Putting Faces to Names : Haselden’s Theatrical Cartoons

Recently I’ve been working on a collection of Punch cartoons by W.K. Haselden. The British Cartoon Archive has hundreds of cartoons by Haselden, and he is one of the most recognizable cartoonists of the early 20th century. His theatrical cartoons appeared in the ‘At the Play’ (or occasionally ‘At the Movies’ and ‘At the Revue’) section of Punch, and span a good twenty five years from the early 1910s. They feature many recognizable names and here I bring you a selection of my favourites.

Some hefty tomes

Some hefty tomes

This work has required a lot of research on my part, as I try to identify and create records for the people portrayed in the cartoons. I have met hundreds of actors and actresses along the way, often with the help of the books you can see on the right. Some of my favourite names include Beppie de Vries, Norman V. Norman and Beatrice Appleyard. Here I present to you some more familiar names I came across as I catalogued the collection.

Dame Sybil Thorndike

Sybil Thorndike was born in the late 19th century, and she’s a local girl. Whilst she was born in Lincolnshire, her brother (also an actor, although perhaps more well known as an author) Russell was born down the road in Rochester, where their father was a canon at the cathedral. Sybil attended Rochester Grammar School for Girls, and is probably their most well-known pupil. She was most famous as a theatre actress, and was so well known in her day that she was in the ‘Black Book’ of people to be arrested if the Nazis ever invaded Britain!

Sybil Thorndike in "St. Joan" - a role created for her by George Bernard Shaw

Sybil Thorndike in “St. Joan” – a role created for her by George Bernard Shaw

 

The Medea

The Medea

 

 

 

 

 

 

 

 

 

John Laurie

John Laurie is perhaps most remembered for his part in Dad’s Army, as my favourite character Frazer, but this was by no means his most significant role. He was also a part of hit Sixties shows The Avengers and The Ken Dodd Show, and appeared often on stage, particularly in Shakespeare, including Hamlet, Richard III and Macbeth. According to IMDB, he appeared in 161 acting roles on film and TV in his long career. He even appeared in a Disney movie, their 1950 rendition of Treasure Island.

Old King Cole

Old King Cole

Dion Boucicault

It was particularly pleasing to come across cartoons of Dion Boucicault as I catalogued, as we hold a Boucicault Collection here at Kent. These are two different Dion Boucicaults, our collection being about the father of the man in the cartoons. This is quite confusing, and completely unnecessary, as in reality the two of them had completely different names! Whilst he was known as an actor, he was also a theatre manager, and had particular success with the premiere of a little known play, one Peter Pan by J.M. Barrie. It was Dion’s sister, Nina Boucicault, who was the first actress to ever play Peter Pan.

Nina Boucicault (Sister of Dion Jr.)

Nina Boucicault (Sister of Dion Jr.)

Dion Boucicault Jr. (centre)

Dion Boucicault Jr. (centre)

 

 

 

 

 

 

 

 

 

Donald Calthrop

Number two of three I’ve found related to collections we hold. It was the first Dion Boucicault’s great-grandson, another Calthrop, who donated some of our Boucicault material. Donald Calthrop was Boucicault’s nephew, and a significant actor in his own right. He appeared in no less than five early films directed by the great Alfred Hitchcock. Sadly, he died of a heart attack before he finished filming Major Barbara in 1941.

Donald Calthrop

Donald Calthrop

Frank Pettingell

And here’s the third. Frank Pettingell was the owner of our largest collection of playscript, both printed and manuscript, and he in his turn acquired them from the son of well-known comedy Arthur Williams, whose stamp can be seen on most of the items in the collection. Frank was a Lancashire man who served in the First World War. His film credits include the original version of Gaslight, and played the Bishop of York in the film Becket, which featured Richard Burton, Peter O’Toole and John Gielgud.

Frank Pettingell, taking a trip

Frank Pettingell, taking a trip

Princess Lilian, Duchess of Halland

Grace Kelly may be well known for marrying European Royalty, but she was not only one! Lilian Davies, an actress more known for her modelling, from Swansea, married into the Swedish royal family in 1976 at the age of 61. They’d been living together for almost 30 years after she and her first husband divorced, but did not marry as it was thought Prince Bertil may have to become Regent after the heir to throne died, leaving a son only a few months old. However, Carl XVI came of age before he came to the throne, and he approved Prince Bertil’s marriage to Lilian. She lived to be 97, and continued to attend official engagements well into her 90s.

A most impressive hat

A most impressive hat

Rachel.

Women on Stage and in Society : 1850 – 1915

part of the British Theatre History exhibition

part of the British Theatre History exhibition

On Wednesday 6th April the yearly exhibition by second year students of the British Theatre History module launched. Whilst this has been an annual event for several years, this time the students faced a bigger challenge than ever: the size of the Templeman exhibition space. This is only the second exhibition to be held in the new space, and asking first time exhibition makers to fill it was initially concerning, but the students rose to the challenge admirably.

Playbill for Society at the Prince of Wales

Playbill for Society at the Prince of Wales, currently on display

This module offers students the opportunity to learn about a hugely varied period of theatre history in Britain, ranging from Victorian pantomime through to suffragette plays. What’s unique about this module in particular, is that the student use Special Collections and Archives material to really come to terms with the time period, utilising Kent’s extensive Victorian and Edwardian theatre collections. The students look at a range of original material, such as playbills, play-scripts and theatre documentation, to learn about this exciting time.

The British Theatre History student exhibition

A section about living as an actress

This year was different than previously in other ways too. Firstly, the students usually work in groups to produce sections of a general exhibition on British theatre history. This time,

The exhibition launch

The exhibition launch

however, the students were challenged to work individually, and they did not disappoint! The other difference is that this time the students worked on a very specific theme: women. Within this theme the students looked at gender roles in pantomime, the representation of women in melodrama, influential female playwrights, theatre managers and actresses, and theatrical women as a political force. The result is a very well rounded, coherent exhibition, which catches the eye and the interest of passers-by.

Dick Whittington from the Melville Collection

Dick Whittington from the Melville Collection

 

The module draws heavily from theatre collections housed here at Kent. Firstly, the Melville Collection, which tells the story of a theatrical dynasty of actors and theatre managers. The Melville’s owned many theatres around the country, but particularly the Lyceum in London, from which we hold music, takings books, and administrative documentation concerning productions put on there, as well as publicity material and scripts.

A lithograph showing a scene from the Octoroon

A lithograph showing a scene from the Octoroon

 

 

Secondly, the students use the Boucicault Collections. Dion Boucicault was a playwright and actor who worked both here and in America in the 19th century. He was particularly well known for his melodramas, most famously the Octoroon, a controversial play concerning race and slavery. One student has produced a detailed section concerning this play.

Photograph of Nellie Farren, from the Milbourne scrapbook

Photograph of Nellie Farren, from the Milbourne scrapbook

 

 

Many of the students use sections from the Milbourne scrapbook. This scrapbook contains photographs (and some signatures) of famous actors and actresses of the time period, and also accurate depictions of costumes worn in theatrical productions. The costume images were originally black and white, but the scrapbook’s owner attended the productions featured in it, and faithfully coloured in the images to represent what was being worn on the stage.

 

Pettingell scrapbook, currently on display

Pettingell scrapbook, currently on display

Finally the students used our Pettingell Collection. Frank Pettingell was an English actor in the 20th century. He obtained the collection from Arthur Williams, who was an actor and playwright in the 19th century. The collection is made up of a huge selection of printed and handwritten play scripts, many of which were used as performance prompt copies. There are also a handful of theatrical scrapbooks in the collection, one of which is on display.

 

The exhibition is up until the 25th April.

Happy New Year!

With the last days of Christmas coming to a close, we hope that you all had a restful and enjoyable festive season. Special Collections & Archives is now open as usual again and we look forward to seeing you in 2016.

If you’ve been getting involved in social media over the festive period, you might have seen our very own celebration of the Twelve Days of Christmas via @UoKSpecialColls. With only 140 characters in which to celebrate our wide range of collections, we had to be brief, but I thought I’d take this opportunity to tell you more about some of the items we featured.

The first day of Christmas: an ancient Greek vase

Perhaps one of our most enigmatic items, this Greek vase has been part of Special Collections for a long time, and represents those stand alone items which are not part of any collection, but are unique, rare or valuable within their own right. Although the provenance of the vase is unknown, information with the item does suggest that this is an ancient treasure.

The second day of Christmas: two pantomime clowns

Still a staple of the festive season, pantomime was an important part of the theatrical tradition throughout the Victorian and Edwardian periods. The clowns were, of course, an early part of the pantomime genre, which evolved from the Italian comedia dell’arte. These two comedians are Dick Henderson and George Jackley, who regularly collaborated with the Melville family in their annual pantomimes. This image is from the 1923/24 production of Jack and the Beanstalk at the Lyceum Theatre.

0600662

Information about the Theatre Collections.

The third day of Christmas: three cute koalas

3714This lovely image is of Hewlett Johnson, Dean of Canterbury Cathedral from 1931-1963. A contraversial figure in his lifetime, owing to his stalwart support of Communist regimes including Stalin’s Russia and Mao’s China, Johnson travelled widely. This photograph is from an album celebrating Johnson’s visit to Australia in 1950 as part of a global tour giving speeches at Peace Rallies. Having travelled via Rome, Karachi and Calcutta, Johnson then visited Sydney and Darwin, arriving in Melbourne on 15th April. The photograph was taken at  Lone Pine Wildlife Sanctuary, Brisbane in Queensland.

Information on the Hewlett Johnson Papers.

The fourth day of Christmas: the voyaging Beagle

The Jack Johns Darwin Collection includes a wealth of early and rare editions of Charles Darwin’s work, including a first edition of the ‘Narrative of the surveying voyages of His Majesty’s ships Adventure and Beagle, between the years 1826 and 1836‘. Johns became fascinated with Darwin while volunteering at the museum of the Darwin family home, Down House in Kent. This 1839 edition comprises four volumes: two written by Fitz-Roy, the captain of the Beagle, one by Philip Parker King, the naturalist on the voyage, and the third volume by Charles Darwin, whose official role on the voyage was as companion to the Captain. Following Darwin’s later fame, later editions of The Voyage of the Beagle comprised just this third volume.

Information about the Jack Johns Darwin Collection.

The fifth day of Christmas: five Portuguese windmills

F184298The Muggeridge Collections include a variety of photographs of mills and other rural subjects, which date from 1904 onwards. William Burrell Muggeridge and his son Donald were fascinated by the vanishing rural life in Britain and across the wider world. Donald’s role in the Second World War gave him the unlikely opportunity of photographing mills across Europe, and he later supplemented this collection on family holidays. The set of images of mills in Portugal were taken in April 1966: this photograph is of a group of tower mills at Abelheira near Esposende. As well as documenting lost architecture and ways of life, the Muggeridge father and son were also innovative in their use of developing photographic technology.

Information about the Muggeridge Collections.

The sixth day of Christmas: six Stand-Up comedians

Stand-Up_LogoSince the autumn of 2014, the University of Kent has hosted the nascent British Stand Up Comedy Archive, which was founded with the deposit of materials from comedians Linda Smith and Mark Thomas. This archive includes a wealth of audio visual materials and is growing rapidly. Alongside the collections of another four comedians, materials include records of venues, interviews with comedians and some magazines relating to the early Stand Up Comedy scene.

Information on the British Stand-Up Comedy Archive.

The seventh day of Christmas: seven bad girls of the family

Melodrama was a hugely popular genre on the stage throughout the nineteenth century and into the twentieth. One of the last series of hugely popular melodramas were the so-called ‘Bad Women’ dramas written and produced by the brothers Fred and Walter Melville, during the first two decades of the 1900s. These included such evocative titles as ‘The Girl Who Wrecked His Home’ and ‘A Girl’s Cross Roads’. One of the novelties of these productions were the use of female villains, usually with a male counterpart, who often had dubious morals and plotted to ruin the heroine. Although Walter Melville was acused of being a ‘woman hater’, these roles would have offered the actresses in the company an unusually rich character to portray. This publicity postcard comes from a set for ‘The Bad Girl of the Family’, produced around 1909 at the Adelphi Theatre, London.

M699937e

Information about the ‘Bad Women’ Dramas.

The eighth day of Christmas: eight Melville children

The Melville Collection contains gems from a theatrical dynasty which started with George Robbins (1824-1898), who alledgedly ran away to join the theatre, changing his surname to Melville. His son, Andrew Melville I continued the theatre tradition, and had eight children with his wife, Alice, all of whom went on to become performers, playwrights, theatre managers and owners. Of the eight, Jack died young, but the four daughters went on into the profession and married performers. Fred and Walter became successful theatre managers in London, owning the Lyceum Theatre and building the Prince’s theatre in 1911, which is now the Shaftesbury. Andrew Melville II was an actor and manager outside London, with the Grand Theatre in Brighton on his circuit. It was the widow of Andrew Melville II’s son who donated the collection to the University.

M600671Information about the Melville family.

The ninth day of Christmas: nine worthy women

IMG_2012Alongside our archival collections, Special Collections also holds a number of rare books. Written by Thomas Heywood, this 1690 edition of The exemplary lives and memorable acts of nine the most worthy women of the world does not include the woodcuts present in the Cathedral Library’s copy. Considering the lives of ‘three Jews, three Gentiles and three Christian’ women, Heywood includes the Biblical Deborah, Judith and Esther, before considering three ‘heathens’, one of whom is Boudicca, called ‘Bonduca’ in this text. The three Christian women are ‘Elphleda’, daughter of Alfred the Great, Margaret of Anjou, queen of Henry VI, and, of course, Queen Elizabeth. Bringing together this range of women shows just how diverse Early Modern precedents for behaviour and virtue could be.

Information about the rare book collections.

The tenth day of Christmas: ten tins of talc

The British Cartoon Archive celebrated its 40th anniversary in 2015. Alongside the many cartoonists represented within this still growing collection, the well loved Giles artwork is a perennial favourite. As cartoonist for the Daily Express, Giles produced satirical political cartoons, but it is for his eclectic family of characters, including the mischevious children and irascible Grandma which he is most commonly known. This cartoon was published on 29th December 1964, proving that the post-Christmas sale is no new thing! Alongside the published version, the Archive holds the artwork and it was also included in the 1964 Giles annual. These annuals are still produced each year, with materials from the Giles Collection at the Cartoon Archive.

Information about Carl Giles materials in the British Cartoon Archive.

The eleventh day of Christmas: eleven Ken Smith poems

Modern literature is well represented in the Collections, with our Modern First Editions including poetry and prose. Alongside the reconstructed library of poet Charles Olson (collected and deposited by Ralph Maud), first editions of Brideshead Revisited and a number of works by E. M. Forster, we have small print press items which are regularly used in teaching. This volume is by Ken Smith, a major voice in world poetry, who died in 2003 and whose archive is at Leeds University, which Smith attended and where he also became tutor as Yorkshire Arts Fellow 1976-78.

Information about the Modern First Edition and Modern Poetry collections.

The twelfth day of Christmas: twelve William Harris letters

William sent his letters home via his friend Mr Hunter, who lived in Paris.

As with the ancient Greek vase, this small collection of letters represents gems in the archive which do not necesserily link with a wider range of materials. As successive blog posts have shown, however, the Harris correspondence offers insight into the adventures of an architect exploring Europe in the early nineteenth century.

Information about the William Harris letters.

If you’d like to know more about any of our items or collections, do take a look at the website, or contact us.

Beyond the trenches

On 11 November 2014, Armistice Day, Special Collections & Archives was involved in an outreach event which explored the themes of the First World War through the theatre of the time, going beyond the trenches to discover how theatre can tell us more about the past. Starting off with the sources (as we always do), we then had a great opportunity to explore the theory and get to see some World War One plays of various kinds. This event was a new and exciting opportunity for us to talk to researchers, from school age to retirees, interested in all kinds of disciplines.

The event’s leader, Dr. Helen Brooks, tells us more:

“It is easy to get bogged down (excuse the pun) in the Battles of Trench Warfare, but now I see that plays of the time are an insight into the culture of the time, which to me is equally as important in understanding the reasoning behind the Great War. This new insight has opened up a whole new perspective”.

Lindsay Kennett, who wrote these words in an email to me last week, was just one of the 30 plus participants who took part in our public study day on First World War theatre, on Tuesday, 11 November at the Marlowe Theatre, Canterbury. The aim of the day was to raise public awareness about how looking at theatre can shed new light on ideas about, and responses to the war: for Lindsay and the many other participants who echoed her sentiments in their feedback, it was clearly a great success.

SONY DSC Over the course of the day we got stuck into a diverse range of activities, all of which were facilitated ably by a team of fantastic student, and ex-student helpers from the Drama Department in the School of Arts – Rebecca O’Brien, Rebecca Sharp, Kinga Krol, and Charlotte Merrikin. Beginning with a brilliant workshop run by Jane Gallagher, from Special Collections at the Templeman, participants had a chance to get ‘hands on’ with sources from Special Collection’s archives (including newspaper clippings, scripts, programs and playbills) and to interrogate them in order to answer questions such as ‘how did the theatre “do its bit” for the war effort?’, SONY DSC‘what impact did the war have on the theatre industry?’, ‘in what different ways was the theme of war treated in performance?’, and ‘how did audiences change during the war?’. This last question then led us into Professor Viv Gardner’s (University of Manchester) stimulating talk about audiences during the war. Reminding us that audiences were made up of diverse groups and that their responses changed depending on the context of the performance, Viv also drew on some moving stories about individual spectators which brought to life the experience of theatre-going during the war.

After a delicious lunch, courtesy of the Marlowe, and an opportunity to chat to each other about our diverse interests and backgrounds (participants included students from the Langtons schools, members of the Western Front Association, and local historians, to name but a few) the afternoon began with rehearsed readings of three First World War one-act plays: The Devil’s Business by J. Fenner Brockway (1914); God’s Outcasts by J. Hartley Manners (1919); andSONY DSC A Well Remembered Voice by J.M. Barrie (1918). It was quite something to see these plays brought to life, the first two quite probably for the first time ever. The actors, including three current Drama students, Zach Wilson (PhD) , Alexander Sullivan, and Louise Hoare, all did an excellent job, especially as the plays were quite distinct in tone and style, and as the actors had only had two and a half days rehearsal in total. After a stimulating discussion about the plays, with some excellent insights from audience members, the day was then rounded off nicely with a thoughtful talk by Dr Andrew Maunder (Reader at University of Hertfordshire) about his own experience of staging ‘lost’ WW1 plays, and in particular A Well Remembered Voice.

This wasn’t the end though! After just a few hours break – during which it was exciting to see our pop-up exhibition on WW1 theatre in the Foyer attracting a lot of attention from audiences waiting to see the RSC – many of us were back at the Marlowe for the evening rehearsed readings. It was great to see an almost entirely SONY DSCnew audience for this. As well as a number of Kent students people came from as far as Dover to join us for this exciting performance. Three of the one-act plays we shared were the same as in the afternoon (although the performances were quite different in energy, something the actors reflected on in the questions afterwards) and we also added an unpublished short play about the Belgian experience during the war entitled There was a King in Flanders (1915) by John G. Brandon. With these four pieces we therefore covered not only the chronological breadth of the war but also a number of different responses to this world event. From The Devil’s Business (1914), a biting satire on the arms trade and its place in fuelling conflict, which was banned in London during the war; to There was a King in Flanders (1915) with its focus on a dying Belgian soldier; and finally to God’s Outcasts (1919) and A Well Remembered Voice (1918) both of which offer sharply different responses towards grief, the plays as a whole offered new insights into the diverse ways in which theatre treated the war between 1914 and 1918. And with insightful comments and an enthusiastic response from the audience, it seems there’s certainly potential to hold similar events in the future.

SONY DSC If you’d like to find out more about Theatre of the First World War, contact Dr Helen Brooks at h.e.m.brooks@kent.ac.uk. Our pop-up exhibition on Theatre of the First World War is available for free loan to theatres, schools and other public institutions. If you would like to host this exhibition simply get in touch with gateways@kent.ac.uk. There is no charge for hosting or delivery.

This study day was one of a series of events being run by Gateways to the First World War, an Arts and Humanities Research Council funded centre for public engagement with the First World War. To find out more about Gateways and how we can help you with activities, advice and expertise, visit www.gatewaysfww.org.uk.

With thanks to Leila Sangtabi for provision of photographs.

Adventures of an Amateur Archivist

Mmmmm. Cake.

Mmmmm. Cake. (Edsel Little – Flicka)

I didn’t grow up wanting to be an archivist. My one clear ambition, around the age of eight, was to be a baker in the morning and an author in the afternoon. When it came to choosing a degree I was fairly lost, after all who really knows what they want to do when they’re seventeen. I decided to do Classical and Archaeological studies, like most people simply because I liked the subject at school, and chose the University of Kent as I knew Canterbury well and found the course contained many uniquely interesting modules.

The idea of becoming an archivist came to me about halfway through my second year at Kent. I have always been fascinated by history, even as a young child, but struggled working out how to use it in my career. I couldn’t be a history teacher, neither could I see myself as a lecturer in history – I was terrified of speaking to groups of people. I couldn’t picture myself as a career historian. Despite archaeology being part of my degree title, I followed more of an Ancient History pathway, deciding archaeology was not the right fit for me.

Bizarrely I think a large influence was the BBC’s ‘Who Do You Think You Are?’ I have always primarily been more interested in social and religious history than any other sphere, and I think the initial idea I had was to become a genealogist, but WDYTYA showed me archives could hold a wealth of hugely interesting and varied material, and to be working with that material, and maybe even be in charge of what happens to it, is what pulled me towards the career. I also hold a firm belief that anything of historical value should be preserved and made available for anyone who wants to see it.

So, after a couple of years of job hunting, and a year stint as a casual and Saturday girl at my local council libraries, I managed to get a job as a Metadata Assistant at my old university. I hadn’t expected to return to Kent, but I was exceedingly happy to do so. I viewed this job as more or less perfect in terms of transitioning between libraries and archives, the wealth of experience I would gain, and the direction I wanted to be going in. Needless to say I could hardly believe my luck.

My co-workers of happiness (and me)

My co-workers of happiness (and me)

My first task was to conquer cataloguing. I had no previous experience and so have learnt everything from scratch. Initially I was focussed on regular academic books, and then I was introduced to Special Collections book cataloguing. Initially the experience was incredibly confusing. The empty catalogue record looked to me a little like a small Excel spreadsheet with a list of, (then meaningless), numbers at the side. Now it makes perfect sense to me, but at the time I found it challenging.

7cm tall Merchant of Venice I catalogued from the Reading Rayner Collection

7cm tall Merchant of Venice I catalogued from the Reading Rayner Collection

Later I was moved on to cataloguing for the British Cartoon Archive (BCA), which doesn’t just involve books. My principle duty is cataloguing modern political cartoons from the daily newspapers. This uses a different program to book cataloguing, so, just as I was adjusting to the first program, I was given another, totally different, one to master. Cartoon cataloguing is definitely a skill that improves with practice. The point is to enter search terms in the record that describe the cartoon, but working out what is going on in any given cartoon isn’t always straightforward. What I struggled with most was approaching this with little diverse political knowledge. I had no idea who most of the people in the cartoons even were. Now I can recognise caricatures of people, despite not knowing what they look like in reality.

A hugely important collection within the BCA is that of Carl Giles, and as part of this we have stacks of blank Christmas cards, designed by him. My first non-cataloguing job was to count these, and put them in boxes. The novelty soon wore off. Unsurprising when you consider I counted over thirteen thousand of these. However I did eventually get through them, and the sense of triumph when they were done was palpable. My work at the BCA has become more diverse, although boxes continue to play a remarkably large part in my life.

Many many Giles annuals (without attendant boxes)

Many many Giles annuals (without attendant boxes)

A few months into my work at Kent the BCA received a new and highly significant collection of the political cartoonist Leon Kuhn. He was an anti-war cartoonist, who campaigned alongside George Galloway’s party Respect in the 2005 general election. His work, I have learned, is unique, hard hitting, and often fairly disturbing. It is also large. I was given the task of unrolling and relocating his political posters, many of which were taller than my five feet two inches. I appreciate that for a human five foot two is not especially tall, but for rolls of paper it is pretty big, not to mention unwieldy. I also had to relocate the rest of the collection, including boxes of campaign leaflets, photos and books. I did enjoy this work, especially as it was my first real opportunity to see some of the collections, but I felt a little like a removals lady.

The work that I am proudest of taking on is of a more social nature. I have always struggled to talk to people, be they in groups, or just one person I don’t know particularly well. I often find my nerves get the better of me to the point of panic attacks. So when I was asked if I wanted to supervise volunteers in a rare book cleaning project and help out in seminars run for students using Special Collections and Archives material, my first response, both times, was panic and a distinct sense of ‘no way,’ after all I had only been in the job three months, surely there was no way I was prepared for this. I ignored my brain screaming wordlessly at me, and agreed to give both a go.

The volunteering was the easier of the two to deal with. Initially I only had one volunteer to supervise cleaning rare books in preparation for our move to the Templeman extension next year, and I was lucky that she was a happy, friendly and chatty sort of person. It went a lot better than I anticipated and I actually enjoyed doing it, which is what surprised me the most. This project has allowed my confidence to grow substantially.

Before and after - volunteer cleaning

Before and after – volunteer cleaning

The seminars were harder. There would be a group of students who would all be listening to, and for the most part looking at, me whilst I gave a run down on what Special Collections and Archives was, how to order items and how to use the material we had out in the seminar. I was shaking at the time, but I overcame my nerves, and found presenting became easier with each seminar. This came with a great sense of achievement, as I overcame my initial concerns.

I think it’s easy to say the most interesting thing that has occurred in my brief time here was the Reading Room leak. I came in on a Monday morning to be informed it was basically raining in the reading room. Over the course of the day tiles fell off the ceiling and the carpet was soaked through, however all staff pulled together to ensure there was no major damage to any collection items. Throughout the day, and over the course of the next couple of days, I helped various other staff members remove items from the room, such as reference books, old playbills from our theatre collections, and the Indonesian shaman’s staff. (You get some weird looks when you carry that through the library and into a lift). Basically the entire of that week was a little frantic. I regularly had to leave my usual work to go and help deal with the disaster. I spent a lot of time scurrying around the building, and found I was exhausted at the end of it. But oddly I almost enjoyed the experience. Especially after we managed to save everything.

My colleague Josie in the leaking reading room

My colleague Josie in the leaking reading room

My experience has been invaluable. I have huge variety in the work I do, with ample opportunity to push myself further. I have a much clearer idea of the work archivists do, and most importantly for me I have confirmed to myself that this is the area in which I want to work. I absolutely love the work I do, although that may not always come across. Even tasks that I didn’t necessarily find easy are an important experience, and I think it’s good for archivists to be involved in their collections with work at every level. My experience of working with a variety of collections, in a variety of functions has prepared me to commit to a postgraduate course in archive management. I work in the happy knowledge that I am incredibly lucky to be working here. It took me two years following graduation to get a full time job, but now I know that it was worth the wait, and I am unbelievably happy to be back at Kent.

Rachel Dickinson

Thou shall not leak!!

Thou shall not leak!!