Carriacou Carnival encompasses wild and wonderfully expressive street dances, soca, fancy mas bands, calypso, the Jab Jab and even the authentic Shakespeare Mas.
"Margaret's Head" by Karl Broodhagen terracotta bust
Karl Broodhagen (1909-2002) Margaret’s Head 1955 Terracotta bust Karl Broodhagen (1909–2002) was a Guyanese-Barbadian artist, working mostly in sculpture and paint. Originally arriving to the island to become a tailor’s apprentice, he was awarded a British Council scholarship in 1952 and migrated to London during the Windrush era to study at Goldsmith’s College in London. His experience there exposed him not only to European art, but to non-European cultures, particularly African Art. He returned to Barbados after his studies. He is known for the creation of public statues in Barbados: The Emancipation Statue (officially titled “Slave in Revolt”) on the J.T.C Ramsay roundabout, of Grantley Adams at the Prime Minister offices, and of Garfield Sobers, at Kensington Oval. In addition to these public works, Broodhagen created many portrait busts, citing an interest in the people of Barbados and a desire to decolonize Eurocentric beauty standards. This bust is an example of his fascination with the female figure, not only in physical forms but in the expressions of inner qualities of strength, reflective of so many Caribbean women. He once shared his aims with art critic Derek Bickerton, that he wished “to replace the European standards of beauty still slavishly accepted in the West Indies by standards based on the local inhabitants themselves.” As art writer and artist Chris Cozier states: “Busts like those of social worker and philanthropist John Beckles or Dame Nita Barrow….were clearly about the power of the individual voice and the individual presence in the social space.” His works have toured internationally and are included in UNESCO’s collections, and he was awarded the Gold Crown Merit in 1982. Broodhagen was also a passionate arts educator. In 1947 he established the art department at Combemere School, and on his return from the UK worked as a teacher there until 1996. Source: Art in Barbados: What Kind of Mirror Image? Authors: Alissandra Cummins, Allison Thompson, Nick Whittle. Published 1999.
"Barbara" by Karl Broodhagen Terracotta bust
A 3D model digitised during the EU-LAC Museums Digital Workshops.
Karl Broodhagen (1909-2002) Barbara 1955 Terracotta bust Karl Broodhagen (1909–2002) was a Guyanese-Barbadian artist, working mostly in sculpture and paint. Originally arriving to the island to become a tailor’s apprentice, he was awarded a British Council scholarship in 1952 and migrated to London during the Windrush era to study at Goldsmith’s College in London. His experience there exposed him not only to European art, but to non-European cultures, particularly African Art. He returned to Barbados after his studies. He is known for the creation of public statues in Barbados: The Emancipation Statue (officially titled “Slave in Revolt”) on the J.T.C Ramsay roundabout, of Grantley Adams at the Prime Minister offices, and of Garfield Sobers, at Kensington Oval. In addition to these public works, Broodhagen created many portrait busts, citing an interest in the people of Barbados and a desire to decolonize Eurocentric beauty standards. This bust is an example of his fascination with the female figure, not only in physical forms but in the expressions of inner qualities of strength, reflective of so many Caribbean women. He once shared his aims with art critic Derek Bickerton, that he wished “to replace the European standards of beauty still slavishly accepted in the West Indies by standards based on the local inhabitants themselves.” As art writer and artist Chris Cozier states: “Busts like those of social worker and philanthropist John Beckles or Dame Nita Barrow….were clearly about the power of the individual voice and the individual presence in the social space.” His works have toured internationally and are included in UNESCO’s collections, and he was awarded the Gold Crown Merit in 1982 Broodhagen was also a passionate arts educator. In 1947 he established the art department at Combemere School, and on his return from the UK worked as a teacher there until 1996. Source: Art in Barbados: What Kind of Mirror Image? Authors: Alissandra Cummins, Allison Thompson, Nick Whittle. Published 1999.
2019 Lecture Series Lecture 2 – Join the Club: Migrants at Play – Prof Alan Cobley
2019 Lecture Series Lecture 3 – Stan Firm Inna Inglan: Art and Migration in the Anglophone Caribbean World – Dr Allison Thompson
2019 Lecture Series lecture by Dr. Marcia Burrowes on "When I Ask Someone Where They are From, Nowadays I Expect A Very Long Answer:The Culutre of Diaspora"
2019 Lecture Series Panel Discussion on "Betrayal! Changing British Immigration Policy in the Age of Brexit."
2019 Lecture Series Panel Discussion on "From Notting hill to Albert Hall: Music and Literature."
2020 Lecture Series: Frederick Allyene on "Barbadian Migration to Brazil in the Early 20th Century"
2020 Lecture Series, under the theme : "Buhbadus ta de World': Origins and Legacy of Barbadian Migration."
3D digitisation workshop in Museo Despierta Hermano in Malalhue, Chile.
Jaundice is a symptom, rather than a disease. Shetlanders used folk-remedies to try to cure the condition. One way was to drink water from a stream where three landlords’ estates met. The water was scooped with the big bowl, called a kapp, and the patient sipped it with the little dish. This dish is made from whalebone. Customs & Folklore gallery FPL 2012.480
Lord Kitchener, (Aldwyn Roberts), Trinidadian singer and songwriter (born April 18, 1922, Arima, Trinidad, British West Indies — died Feb. 11, 2000, Port of Spain, Trinidad and Tobago), was called the “grandmaster of calypso” and was instrumental in popularizing that music internationally. He was especially admired for his melodious style and his witty, often bawdy, lyrics. In 1947, Kitch was proclaimed the best calypsonian of the year. His big tunes for that year were "Scandal in St. Ann's," "Mount Olga," and "Tie Tongue Mopsy." Soon after the success of 1947, Kitch left T&T; for Aruba, then on to Jamaica, where he lived for six months, teaching calypso and playing to packed audiences. After Jamaica, the next stop was London. Kitch arrived on a boat, the M.V. Windrush, at the port city of Tilbury on June 21, 1948. One of the other passengers on that M.V. Windrush was Egbert Moore (Lord Beginner). Kitch got an immediate booking at the only West Indian club in London, following his debut on the BBC. Six months later, Kitch was appearing in three clubs nightly, and his popularity extended beyond the West Indian and African night club audiences, to include music hall and variety show audiences. The days in London were very good days for Kitch. He had everything he wanted. Lots of money, fan mail from all over the world, clothes, fancy hats and shoes, and lots of lady friends. But the night life was getting the better of Kitch. Therefore, he decided to slow down, leave London, and move to Manchester in the north of England. There, he met, and in 1953, married his English wife, Marjorie. Kitch also started writing calypsoes again in 1953, and in that year he wrote "Africa My Home," "Beware Tokyo," and "If You Not White, You Considered Black." Soon, Kitch opened his own club in Manchester, and also received a six month contract to tour the U.S. where he appeared in New York, Washington D.C., and other cities on the East Coast. Kitch later returned to England, and in 1958 he made his first of several recordings for the Melodisc record label. The days in Manchester were even more successful for Kitch than his days in London. He became the proprietor of a two-apartment buildings, expanded his club, and formed a dance band. During the 17 years Kitch was away from T&T;, he sent back great calypso tunes which became very popular. Tunes like "Mama Look The Band Passing," "Nora, Nora, Nora," "Trouble In Arima," belong to this period. After living in London from 1948 to 1962, Lord Kitchener returned to newly independent Trinidad and Tobago, where he won the coveted title Road March King at Port of Spain’s carnival 10 times before he ceased to compete in 1976. In the 1990s his image appeared on a stamp, and a statue was erected in his honour in Port of Spain.
Althea McNish FCSD (born c. 1933) is a British textile designer of Trinidadian origin who has been called the first British designer of African descent to earn an international reputation. Althea Marjorie McNish was born in Port of Spain, Trinidad, around 1933. Her father, the writer Joseph Claude McNish, was descended from the Merikin settlers in Trinidad. She painted as a child, was a junior member of the Trinidad Arts Society and had her first exhibition at the age of 16. Her influences included local artists Sybil Atteck, Amy Leong Pang and Boscoe Holder, and European modernists such as Vincent Van Gogh. In the early 1950s McNish moved with her mother to London, England, to join her father there. She already had a place to study at the Architectural Association School of Architecture in Bedford Square but instead took courses at the London School of Printing and Graphic Arts, the Central School of Arts and Crafts and the Royal College of Art. In her final year at the London School of Printing and Graphic Arts, she became interested in textiles with the encouragement of Eduardo Paolozzi, and chose printed textiles as her subject of study on progressing to the Royal College of Art, where her talent was recognised by Hugh Casson. On graduating, she immediately won a commission from Arthur Stewart-Liberty, head of the Liberty Department Store, sending her the same day to Zika Ascher, who commissioned her to design a collection for Dior. Successfully designing for such prestigious clients, McNish was the first Caribbean woman to achieve prominence in this field. She was associated with the Caribbean Artists Movement (CAM) in the 1960s, participating in CAM's exhibitions and seminars and helping to promote Caribbean arts to a British public. She took part in the art exhibitions of the Caribbean Artists Movement (CAM) held in 1967, May 1968 and January 1971, exhibiting textiles as well as "plastic panels in laminate". For the Caribbean edition of the BBC TV magazine programme Full House, produced by John La Rose and transmitted on 3 February 1973, she brought together the work of CAM visual artists as a studio setting for CAM writers, musicians and film-makers. Her work is represented in the collections of the Victoria and Albert Museum, the Whitworth Museum, the Philadelphia Museum of Art and the Cooper-Hewitt (Smithsonian Design Museum), among other places.
The Cassava grater was part of the preparation process for Cassava by Amerindian communities. Jerome Handler, in his article “Aspects of Amerindian Ethnography in 17th Century Barbados” stated that: “ in processing the cassava, traditional Amerindian techniques generally involved first the scraping off of the skin and then the grating of the root with a grater made of thorny branches, coral, or wood and stone splinters set in a board. In squeezing the juice out of the grated cassava, a cylindrical basketry strainer or press (commonly known as a matapi or tipiti in the ethnographic literature) was employed.” (63) This particular grater also has a motif of a lizard. Animals such as lizards, frogs or turtles were frequent in Taíno art. Source: “Aspects of Amerindian Ethnography in 17th Century Barbados”. Author: Jerome S. Handler. Caribbean Studies, Vol. 9, No. 4 (Jan., 1970), pp. 50-72. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
CULTURAL HERITAGE,ARCHAEOLOGY AND BUILT HERITAGE
A shell found by Peter L Drewett that might have been a tool used to consume food with by the Amerindian community.
CULTURAL HERITAGE,HISTORY,SOCIAL HISTORY
For a Spandau machine gun, sent from Walter Tull to his brother Edward Tull-Warnock in a letter from the Front 10th August, 1917.
Andrea Levy was born in London, England in 1956 to Jamaican parents. She is the author of five novels, each of which explore - from different perspectives - the problems faced by black British-born children of Jamaican emigrants. Her first novel, the semi-autobiographical Every Light in the House Burnin' (1994), is the story of a Jamaican family living in London in the 1960s. Her second, Never Far from Nowhere (1996), is set during the 1970s and tells the story of two very different sisters living on a London council estate. In Fruit of the Lemon (1999), Faith Jackson, a young black Londoner, visits Jamaica after suffering a nervous breakdown and discovers a previously unknown personal history. Small Island (2004), set in 1948, explores the interaction between a black couple, Gilbert, a former RAF recruit, who has returned to Britain on the SS Windrush, and his Jamaican wife Hortense, and a white couple: Queenie, their landlady, and her recently demobbed husband, Bernard. It won the 2004 Orange Prize for Fiction, the 2004 Whitbread Book of the Year, and the 2005 Commonwealth Writers Prize. Small Island was adapted for BBC television and broadcast in 2009. Born in London in 1956, Levy drew on the postwar period more broadly within her fictional work. Andrea Levy's parents travelled from Jamaica to England on the now famous SS Empire Windrush in 1948. It is a journey Levy fictionalises in her first novel, Every light in the House Burnin'. Described by the Times Literary Supplement as 'An extremely powerful novel, a striking and promising debut', the book opens, not with the expected transatlantic journey from the West Indies, but with a family trip from London to Pontin's Holiday Camp. While the scene may be anecdotal in terms of the novel as a whole, it is by 'provincialising' the trope of travel, that Levy begins to draw attention to some of the discrepancies and differences (in term Questions of English-ness and of Diaspora are also central to Levy’s novel, Small Island. The book moves between England and Jamaica before and after World War II, and is narrated by four characters: the Jamaican Gilbert, his new wife Hortense, their English landlady, Queenie, and her husband, Bernard. As this structure suggests, Small Island operates through the establishment of a series of parallels: between London and Kingston, between husbands and wives, between past and present. This symmetrical structure, in which ‘small island’ refers to both Britain and Jamaica, allows Levy to both announce and undermine a series of differences between English-ness and West Indian-ness. It is in this way that Small Island reveals both the tragedy of mutual ignorance and the possibilities of cross-cultural intimacy, overlap, and interaction. Critics have praised the novel’s refusal of easy racial binaries and its nuanced characterization in this respect. For example, Hortense’s confident sense of superiority undermines a simple sense of the black British immigrant as passive victim, and implies that snobbery and prejudice were also aspects of West Indian characters (of class, gender and generation) that cut across the received histories of Black Britain.
Andrea Stuart was born and raised in the Caribbean. .She studied English at the University of East Anglia and French at the Sorbonne. Her first book, Showgirls, was published by Jonathan Cape in 1996. It was adapted into a two-part documentary for the Discovery Channel in 1998 and has since inspired a theatrical show, a contemporary dance piece and a number of burlesque performances. Her second book, The Rose of Martinique: A Biography of Napoleon’s Josephine, was published by Macmillan in 2003. It has subsequently been published in the US by Grove Press (2004), in Germany by Karl Blessing Verlag (2004), in France by Perrin (2006} and in Sweden by Prisma (2006). The Rose of Martinique won the Enid McLeod Literary Prize in 2004. Her third book Sugar in the Blood: One Family’s Story of Slavery and Empire was published in England (2012) by Portobello Books and in the US by Knopf in January (2013). It was shortlisted for the BOCAS Literary Prize, the Spears Book Award and was the Boston Globe’s non-fiction pick of 2013. Her most recent piece “Tourist”, a meditation on female sexuality, was published in Granta Magazine’s autumn 2014 issue. She has been published in numerous anthologies, her articles have been published in a range of newspapers and magazines and she regularly reviews books for the Independent. She is currently a visiting lecturer at both the Royal College of Art and the University of Reading. She also commissions for an academic publishing list. In the past she has worked as an editor, a TV producer and a researcher.
Angie Greaves, ‘Daytime’ and ‘Soul Town’ presenter on Magic Radio, has one of the most soulful and distinctive female voices in UK radio today. Born in London and enjoying being ‘fabulous in her 50’s’, Angie grew up within a traditional Afro-Caribbean family setting. Even from a young age, she loved her soulful roots and she knew she had a ‘voice’ in the world – one that needed to be shared – and one that she continues to share today. Angie’s media career started off in 1982 at BBC Television Centre and by 1986 she had moved to London’s Capital Radio where she was discovered by DJ: David ‘Kid’ Jensen. In 1990, Angie was announced as the first DJ at the launch of Spectrum Radio before joining Choice FM in 1992 for five soulful years, trebling listener figures on her Angie Greaves Breakfast Show. After this time, Angie joined the BBC, where she presented shows on BBC London, BBC Three, Counties Radio and the Drive Time show on BBC 2002 in Manchester. The latter was an RSL station launched to air coverage on Wimbledon, The World Cup and The Commonwealth Games. Whilst bringing up a young family, Angie freelanced across Jazz/Smooth FM, Radio Jackie and LBC 97.3FM until 2006. She started working with Magic in late 2006 and was the first woman to join the Magic presenter line-up. In addition to her extensive and prolific radio career, Angie has created her own Angie Greaves multi-platform brand, including a well-established book club. Voiceover work includes the MOBO awards, numerous terrestrial and satellite television documentaries and television commercials. As a special soothing treat, if you travel long-haul on a British Airways flight, you can listen to Angie’s two-hour ‘Soul Selection’ on British Airways Radio. Angie has interviewed some of the world’s best- known musical artists and is proud to call some of them personal friends. Her recent event, called ‘The Essence of Crop Over’, an official visit to Crop Over in Barbados with The BTMI, has further extended Angie’s reach and appeal into the international travel sector. In August in 2016, Angie was proud to have been asked to stand in for Clare Balding on BBC Radio 2’s‘Good Morning Sunday’ during The Olympic Games Rio 2016. Angie is passionate about being recognised not only for her voice but also as a lauded British female spokesperson. She fully encompasses the archetypal, positive role model for 50+ women throughout the UK and farther afield. Angie supports other people’s dreams and aspirations and is the very proud mother of two teenage daughters. She is truly a woman with a big heart who continues to forge ahead in her very own ‘soul town’.
Summer Festival on Anguilla is a typical Caribbean emancipation celebration, it has been occurring on the island for over a quarter century. It’s roots however, are found in the decades of old traditional August Monday fairs, Bazaars and the old time Christmas festivities, which features many African influenced cultural expressions of island life. These activities were organized by the churches and featured wirewalkers, May pole dancers, Mock-a-Jumbies and games among other things.
Anthropomorphic statue, part of the collection of the Moruga Museum. The Moruga Museum was established in November 2013 by founder of the St Vincent Ferrer Society, Eric Lewis. Based in the rural, seaside community of Gran Chemin in south Trinidad, the Moruga Museum's collections include natural and man-made artefacts that span the prehistoric to post-colonial periods. Although the Museum is focused on exploring the history and people of Moruga, artefacts have been gathered from multiple sites throughout Trinidad and Tobago.
Argamassa comum romana - Roman commonware mortar
Argamassa quase completa encontrada na vila romana da Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), utilizada na preparação de alimentos, especificamente para moagem. A parte restante possui mais da metade da borda, sobre ela desenvolve o vertedouro. Nearly complete mortar found in the Roman villa at Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), used for food preparation, specifically for grinding. The remaining part has more than half of the rim, over it develops the spillway.
Asquith Camile Xavier was a West Indian-born Briton who ended a colour bar at British Railways in London by fighting to become the first non-white train guard at Euston railway station in 1966. Trevor Phillips, when chairman of the Commission for Racial Equality, said in 2006: "Asquith's stand against discrimination brought to light the inadequacy of early race discrimination laws and persistent widespread discrimination faced by ethnic minorities." A plaque at the station commemorates his achievement. Xavier was born on 18 July 1920 in Dominica, which was then a British colony. He was a member of the Windrush generation of British African-Caribbean people who migrated to the United Kingdom after the second world war to fill vacancies in service industries. Xavier joined British Railways. In 1966 he was working as a guard at Marylebone station in central London. He applied for a promotion and transfer to work at Euston, but was rejected. A letter from a staff committee at Euston—which was dominated by members of the National Union of Railwaymen—explained it was because of his colour. Unions and management had informally agreed in the 1950s to ban non-white people from jobs at Euston that involved contact with the public; they could be cleaners and labourers, but not guards or ticket collectors.
Aubrey Williams (8 May 1926 – 17 April 1990) was a Guyanese artist. He was best known for his large, oil-on-canvas paintings, which combine elements of abstract expressionism with forms, images and symbols inspired by the pre-Columbian art of indigenous peoples of the Americas. Born in Georgetown in British Guiana (now Guyana), Williams began drawing and painting at an early age. He received informal art tutoring from the age of three, and joined the Working Peoples' Art Class at the age of 12. After training as an agronomist he worked as an Agricultural Field Officer for eight years, initially on the sugar plantations of the East Coast and later in the North-West region of the country — an area inhabited primarily by the indigenous Warao people. His time among the Warao had a dramatic impact on his artistic approach, and initiated the complex obsession with pre-Columbian arts and cultures that ran throughout his artistic career. Williams left Guyana at the height of the Independence Movement in 1952, and moved to the United Kingdom. Following his first exhibition in London in 1954, he became an increasingly significant figure in the post-war British avant-garde art scene, particularly through his association with Denis Bowen's New Vision Centre Gallery. In 1966, he came together with a group of London-based Caribbean artists and intellectuals to found the Caribbean Artists Movement, which served as a dynamic hub of cultural events and activity until its dissolution in 1972.
A hand plane used for shaping wood by hand. To reduce thickness and smooth the surface of the wood. Used by pushing the plane away from the user with both hands. Hand planes have been used since the Romans and continued through Medieval Europe and Asia. Tool used in boat building.
The Barbados bullfinch is a small bird, 14–15 cm (5.5–6 in). The upperparts are a dark olive-grey, the wings are mostly brown, underparts are greyish, while the under tail-coverts are tawny. The species is not sexually dimorphic, with females and males having similar plumage. The birds' calls include simple twittering, an occasional harsh petulant note, and a sharp trill
Barbados Community College 2018 Michelle Hinkson-Cox Co-ordinator for the Theatre Arts Programme at BCC Students Brianna Gibbs Danielle Sanson Dylan Collymore Malaika Croney Melissa Hunte Rayna Garnes Romario Cottoy Richenda Harewood Selena Williamson Tamina White
Drone footage of the Barbados Museum and Historical Society
Barbados Museum & Historical Society garrison view from above
CULTURAL HERITAGE,ARCHAEOLOGY AND BUILT HERITAGE,HISTORY,RECREATION AND TOURISM,SOCIAL HISTORY
Barbados Museum & Historical Society view from above, showing the lay out of the original garrison.
The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. A fourteen-member Council and the Director are responsible for its policies and operation. Nine council members are elected annually from the membership of the BMHS; the remaining five are appointed by Government.
Queens Council and joint first black woman peer, Patricia Scotland was born in Dominica in 1956, and arrived in Britain at the age of 2 along with 10 other siblings. As she grew she took a liking for dance and wanted to be a modern expressionist ballet dancer at 16. She later attended university and distinguished herself as a lawyer before entering the political arena in 1977, where she was called to the bar and served two terms of government for Labour firstly in the Foreign and Commonwealth Office as Foreign Office Minister working for the home department at the Lord Chancellor's Office. There she is effectively number two to Lord Irvine of Largs and the lead minister on immigration and asylum matters, legal aid, legal services and the development of Civil Law in the UK In 1991 she made legal history becoming the first black female QC (Queens Counsel) at the age of 35. She was made a bencher of the Middle Temple in 1997, becoming a judge in 1999, and raised to the Privy Council in 2001. She is also a member of the bar in Antigua and Dominica. In 1997 she was created a peer as Baroness Scotland of Asthal, in the County of Oxfordshire. Baroness Scotland has received numerous awards and commendations including an honorary degree from the University of Westminster for services to law, government, social justice and International affairs. Among her other accomplishments is or has been Chair of HMG Caribbean Advisory Group; Dominican Representative of the Council of British Commonwealth Ex-Services League; Member of the Lawyers' Christian Fellowship; Member of the BBC World Service Consultative Group Lifeline (Trinidad & Tobago); Honorary Fellow of Wolfson College, Cambridge, Member of The Millennium Commission; Patron of the Women and Children's Welfare Fund. She has specialized in family and public law and has chaired and represented parties in a number of major inquiries relating to Child Abuse, Mental Health and Housing.
Baroness Valerie Amos was the first black woman cabinet minister and joint first black woman peer and recently appointed Leader of the House of Lords, the third woman in history to lead the upper house of Parliament. Baroness Amos is one of three black peers that sit in the House of Lords. She was created a life peer in 1997. She is what is referred as 'a working peer', and is currently the Secretary of State for International Development. Born in March 1954 in Guyana, Valerie Ann Amos began her career in local government, working in various London boroughs from 1981 to 1989. She was educated at Townley Grammar School for Girls before completing a degree in sociology at Warwick University in 1976, a master's degree in cultural studies from Birmingham University in 1977 and doctoral research at University of East Anglia. Prior to her appointment as Secretary of State for International Development, Baroness Amos was appointed Parliamentary Under-Secretary for Foreign & Commonwealth Affairs in June 2001 with responsibility for Africa, the Commonwealth, the Caribbean, Overseas Territories, Consular Issues and FCO Personnel. Previously she was the Government Whip from 1998 to 2001 and a co-opted member, European Union Sub-committee F (Social Affairs, Education and Home Affairs) from 1997-98. She was spokesperson for social security 1998-2001, international development since 1998, women's issues 1998-2001, and foreign and commonwealth office 2001. She was chief executive of the Equal Opportunities Commission from 1989 to 1994, and then director of Amos Fraser Bernard from 1995 to 1998. She was deputy chair of the Runnymede Trust, a trustee of Institute of Public Policy Research and involved in Project Hope, an NGO which promotes healthcare. Her charity works involved being the chair of the board of governors at Royal College of Nursing Institute from 1994 to 1998 and one of the directors of Hampstead Theatre.
Baroness Valerie Amos was the first black woman cabinet minister and joint first black woman peer and recently appointed Leader of the House of Lords, the third woman in history to lead the upper house of Parliament. Baroness Amos is one of three black peers that sit in the House of Lords. She was created a life peer in 1997. She is what is referred as 'a working peer', and is currently the Secretary of State for International Development. Born in March 1954 in Guyana, Valerie Ann Amos began her career in local government, working in various London boroughs from 1981 to 1989. She was educated at Townley Grammar School for Girls before completing a degree in sociology at Warwick University in 1976, a master's degree in cultural studies from Birmingham University in 1977 and doctoral research at University of East Anglia. Prior to her appointment as Secretary of State for International Development, Baroness Amos was appointed Parliamentary Under-Secretary for Foreign & Commonwealth Affairs in June 2001 with responsibility for Africa, the Commonwealth, the Caribbean, Overseas Territories, Consular Issues and FCO Personnel. Previously she was the Government Whip from 1998 to 2001 and a co-opted member, European Union Sub-committee F (Social Affairs, Education and Home Affairs) from 1997-98. She was spokesperson for social security 1998-2001, international development since 1998, women's issues 1998-2001, and foreign and commonwealth office 2001. She was chief executive of the Equal Opportunities Commission from 1989 to 1994, and then director of Amos Fraser Bernard from 1995 to 1998. She was deputy chair of the Runnymede Trust, a trustee of Institute of Public Policy Research and involved in Project Hope, an NGO which promotes healthcare. Her charity works involved being the chair of the board of governors at Royal College of Nursing Institute from 1994 to 1998 and one of the directors of Hampstead Theatre
Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen ‘FAR HAAF’ were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results.
Barril en proceso de fabricación formado por 12 tiras de madera unidas por tres anillos de hierro. Barrel in process of manufacture formed by 12 strips of wood joined by three rings of iron
Billie (Wilfred) Nevill was educated at Dover College. He left university on 5th August 1914 and applied for a commission as soon as Lord Kitchener asked for volunteers to fight in the Great War. In May 1916, Captain Nevill went home to England on leave. To provide his men with a familiar symbol from home he purchased two footballs - some say four - to take back to France. He hoped that his “team” would kick and dribble their way to the German trenches and so on to victory. On the first of July 1916, the first day on the Battle of the Somme, Captain Nevill, commanding B Company in the 8th (Service) Battalion, the East Surrey Regiment, issued each of his platoons with a football. He had offered a prize for the first man to score a goal into the German trenches. At 7.27 am, he climbed out of the trench, kicked off one of the footballs and advanced. The attack lasted over nine hours, and only about 250 men reached Breslau Trench unwounded. Nevill was shot in the head and killed just outside the German wire, in the first five minutes of the battle. He was 21. Two of the footballs were found the next day and returned to England. In Britain Nevill became a national hero standing for courage and strength of character, whilst in Germany his act was regarded as British madness. The second football perished in a fire in 2015.
This is a typical school bell, and is in the collection of the Barbados Museum & Historical Society as one of the visual indicators of the history of education on the island. The foundations of education in Barbados were laid by the philanthropic efforts of private individuals and by the humanitarian interest of the Churches. Most of the existing older public secondary schools were founded by endowments originally intended for the education of white children, during colonization and the period of enslavement. The elementary schools grew out of the modest attempts by the Anglican, Moravian and Methodist Churches to give a Christian education to the enslaved in the period preceding emancipation. These efforts were intensified in the postemancipation period, that is, after 1834, and the setting up of small schools near the church became a common feature of the work of the church in those days. Although the legislature gradually took into its own hands the financing and administration of education, there has remained a close association with the Anglican, Moravian and Methodist Churches as far as education is concerned. The present system developed largely from the 1890 Education Act, which established rigid distinctions between and even within levels of education. In 1932, the Marriot-Mayhew Commission carried out a comprehensive investigation of the Barbados’ educational service. It recommended additional educational programs to cater to specific groups, especially teachers, and to the wider community. As a result, a new Teachers' Training College was opened, new secondary schools were established, and a loan fund was created to assist individuals in obtaining higher education abroad. Technical and vocational training was also introduced. A new Education Act emerged in 1981 that sought to provide greater equality of opportunity. Once universal access to basic education was achieved, the country turned its attention toward reform of the education system to stay current with economic and technological change. The Planning Section of the Ministry of Education, Youth Affairs and Culture compiled a White Paper on Education Reform for Barbados in 1995. Sources: 1. “Historical Developments of Education in Barbados 1686”, Ministry of Education, Barbados. 2. “Barbados: Educational System Overview”, https://education.stateuniversity.com/pages/130/Barbados-EDUCATIONAL-SYSTEM-OVERVIEW.html
The Bell Pettigrew Museum is the University of St Andrews zoology museum. It is a rare survival of a Victorian teaching museum, and wonderfully atmospheric. The displays, which include examples of several extinct species, are arranged to allow the evolutionary and taxonomic relationships between animals to be clearly understood.
Bico romano de fonte de jardim com rosto humano e corimbus no topo da cabeça, feito de bronze. A boca é a abertura para a passagem da água. A parte de trás é plana com restos de chumbo que se conectariam a um duto de água. Roman garden fountain spout with human face and corymbus on top of its head, made out of bronze. The mouth is the opening for the water to pass through. The back side is flat with remains of lead that would have connected to a water duct.
Wilfred Denniston Wood KA (born 15 June 1936) was Bishop of Croydon from 1985 to 2003, the first black bishop in the Church of England Born in Barbados to Wilfred Coward and Elsie Elmira Wood, in Proute, St Thomas, Wood [later Sir Wilfred] attended Southborough Boys’ Primary School and Combermere School. Having being ordained Deacon on the island after completion of studies in 1962, Bishop Wood’s journey had just begun as he was sent to the Diocese of London, first serving in a parish called St. Stephen’s Shepherd’s Bush, where he served as a curate, then honorary curate, of St Thomas with St Stephen, Shepherd’s Bush, until 1974. He soon came to wider attention in Britain for speaking out on racial injustice. In 1974 he joined the Diocese of Southwark, where he stayed until his retirement. In 1977 he was appointed Rural Dean of East Lewisham and Honorary Canon of Southwark Cathedral. He was Archdeacon of Southwark from 1982 until his consecration as Bishop of Croydon in 1985, where he oversaw the Croydon Episcopal Area and assisted the Bishop of Southwark. Throughout his Ministry, Bishop Wood had a strong interest in race relations and social justice in London, as it was for this interest that he was appointed the Bishop of London Officer in race relations, also serving on a number of other important boards, from 1978 to 1981.
Black Bear Skull from the collections in the Bell Pettigrew Natural History, part of the Museums of the University of St Andrews.
Black Bear Skull - The Bell Pettigrew Museum Teaching Collection
Una vasija Balckware usada para ceremonias con agua. A Blackware vessel used for ceremonies with water.
BMHS 2019 Lecture Series: Dr Henderson Carter "Britain Needs Your Help"
BMHS 2019 Lecture: "Coming Home to Mother- Documenting the Migrant Experience" by Claude Graham
This lecture was a part of the 2019 Barbados Museum & Historical Society 2019 Lecture under the theme: "From Invitation to Deportation: 70 Years of Windrush Generation."
BMHS 2020 Lecture Series: Dr. Sharon Marshall- To Cuba and Back: Journeys From and To Barbados
BMHS 2020 Lecture Series: Prof. Pedro Welch
2020 Lecture Series presented by the Barbados Museum & Historical Society under the theme "Buhbadus ta de World": Origins and Legacy of Barbadian Migration."
BMHS 2020 Lecture Series: Sir Hilary Beckles
Sir Hilary Beckles on the topic "Barbadians in the UK after 1945" 2020 Lecture Series presented by the Barbados Museum & Historical Society, under the theme- "Buhbadus ta de World": Origins and Legacy of Barbadian Migration."
BMHS Lecture '19: Have We Been Here Before: B'dos Windrush Generation from a Historical Perspective
The Bob Marley Museum is a museum in Kingston, Jamaica, dedicated to the reggae musician Bob Marley. The museum is located at 56 Hope Road, Kingston 6, and is Bob Marley's former place of residence.
Bola de peidra - Stone ball / Petrosphere
Las bolas de piedra parecen detener el tiempo para que veamos la habilidad, ingenio y sabiduría de nuestros ancestros, quienes dominaron este territorio en los tiempos precolombinos. Principalmente por su cantidad, significado y casi perfección las esferas de piedra son únicas del Sur de Costa Rica, testimonio de las sociedades pasadas y por ende poseedoras de relevancia mundial. The Stone balls have held up the test time for us to see the ability, ingenuity and wisdom of our ancestors that dominated this territory in pre-Columbian times. Mostly for their quantity, significance and being almost perfect in shape, the stone spheres are unique to the south of Costa Rica, acting as a testimony for past societies and therefore possess global relevance. Estos objetos representan la identidad grupal y el poder. Según las historias de nuestros antepasados las esferas eran sagradas y usadas como símbolos de rango y marcadores territoriales. También, las esferas encontradas en sitios de la zona sugieren un significado astronómico y ritual. La manufactura de las esferas se dio entre los años 400 y 1500 d.C desarrollándose la mayor producción entre 800 y 1500 d.C. En cuanto a su tamaño, se han encontrado esferas desde los pocos centímetros hasta los 2,5 metros, con un peso de 16 toneladas. Los materiales utilizados para elaborarlas son gabro, granodiorita y algunas en piedra caliza. These objects represent group identity and power. According to the stories of our ancestors the spheres were sacred and used as rank symbols and territorial markers. Also, the spheres found in sites in the area suggest astronomical and ritual significance. The manufacture of the spheres occurred between 400 and 1500 A.D., with the greatest production being developed between 800 and 1500 A.D. As for its size, spheres from a few centimeters to 2.5 meters have been found, weighing 16 tons. The materials used to make them are gabbro, granodiorite and some in limestone.
Artefacto textil en hilo de oro sobre fondo de raso color crema y bordes de tela roja, es utilizado como objeto litúrgico del rito tradicional católico, disponiéndolo sobre el cubre-cáliz y cáliz respectivamente. Su color depende del día litúrgico en que se utiliza. A partir del Concilio Vaticano (Papa Juan XXIII, 25 enero 1959), su uso fue disminuyendo. Textile device in gold thread on a cream satin background and red cloth edges, it is used as a liturgical object of the traditional Catholic rite, placing it on the chalice and chalice cover respectively. Its color depends on the liturgical day in which it is used. From the Vatican Council (Pope John XXIII, January 25, 1959), its use decreased.
Artefacto empleado como recipiente de almacenamiento, confeccionado con una ubre de vaca, vacía y seca. Le falta una de las tetillas, y en la parte superior hay indicios de una posible amarra que en algún momento se usó para cerrar el conjunto. Artifact used as a storage container, made with a cow's udder, empty and dry. One of the nipples is missing, and at the top there are indications of a possible tie that at some point was used to close the set.
When off on a boat trip, people used this kind of box, known in Shetland as a bøst, to carry food or fishing flies. These boxes were made around Hordaland province, and imported in the 18th century as part of the islands’ trading links with coastal Norway. Boats gallery CON 8153