakespeare’s A Midsummer Night’s Dream, Dadd has chosen to adapt perhaps the most fantastical aspect of the play – the character of Puck. The fairy creates a bad reputation for himself in Act 2 Scene 2 when he casts Oberon’s love potion on the wrong person, mistaking Lysander for Demetrius.  Although an honest mistake, Puck spends the rest of the play trying to redeem himself, as the love potion is the reason for the play’s entire narrative of chaos and confusion among the characters.

In his narrative scene, Dadd depicts Puck as an infant. This is interesting, as Puck actually describes himself as a ‘merry wanderer of the night’ (Act 2 Scene 1), which doesn’t necessarily conjure up images of a well-rounded, cherubim-like infant sat on a toadstool.  However, Dadd isn’t alone in this interpretation: it is generally thought that Dadd based his painting on Sir Joshua Reynolds’ 1789 vision of the same scene. The two are very similar in many aspects, most notably in their portrayal of Puck.  Perhaps the innocence and naivety in Puck’s mistake concerning Lysander and Demetrius (although there is a mischievous element to his nature) evoked such artistic visions for the character. Dadd’s painting is dreamlike and ethereal, the dramatic lighting adding to the theatricality of the painting, likening it to a stage performance. The backdrop of the moon symbolises the play’s references to moonlight, and the smaller fairy figures that are shown dancing round Puck’s toadstool are alternating male and female, emphasising the importance of relationships in the play.

Caption: Richard Dadd, 'Puck', 1841

Yet Puck is not simply a common fairy: he is an incredibly powerful supernatural being who can fly around the globe, and control the fates of others. His importance in the play is highlighted in the fact that he is the brightest figure in the painting.  Furthermore, his left hand is raised in an ambiguous gesture, to which studies of Dadd’s preparatory sketches have given a solution: Dadd initially intended Puck to be shown holding a bow and arrow, acting as a Cupid figure.  Cupid, a key figure in Roman mythology, is a god responsible for the desire and attraction of mortals; whoever is shot by his arrow is consumed by uncontrollable love for another. As Puck is the one to control the love and affections of the other characters in the play, likening him to Cupid seems appropriate. This resemblance of character may also explain why both Reynolds and Dadd portray Puck as a chubby infant: in the Hellenistic era, Cupid was also depicted in this way, in order to emphasise the irrationality of love.  And indeed, the love shown in A Midsummer Night’s Dream is very irrational.

The flower that Oberon uses to make the love potion also holds strong connections to the mythical Cupid.  ‘Love-in-Idleness’ (Act 2 Scene 1) is another name for a type of pansy.  In Roman mythology, this flower was turned into ‘Love-in-Idleness’ when Cupid shot an arrow at the imperial votaress, but missed and struck the flower instead.  The flower then received its trait to act as a love potion.   We have already seen that Dadd initially intended Puck to be imitating Cupid, but we also see the importance of the flower in Puck’s character construction, as the flower is painted hanging over Puck’s head.

One depiction that contrasts strongly with Reynolds’ and Dadd’s paintings is that seen in the illustrations of Arthur Rackham.  Rackham was a notable illustrator during the late nineteenth and early twentieth century, whose detailed visions brought many fantasy novels to life.  The first two decades of the twentieth century were known as the ‘Golden Age of Illustration’, as printing technology had developed significantly, and publishers were able to produce lavish colour illustrations for the first time.  Rackham was arguably the most popular of these illustrators, and his paintings and drawings for A Midsummer Night’s Dream were arguably his most successful work.

On the first page of the 1908 publication of A Midsummer Night’s Dream (kept in the library at the Harris Museum), Rackham has drawn Puck underneath the title.  Here, he is an imp-like figure with a mischievous expression on his face. Although he still has a child-like stature in some ways, this Puck vividly conforms to the conventions of fairy-tales rather than classical mythology.  The unmistakably rascally expression remains on Puck’s face throughout Rackham’s illustrations in this book, and suggests that Rackham’s interpretation of Shakespeare’s play as a whole was largely different to that of Reynolds or Dadd. The fact that this Puck sits underneath the title and immediately evokes a sense of mischief seems to foreshadow the chaos that he will cause throughout the play, and establishes him as a kind of all-seeing figure (as previously mentioned, there is no doubt that Puck, although physically child-like and small, is an intensely powerful supernatural being).

Caption: Arthur Rackham, illustration from William Shakespeare's A Midsummer Night's Dream, 1908

In Act 1 Scene 1, Helena proclaims  ‘Love looks not with the eyes, but with the mind; | And therefore is wing’d Cupid painted blind’. Classical art often depicts Cupid as sightless in order to, as previously mentioned, emphasise the irrationality and ‘blindness’ of love. However, the naughty nature conveyed on the face of Rackham’s Puck contrasts with Helena’s statement, suggesting that he is not blind, and is fully aware of the comical implications of his roguish actions. This idea is supported by Puck’s lyrics: ‘Up and down, up and down, | I will lead them up and down: | I am fear’d in field and town: | Goblin lead them up and down’ (Act 3 Scene 2).

Caption: Arthur Rackham, illustration from William Shakespeare's A Midsummer Night's Dream, 1908

‘If we shadows have offended, | Think but this, and all is mended, | That you have but slumber’d here | While these visions did appear. | And this weak and idle theme, | No more yielding but a dream, | Gentles, do not reprehend: | if you pardon, we will mend: | And, as I am an honest Puck, | If we have unearned luck | No to ‘scape the serpent’s tongue, | We will make amends ere long; | Else the Puck a liar call: | So, goodnight unto you all. | Give me your hands, if we be friends, | And Robin shall restore amends.’

Puck’s address to the audience brings the play to a close.  Here Shakespeare suggests that Puck feels some kind of guilt for the havoc he has created among the characters, and he tries to reconcile himself to the audience as an innately benevolent character.  Despite this, the final illustration in the 1908 text is Puck’s face – and there remains the same mischievous expression that we have seen throughout Rackham’s illustrations."

Caption: Arthur Rackham, illustration from William Shakespeare's A Midsummer Night's Dream, 1908

[michaelmapp]

View this post on Instagram

A post shared by Michael Mapp Photography (@michaelmappphotography)

So Proud! and happy to announce the Opening of The Neil Kenlock Archive for the Expectations Project Exhibition launching tomorrow! @bcaheritage We have been working away for sometime now, and the day is finally here.@heritagelotteryfund @neilkenlock. Definitely worth a visit! it is said knowledge is power come down and learn about the untold story of Black British Community Leaders in the 1960's and 1970's #Black #British #Culture # #london #brixton #HISTORY #Ourstory #londoninthe60s #londoninthe70s #untold #truths #neilkenlock #heritagelotteryfund

[mollymacindoephotography]

The beautiful @littleninamarie dancing in a beam of sunlight at a London warehouse rave circa 2001. Originally posted by @youthclubsocial last month for international Women's Day, but celebrating the luscious ladies of the world should happen on a daily basis. Image from #outoforderphotobook see profile for link to buy. Check out the @youthclubsocial website for the full #mollymacindoephotography archive of rave photos. . . . . . . #documentaryphotography #britishmusichistory #ukravescene #freeparty #teknival #youthculture #subculture #undergroundrave #35mm #allanalog #filmisnotdead #pentaxphotography #filmphotography #naturallightphotography #abandonedspaces #socialdocumentary #lostinmusic #heritagelotteryfund #ravearchive #mollymacindoephotography 

[thegodcell]

#hernebaymosaics #teatimeandtide #heritagelotteryfund #hernebayclocktower #hernebay #nicholasgodsell

[stevesamosaphotography]

Ploughing competition for the Makerfield Plough Society at Brookehouse Farm Eccelston. #sthelens #farming #ploughing #phantom4pro #drones #dronemaguk #droneoftheday #igersmersey #dronestagram #aerialphotography #newholland #vintage #heritagelotteryfund #tractor (at Eccleston, St Helens)

[skillsforthefutureohg]

About Me...

Name: Leigh Collins

Role: Apprentice: Arts and Community Engagement – October 2016 – October 2017        

Age: 19

Why I wanted to be an apprentice: I was unsure whether I wanted to go to University immediately after A Levels because I didn’t really know what I wanted to study (not the most helpful thing!) and seeing as it’s such a big decision, I didn’t want to make it lightly. Therefore, an apprenticeship seemed like not only the logical next step but also the perfect one to build my confidence, get experience and a qualification. I’m also really interested in the arts and working with the community to help promote the importance of creativity and expression.

Where I was before: I finished my A Levels at Grey Court Sixth Form in June 2016, and then found temporary work as a shop assistant before becoming an apprentice here.

Interests: Drama (both performance and the theory), reading, creative writing, watching consecutive episodes of Sherlock, and drinking lots of tea!

[snowarchitects]

Hooton Hangers #GradeIIListed #heritagelotteryfund https://www.pinterest.com/pin/173529391879807515/

[weehughie]

Sea King... • • #westland #seaking #xz574 #westlandseaking #helicopter #royalnavy #has5 #antisubmarine #falklandwar #falklandislands #falklandsconflict #seakinghas5 #navy #yeovil #fleetairarmmuseum #fleetairarm #navalaviation #fleetairarmmuseumreservecollection #reservecollection #cobhamhall #faa #faamuseum #yeovilton #heritagelotteryfund #history #historic #flying #iphonex #iphone (at Fleet Air Arm Museum)

[thecartoonmuseum]

Comic Creators: The Famous & The Forgotten Alongside the work of comic creators lauded in their lifetime, this exhibition features work by remarkable artists that have been unjustly forgotten. Visit us! #lotteryfunded #heritagelotteryfund #cartoonmuseumuk #comics — view on Instagram https://ift.tt/2WCdlS6

[mindofmonotony]

The view from today’s office ! We’re at the @imperialwarmuseums North with our young people as part of their @heritagelotteryfund project ! Such a thought provoking place. • • • #charity #notforprofit #salford #beautiful #mediacity #sunny #heritagelotteryfund #funded #project (at Imperial War Museum North)

[heritagelotterychanginglives]

Sanna has designs of the world of costume-making

An aspiring costume maker is looking to bigger stages after recreating her late grandmother’s wedding dress more than four decades on from the ceremony.

Sanna Javid was bullied at school and had been shy and unconfident before taking part in the Yesterday’s Dreams HLF Young Roots project run by Friction Arts in Birmingham. The 18-year-old has grown in confidence after making the exquisite cerise dress without any photographs, relying on descriptions given by her 72-year-old grandfather, Manzoor, over the phone. 

Sewing from an early age

The teenager, from Bournville, Birmingham, began sewing at the age of 10 but gave hints of her talent at an even earlier age by stitching doodles into nursery books.  She became involved with Friction Arts more than three years ago. 

At the time Sanna rarely left the house and at home her love of making clothes was viewed as a hobby rather than a serious career choice. “I grew up lacking confidence,” she says. “When my sister told me about Friction I had to pluck up the courage just to phone them. I was really nervous about going along but in the end I loved it. I don’t know where I’d be now without it.”

Without National Lottery players, Sanna would not have had the chance to join Yesterday’s Dreams, which asked young people to explore their family heritage. 

Recalling the big day

“My granddad is amazing, he’s the most chilled person in our family,” she says. “He was in his 20s when the wedding happened but he was able to remember the dress was shiny and it was a cerise colour with a floral design and she was wearing a lot of gold.”

The pensioner, who is a hit in the family with his warm and playful character, lives in Lancashire and was still a young man when the ceremony took place in Pakistan. But Sanna used interview skills gained through the project to help him recall the big day and went on to exhibit the finished replica outfit at Birmingham Museum & Art Gallery (BMAG).

Bringing the family together

 “Because my grandmother passed away 13 years ago it has been difficult to speak to him about her but he remembered every aspect of the wedding and how happy she made him. In a way it has brought my family together and for my relatives who have seen the dress it was quite an emotional experience because the original did not survive and there are no photographs of the wedding. I felt proud to see the finished piece and I know my late grandmother would be too.”

“Getting involved with the projects and speaking to people pushed me out of my comfort zone,” she says. “But I enjoyed it and it’s made me a much more confident person.”

Exhibiting at BMAG

More than 13,000 people visited the exhibition over the summer, where they were able to admire Sanna’s dress. She made contemporary tweaks which included hand-printing delicate roses – her grandmother’s favourite flower – onto the outfit. 

“I’d made things for one or two other exhibitions but never anything like this, it was a massive confidence boost,” Sanna says. “I’ve had an amazing time on the project and created something that I never thought I would have been able to. I’ve learnt so much along the way and I’ve been able to find things out about my family history that would have been difficult to talk about in other ways. I now get people asking if I can make things for them and where I would have had doubts before, now I know I can go away and do it.”

Growing confidence

As Sanna’s confidence grew she led and performed in a fashion theatre show called ‘Pigs Can Fly If You Believe’. She works part-time at McDonald’s to fund her way through a theatre studies degree at Birmingham City University, with the aim of working in costume-making after graduating. The university student’s CV also includes a triple distinction in BTEC Art & Design from Bournville College and an internship at The Blue Orange Theatre.

Nita Newman, of Friction Arts, says: “Sanna went from a very quiet, softly-spoken person to speaking to 350 people at the private view for the launch of the Yesterday’s Dreams exhibition. Not only has she grown in confidence, she is far ahead of her years in the skills she has and can run up a dress in one evening. We tell people to follow their dreams, and Sanna is doing just that.”

[transformtraining]

The Breakaway core group had a great day at Calke Abbey today learning about the “Isolated Baronet”, Sir Henry Harpur. We got lots of inspiration to be able to plan future sessions, workshops and performances!

Thank you to everyone at Calke Abbey who helped us have a brilliant day!😊

#calkeabbey #nationaltrust #heritagelotteryfund #learningdisability #isolation #loneliness #derbyshire