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Stone pipe, part of the collection at Museo Despierta Hermano de Malalhue
CULTURAL HERITAGE,ARCHAEOLOGY AND BUILT HERITAGE
Connected ceramic vessel used for ceremonies. Object in the Museo Túcume.
2019 Lecture Series Lecture 3 – Stan Firm Inna Inglan: Art and Migration in the Anglophone Caribbean World – Dr Allison Thompson
2019 Lecture Series Lecture 2 – Join the Club: Migrants at Play – Prof Alan Cobley
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 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."
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"
Mr. Kenneth Walters on the topic: "Only Five Years- The Challenges of Return and Reintegration of Barbadians who Migrated to the United Kingdom " for the 2019 Lecture Series
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."
BMHS 2020 Lecture Series: Dr. Sharon Marshall- To Cuba and Back: Journeys From and To Barbados
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 Lecture '19: Have We Been Here Before: B'dos Windrush Generation from a Historical Perspective
Kreol West Indies unveils thousands of objects of Creole heritage by mixing works by renowned contemporary artists. It's also the logo of a fun clothing line ... Come and be surprised ... there are two locations: Guadeloupe and Marie-Galante!
Museo Neltulme/Universidad Austral- Dirección Museológica (c)
Centro de Cultura Tradicional Curarrehue
Programa de Museos Regionales y Comunitarios - Museo Nacional de Costa Rica
Núcleo do Moinho de Maré de Corroios - vista aérea do moinho e da área de sapal envolvente. © CMS/EMS – António Silva, 2009.
Câmara Municipal de Melgaço
ICH Sctoland, Museums Galleries Scotland (MGS)
Indian Caribbean Museum of Trinidad and Tobago
Programa de Museos Regionales y Comunitarios - Museo Nacional de Costa Rica | Regional and Community Museums Programme - National Museum of Costa Rica
Museo de Artes Decorativas Villa Lucía
Museo de la Vivencia Religiosa del Norte Grande
Pontificia Universidad católica del Perú
Museo del Profesor Lucila Godoy Alcayaga
Museo Histórico Cultural Antuhuenu
Museo Viviente de las Tradiciones Chonchinas
Museo y Centro Cultural Presidente Pedro Aguirre Cerda
Museu Agrícola de Riachos facebook
Suão - Associação para o Desenvolvimento comunitário de S. Miguel Machede
Museu da Comunidade Concelhia da Batalha
Fotografias Pedro Pacheco e Marie Clement, Museu da Luz
Fundação Serrão Martins (c)
União das Freguesias de Monte Redondo http://monteredondocarreira.pt/home.php?t=td3&c=&mostra_c=sim&sc=&cc=59
Núcleo de Imagem e Comunicação e Núcleo de Turismo do Município de Viseu
Câmara Municipal de Terras de Bouro
Câmara Municipal de Macedo de Cavaleiros (C)
Casa Tornini, Museo - Centro Cultural ha establecido como misión proteger, conservar, difundir y desarrollar el patrimonio e identidad cultural de Caldera y Atacama, mediante la gestión de instancias de acercamiento a las artes, la educación, las ciencias y el turismo.
El museo es el lugar en el que se salvaguardan buena parte de las imágenes procesionales de las distintas cofradías, hermandades y corporaciones de la ciudad, en particular de los Poblados Marítimos. El espacio museístico se articula en una única sala diáfana, en la que se ha señalado un recorrido de visita que permite la observación ordenada y sucesiva de los “tronos-anda” con pasajes bíblicos y las esculturas religiosas de las diferentes cofradías, hermandades y corporaciones.. Esta popular celebración está declarada de Interés Nacional. El museo es un reflejo del sentimiento de un barrio, Canyamelar, hacia su fiesta.
Centro Cultural Museo y Memoria de Neltume
Presenta un recorrido histórico del territorio forestal y la comunidad cordillerana, formada en torno a diversas faenas de explotación industrial del bosque nativo. Durante el siglo XX, fueron testigos de importantes acontecimientos y procesos sociales, como la reforma agraria, la represión militar y la devastación de los recursos naturales. El museo expone testimonios de trabajadores, herramientas y utensilios forestales y domésticos, fotografías aportadas por la comunidad en un proceso de recopilación que se ha extendido por 12 años. Se encuentra albergado en una casona que ha sido testigo de las distintas etapas de historia forestal a lo largo de casi un siglo y en proceso de ser declarada Monumento Histórico. Presents a historical trajectory of the forest territory and the mountain community, formed around various forms of industrial exploitation of the native forest. During the 20th century, they witnessed important social events and processes, such as agrarian reform, military repression and the devastation of natural resources. The museum exhibits workers' testimonies, tools, and forest and domestic utensils, photographs contributed by the community in a compilation process that has been extended for twelve years. It is located in a house that has witnessed the different stages of forest history over almost a century and in the process of being declared Historic Monument.
El Centro de Cultura Tradicional Curarrehue tiene como finalidad rescatar y valorizar las tradiciones y elementos característicos que configuran la idiosincrasia de la cultura popular y tradicional de la Región del Bío-Bío.
Centro Interpretativo de Atouguia da Baleia
O Centro Interpretativo de Atouguia da Baleia tem como objetivo o estudo, valorização e divulgação do património histórico e cultural do concelho, proporcionando uma visão integrada da Região Histórica de Atouguia da Baleia. Para tal, abarca conhecimentos de diversas áreas científicas que vão desde a geologia e da paleontologia à arqueologia e à história, passando também pela geografia humana e pela antropologia. A sua gestão assume um caráter tripartido, associando três entidades – Município de Peniche, Junta de Freguesia de Atouguia da Baleia e Fábrica da Igreja Paroquial da Freguesia de São Leonardo de Atouguia da Baleia. Para este projeto concorrem também os contributos das populações da freguesia e do concelho. The Interpretive Center of Atouguia da Baleia aims to study, value and disseminate the historical and cultural heritage of the county, providing an integrated view of the Historic Region of Atouguia da Baleia. To this end, it encompasses knowledge of diverse scientific areas ranging from geology and paleontology to archeology and history, as well as human geography and anthropology. Its management takes on a tripartite character, associating three entities - Municipality of Peniche, Local Governement of Atouguia da Baleia and Factory of the Parochial Church of the Parish of São Leonardo de Atouguia da Baleia. Also contributing to this project are contributions from the populations of the parish and the municipality.
El Ecomuseo del Hábitat Rural de Sinarcas, Valencia, tiene como misión mostrar al visitante una vivienda agrícola del siglo XIX y la forma de vida rural de una familia de aquella época, un viaje en el tiempo para conocer la historia y el pasado de una comarca. The Ecomuseum of the Rural Habitat of Sinarcas, Valencia, has as its mission to show the visitor an agricultural house of the XIX century and the way of rural life of a family of that time, a trip in time to know the history and the past of a region .
O Ecomuseu de Redondo é um espaço a céu aberto, vivo e ativo, que permitirá efetuar um reconhecimento direto do património arqueológico e ambiental, funcionando como um espelho onde se pode observar o território e a vivência humana desde tempos imemoriais até à atualidade, constituindo-se como que um laboratório de emoções, de vivências e de troca de experiências. Situado no extremo Norte da freguesia e concelho de Redondo e abrangendo parte da Serra d’Ossa e do Biótopo CORINE, o Ecomuseu localiza-se num território geograficamente privilegiado cujos recursos naturais foram, durante séculos, objecto de fruição das populações que por aqui passaram. The Ecomuseum of Redondo is an open space, alive and active, that will allow to realize a direct recognition of the archaeological and environmental patrimony, functioning as a mirror where one can observe the territory and the human experience from time immemorial until the present time, as if it were a laboratory of emotions, experiences and exchange of experiences. Located at the northern end of the parish and municipality of Redondo and encompassing part of the Serra d'Ossa and CORINE biotope, the Ecomuseu is located in a geographically privileged territory whose natural resources were, for centuries, the object of enjoyment of the populations that have passed here.
Autodefine-se como um processo dinâmico através do qual a comunidade corvina preserva, interpreta e gere o seu património - material e imaterial, humano e natural - para o desenvolvimento sustentável, tendo por base um acordo da comunidade.
O Núcleo Museológico do Sal tem o objetivo de interpretar, valorizar e difundir testemunhos singulares reportados à relação secular do Homem com o território das salinas do concelho da Figueira da Foz. Situado na Salina Municipal do Corredor da Cobra, adquirida em 2000 com o intuito de promover a reativação e manutenção contínua da atividade salineira, este complexo cultural e ambiental integra um Armazém de Sal, uma Rota Pedestre pelo salgado, homologada pela Federação Portuguesa de Campismo e Montanhismo, uma Rota Fluvial pelo estuário do Rio Mondego e ainda um observatório de aves com um leitor de paisagem do território que o abraça. Este espaço museológico assume-se cada vez mais como um centro de informação, educação e sensibilização de diversos públicos para a necessidade de preservação de uma atividade tradicional e de um produto artesanal, contribuindo assim, de forma integrada, para a valorização deste património como fator de desenvolvimento local sustentável. É um centro local e nacional aberto à investigação e informação sobre a riqueza da biodiversidade do seu ecossistema-tipo e uma unidade didática de lazer e de interatividade. O seu programa museológico foi concebido pela empresa de consultoria ambiental Mãe d’ Água, Lda., com o apoio e acompanhamento dos serviços culturais da Autarquia. O visitante é confrontado com a explanação de cinco grandes temas: O que é o Sal; O Sal na Natureza; História do Sal em Portugal; A Tecnologia do Sal na Figueira da Foz e O Ciclo de Produção; e As Salinas e a Conservação da Natureza.
Esta estrutura museológica destina-se a dar a conhecer ao visitante a história do Rio Zêzere e está instalado na antiga Tulha dos Cabrais. Historicamente os Cabrais foram a mais importante família de Belmonte, grandes proprietários construíram este celeiro em frente ao seu solar tendo ficado a edificação para sempre conhecida como Tulha dos Cabrais. Diretamente assente sobre um afloramento de granítico é uma sólida e sóbria construção de data desconhecida, que terá sofrido no entanto algumas remodelações, a mais evidente das quais ocorreu com a abertura da estrada fronteira à entrada que obrigou à construção das rampas de acesso. Trata-se de um museu com função didática e pedagógica, em que, troço a troço, acompanhamos o percurso do rio Zêzere, desde a sua nascente até à foz. Da apresentação de cada troço constam os elementos da fauna e flora que são mais característicos. Possui sala de exposições temporárias, onde ocorrem frequentemente exposições.
Transformada em Ecomuseu, a marinha da Troncalhada mostra aos seus visitantes os métodos de produção artesanal do sal, explora a paisagem, fauna e flora características, bem como mantém vivas as vivências e tradições ligadas a esta atividade secular. Caracterizando-se por ser um núcleo museológico ao ar livre, aberto permanentemente, o visitante poderá realizar a sua visita de forma independente consultando os diversos painéis interpretativos que a marinha dispõe. Apesar do carácter sazonal da produção de sal tradicional característico, as visitas guiadas a este núcleo museológico poderão ser solicitadas todo o ano, sendo asseguradas em espaço interior, caso as condições climatéricas não sejam favoráveis.
Espaço, Memória e Fronteira
Encontra-se instalado num edifício antes ocupado pelo matadouro municipal, remodelado e ampliado em 2007. Percorrendo as suas salas, ingressamos no mundo da emigração ilegal dos anos 60 e 70, conhecendo todos os momentos, desde as causas, a preparação da viagem e a viagem em si, até ao chegada e vivência no país de acolhimento. Um perfeito retrato social das centenas de filhos da terra que Melgaço viu partir, não esquecendo os reflexos deste êxodo no concelho. É aqui também feito um retrato do contrabando que fez viver na clandestinidade tantos melgacences. Destacamos os testemunhos reais documentados que nos transportam para a época em que se ia “a salto” para o estrangeiro. O espaço dispõe também de um gabinete de atendimento a imigrantes. It is housed in a building, previously occupied by the municipal slaughterhouse, remodeled and expanded in 2007. Going through its rooms, we entered the world of illegal emigration of the 60s and 70s, knowing every moment, from the causes, the preparation of the trip and the trip itself, until the arrival and living in the host country. A perfect social portrait of the hundreds of children of the land that Melgaço has seen leave, not forgetting the reflexes of this exodus in the county. It is also made here a picture of the smuggling that made to live in the clandestinity so many melgacences. We highlight the actual documented testimonies that carry us to the time when the "leap" was going abroad. The space also has an office for immigrants
Espaço Memoria e Fronteira em Melgaço-Porto Canal
Situado en la 1ª planta del Palau de La Vila, muestra una colección integrada por diferentes objetos que datan desde el siglo XVIII hasta nuestros días, a través de los cuales se narran los diferentes procesos artesanales de la producción textil. En este sentido, el Museo se estructura en cuatro salas: Los instrumentos, la elaboración, los tejidos y la sala audiovisual. Las piezas que se exponen pertenecen a la colección ATEVAL, a la Junta Comarcal de la Vall d’Albaida, a la colección Caixa Ontinyent y a la colección de Rafael Ferrero Terol.
Highland Folk Museum / El Museo Folclorico Regional de las Highlands de Escocia
The Highland Folk Museum is Britain’s first open air museum. It demonstrates through traditional and living displays how Highland people lived and worked from the 1700s up to 1950. The site is one mile long, and has a working croft, live animals and actors. The Museum is situated in the village of Newtonmore, in the Scottish Highlands; here, there is an abundance of beautiful scenery, with red squirrels found in the forests nearby. El Museo Folclorico Regional de las Highlands de Escocia es el primer museo a cielo abierto establecido en el Reino Unido. Ilustra por medio de las exposiciones tradicionales y vivientes como vivió y trabajó la gente de las Tierras Altas, desde los años 1700 hasta 1950. El lugar tiene una milla de largo, y hay una granja funcionando, animales vivos y personajes. El museo se recogía en el pueblo de Newtonmore en las Tierras Altas; allí, hay una abundancia de vistas y paisaje espectacular, donde se encuentra las ardillas rojas en los bosques.
This site celebrates Intangible Cultural Heritage - the practices, representations and expressions that are central to the lives and identities of communities, groups and individuals across Scotland. In its many and varied forms from cultural festivals to beliefs to passing on traditional skills, it is a means by which humans interact with their natural environment, make sense of the world around them and connects contemporary life to that of past generations.
MEMORIAMEDIA e-Museu do Património Cultural Imaterial
O projeto MEMORIAMEDIA tem como objetivos o estudo, a inventariação e divulgação de manifestações do património cultural imaterial: expressões orais; práticas performativas; celebrações; o saber-fazer de artes e ofícios e as práticas e conhecimentos relacionados com a natureza e o universo. O projecto tem como instituição de acolhimento o Instituto de Estudos de Literatura e Tradição - patrimónios, artes e culturas - da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. A autoria e gestão do projeto é da responsabilidade da Memória Imaterial, entidade acreditada como Organização Não-Governamental (ONG) consultora do Comité Intergovernamental para a Salvaguarda do Património Cultural Imaterial da UNESCO. MEMORIAMEDIA aims to study, inventory and disseminate manifestations of intangible cultural heritage. These include oral expressions, performative practices, celebrations, traditional craftsmanship and knowledge concerning nature and the universe. The project is hosted by IELT- Institute for Studies of Literature and Tradition - heritage, arts and cultures, from the Faculty of Social Sciences and Humanities of Universidade Nova de Lisboa. The organisation Memória Imaterial (Intangible Memory), a Non-Governmental Organization (NGO) accredited to provide advisory services to the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, is responsible for the project’s authorship and management.
O Pintar e Cantar dos Reis no Concelho de Alenquer
O Pintar e Cantar dos Reis tem em Portugal a sua maior expressão no concelho de Alenquer e em 2016 a celebração realizou-se, com variantes, em 9 povoações: Catém, Casal Monteiro, Mata, Penafirme da Mata, Olhalvo, Paúla, Cabanas de Torres, Ota e Abrigada. Sendo conhecida apenas como “Cantar dos Reis” ou “Cantar dos Reses” a manifestação celebrada no concelho de Alenquer implica a participação quer dos cantores-reiseiros quer dos pintores-reiseiros. O ritual começa pela constituição dos grupos que anualmente, na noite de 5 para 6 de janeiro, se reúnem para Pintar e Cantar os Reis nas suas localidades. Sem ensaios ou combinações elaboradas o grupo junta-se espontaneamente e parte pelas ruas da povoação. Os membros que vão pintar seguem à frente e, em silêncio, munidos das tintas, pincéis e lanternas pintam as fachadas, os muros e as entradas das casas com os tradicionais desenhos dos Reis. Mais atrás seguem, em maior número, os cantores – o coro liderado pelo apontador.
El interés de los residentes y la necesidad de detener y eliminar el deterioro que los edificios de la población San Miguel, producido por décadas de contaminación que generaban los rayados y afiches que se habían apoderado del sector, fueron el motor de esta iniciativa ciudadana que el Centro Cultural Mixart hizo suya y en la cuál hemos trabajado pacientemente durante 8 años para transformar el vecindario en un verdadera galería de Arte Público de acceso gratuito, sin restricciones de días y horarios para el disfrute de la comunidad en pleno. Hoy en día el proyecto Museo a Cielo Abierto en San Miguel se ha convertido en la mayor expresión colectiva de arte callejero en Chile, donde comparten escenario y se entremezclan las técnicas del muralismo y graffiti con obras originales desarrolladas por los principales exponentes nacionales e internacionales, consagrados y emergentes, quienes aceptaron además que sus creaciones fueran previamente validadas por los vecinos residentes de cada muro lo que le agrega un plus de participación único y que además permite generar un sentido de pertenencia con el mural y su entorno.
MUSEO A CIELO ABIERTO EN SAN MIGUEL - VIDEO OFICIAL 2014
La misión del museo es divulgar el conocimiento de la Prehistoria Chilena y colaborar con la educación y la cultura nacional, y preservar el Patrimonio Arqueológico e Histórico de Chile.
The Chan Chan Site Museum was created and put into social use in 1990. Since then, the role of managing, conserving, displaying and disseminating the cultural heritage that it has been in custody has been fulfilled, contributing to the interpretation of this Archaeological Site that is part of World Heritage. In its development and links with the community the museum carries out a series of activities: lectures, workshops and exhibitions, aimed at informing, sensitizing and training, with schoolchildren, artisans and collectives in general being the central objective of these dynamics. El Museo de Sitio Chan Chan fue creado y puesto en uso social en 1990. Desde entonces se cumple con el rol de gestionar, conservar, exhibir y divulgar el patrimonio cultural que custodia, contribuyendo a la interpretación de este Sitio Arqueológico que forma parte del Patrimonio Mundial. En su desarrollo y vinculación con la comunidad el museo realiza una serie de actividades: charlas, talleres y exposiciones, orientados a informar, sensibilizar y capacitar, siendo los escolares, artesanos y colectividad en general el objetivo central de estas dinámicas.
Nuestra misión es crear un espacio de resguardo, exhibición y puesta en valor de objetos y documentos con valor patrimonial para la comunidad local, que refleje el modo de vida local y que sea esencialmente un espacio abierto que permita el encuentro comunitario y el reconocimiento de las raíces locales. Our mission is to create a space to protect, display, and enhance objects and documents with heritage value for the local community, which reflects the local way of life and which is essentially an open space that allows community meetings and the recognition of local roots.
El Museu incluye una colección arqueológica de 320 objetos acompañada de novedosos recursos museográficos que ilustran los diversos aspectos de la sociedad de Caral. Entre los obejetos destacan los objetos de diferenciación social, como los collares de cuentas cuadrangulares elaboradas con arcilla de origen volcánico, dijes de choro zapato, y cuentas elaboradas con material procedente de largas distancias, como las cuentas de mullu (procedente del Ecuador), y la cuenta de sodalita (mineral procedente del Altiplano). También se expondrá un ejemplar de vértebra de ballena que es símbolo de autoridad en la civilización Caral. Además se exhibirá el quipu de Caral e instrumentos de construcción, los cuales evidencian el elevado desarrollo en la producción científica y tecnológica logrado por la civilización Caral, sumado a algunas muestras de plantas medicinales recuperadas en el registro arqueológico.
El museo comunitario de Végueta fue inaugurado en el año 2008. Exhibe valiosas piezas arqueológicas que fueron encontradas en el complejo arqueológico de Vichama. El museo muestra novedosos recursos museográficos que ilustran los diversos aspectos de la sociedad de Vichama y su vinculación con la civilización Caral y módulos interactivos que brindan información de manera didáctica.
Museo Comunitário del Barrio Yungay
El recinto situado en la calle Herrera 650 en la comuna de Santiago Centro, busca contar la vida del barrio y de sus residentes con fotografías, cartas, muebles y otras pertenencias que han sido donadas por los mismos vecinos. Yungay es considerado como el primer barrio republicano de la capital y hace pocas semanas cumplió 176 años. Rosario Carvajal, representante de la Asociación Chilena de Barrios y Zonas Patrimoniales, aseguró que el objetivo es recuperar la memoria del territorio, y que las personas conozcan la vida e historia que existe en la zona. Los primeros objetos del museo fueron donados por María Sancifrian, una mujer de origen español que llegó a los ocho años al país junto a su familia en el "Orbita", barco que antecedió al Winnipeg después de haber detonado la Guerra Civil en España. El museo conserva intactos sus elementos más queridos y personas, entre ellos destaca sus cartas, cuadernos escolares, ropa, fotografías, lentes e incluso un álbum de fotos dedicado a Raphael. En el lugar también se pueden apreciar otras objetos de vecinos que decidieron dejar plasmados sus viviencias y recuerdo del Barrio Yungay, entregando pertenencias de incalculable valor sentimental.
Trailer Voces de Barrio | Museo Comunitario Barrio Yungay
Museo Comunitario Indígena de Térraba
El Museo Comunitario Indígena de Térraba es un instrumento de recuperación de los legados históricos, artesanales, ecológicos para conscientizar a las nuevas generaciones. El museo forma parte del complejo de la Cultura Térraba, integrada por la Casa de la Salud Indígena, el Rancho Cultural y el cultivo de plantas medicinales. El Museo Comunitario Indígena de Térraba muestra testimonios de la Cultura Indígena Térraba enfatizando su forma de vida, su arquitectura vernácula y artesanía. The Terraba’s Indian Community Museum was created as instrument to recover historical, handmade, and ecological legacies, to raise awareness for the new generations. The museum is part of the complex of the Terraba Culture, comprising the House of Indigenous Health, Cultural Rancho and cultivation of medicinal plants. The Terraba’s Indian Community Museum shows evidence of the Térraba Indigenous Culture, emphasizing their way of life, vernacular architecture and craftsmanship.
Museo Comunitario Leymebamba | Leymebamba Community Museum
El Museo Comunitario Leymebamba se ubica en la región Amazonas, se inauguró en el año 2000 y alberga más de 200 momias provenientes de la Laguna de los Cóndores y material arqueológico y etnográfico de la zona. La arquitectura del museo es un reflejo de las tradiciones constructivas locales, y de la población que contribuyó a la edificación del mismo. El museo contribuye y apoya a la Comunidad de Leymebamba en la difusión de su patrimonio cultural, así como en la creación de emprendimientos que fomentan el desarrollo educativo y económico de sus pobladores. The Museo Comunitario Leymebamba is located in the Amazon region, it opened in 2000 and holds more than 200 mummies from the Cóndores Lagoon as well as archaeological and ethnographic material from the area. The museum’s architecture reflects the local construction traditions and those of the population which contributed to its construction. The museum contributes to and supports the Leymebamba community in the dissemination of its cultural heritage and by creating ventures that promote the educational end economic development of its inhabitants.
Museos Puertas Abiertas : Museo de Leymebamba - Cap 1
El Museo de Alhué busca proteger y atesorar el patrimonio cultural material e inmaterial de la localidad, así como constituirse en un lugar de encuentro entre las personas y la cultural local, especialmente escolares, habitantes de la comuna y turistas de otras áreas del país o internacionales.
El Museo de Artes Decorativas Villa Lucía nace del esfuerzo y visión del Dr. Daniel Fernández Dodds, quien hoy dirige este espacio cultural de la provincia de San Antonio. El 2001 adquirió la propiedad e inició un minucioso y continuo proceso de restauración circunscrito a la realidad histórico-social de Cartagena de los años 1930-40.
El museo presenta, en sus diversas salas, colecciones de arte y cerámica legados por los anteriores dueños del edificio así como procedentes de excavaciones del entorno y otras donaciones. Situado en una antigua casa señorial del siglo XVIII, cuyos propietarios cedieron al ayuntamiento junto con una importante colección de objetos, el museo tiene como finalidad la integración de la comunidad mediante distintas actividades así como cesiones temporales por parte de la población local. The museum presents, in its various rooms, collections of art and ceramics bequeathed by the previous owners of the building as well as from excavations of the environment and other donations. Located in an old manor house of the eighteenth century, whose owners yielded to the town hall along with an important collection of objects, the museum aims to integrate the community through various activities as well as temporary assignments by the local population.
El museo recibe el nombre de Museo de la Catedral, no sólo por su temática sino también por su emplazamiento. Se encuentra ubicado en el subsuelo de la Catedral de Valdivia, en el sitio original donde, desde 1552, se levantaron las 15 iglesias que le precedieron y que fueron destruidas por incendios, terremotos, trombas. Su creación fue posible gracias a un convenio firmado entre el Obispado de Valdivia y la Dirección Museológica de la Universidad Austral de Chile y la asesoría del Padre Gabriel Guarda, el aporte de la Fundación Andes para el montaje de las colecciones. Se inauguró el año y en la actualidad administrado por el Obispado de Valdivia. El museo muestra los fundamentos materiales y espirituales de la Iglesia en Valdivia: materiales por que esta instalado en los cimientos de la catedral, junto a su primera piedra; espirituales, porque expone una síntesis de la evangelización de estas tierras, desde el siglo XVI al XIX, con referencia a la fundación de la Iglesia, las familias religiosas comprometidas en la misión, manifestaciones artísticas y culturales, la celebración litúrgica y la propuesta de santidad de vida según el evangelio. La colección es muy variada y en su recorrido se destacan piezas como por ejemplo un tabernáculo de madera dorada con espejos, c.1750; cuadros como La Sagrada Familia, óleo sobre tela de la escuela italiana, c.1650; y telares como un Pluvial bordado con rocalla, pájaros y flores, S.XVIII.
Museo de la vivencia religiosa del Norte Grande
Este museo busca contribuir a fortalecer la identidad religiosa del hombre y de la mujer del norte grande de Chile, actuando como un foco que permita la generación en la comunidad de la autoconciencia de su identidad, con el fin de valorar, conservar, proteger, desarrollar y transmitir su patrimonio en vinculación armónica a la tradición. This museum seeks to contribute to strengthening the religious identity of the man and woman of the great north of Chile, acting as a focus that allows the generation in the community of self-awareness of their identity, in order to value, conserve, protect, develop and transmit their heritage in harmony with tradition.
El Museo de la Vivencia Religiosa del Norte Grande busca contribuir a fortalecer la identidad religiosa del hombre y de la mujer del norte grande de Chile, actuando como un foco que permita la generación en la comunidad de la autoconciencia de su identidad, con el fin de valorar, conservar, proteger, desarrollar y transmitir su patrimonio en vinculación armónica a la tradición. Es un museo territorial comunitario, hecho por la comunidad para la comunidad, el cual inicia su creación el año 2013 con la presentación del proyecto y el financiamiento a través de donaciones culturales, realizado por Minera Doña Inés de Collahuasi. Cuenta con diversas piezas donadas por la comunidad que muestran la identidad religiosa del norte grande y las diferentes expresiones de fe y cultura que se entrelazan en estas deserticas tierras del norte de Chile. Abre sus puertas el 3 de septiembre del año 2015.
El museo de Pisac ofrece una exposición sobre el proceso de producción de los tejidos típicos de las comunidades quechuas llamados away. El visitante podrá conocer la materia prima utilizada, el proceso de teñido de fibras con plantas nativas, el hilado y el armado. También, se exhiben diferentes telares y herramientas de trabajo. Antes de finalizar el recorrido se observa el proceso de aprendizaje textil en el que participa toda la familia, donde prima la intervención de la mujer, ya que es responsable de transmitir los conocimientos, habilidades y destrezas a sus hijos de generación en generación. A su vez, el museo presenta una exposición sobre la producción de cerámica que desarrollan los pobladores de Pisac.
La misión del museo es contribuir a la formación de los niños del mundo rural, y además conservar y preservar todos los elementos patrimoniales que se relacionan con el hombre y su entorno.
El Museo del Profesor Lucila Godoy Alcayaga tiene como misión contribuir al fortalecimiento y desarrollo de la identidad docente , a través del rescate y valoración de las prácticas pedagógicas , éticas y políticas de profesoras y profesores , mediante la investigación , conservación difusión y exhibición de su patrimonio cultural, bajo las proyecciones y propuestas del pensamiento mistraliano.
El Museo forma parte de la Red de Museos Escolares "Aprendiendo con nuestros sentidos para conservar nuestra biodiversidad". Es una iniciativa que surgió en el Instituto de Zoología de la Facultad de Ciencias de la Universidad Austral de Chile, bajo la Dirección del Dr. Roberto Schlatter, subvencionada por el Fondo de Innovación y Capacitación (FIC-R 2009) del Gobierno Regional de la Región de Los Ríos. Pertenece y se encuentra Inserto en la Escuela Rural La Aguada, ubicada al sureste de la comuna de Corral. Para iniciar el trabajo museal, se realizaron visitas a las escuelas para constatar la situación en que se encontraban los diversos objetos y elementos que se conservaban en colecciones de vertebrados, invertebrados, flora y objetos culturales. Para el trabajo con las colecciones se establecieron en conjunto con los profesores y estudiantes del colegio, metodologías de investigación para documentar, registrar y archivar cada uno de los objetos. The museum is part of the School Museums Network “Learning with our Senses to Preserve our Biodiversity”. It is an initiative that emerged at the Zoology Institute of the Science Faculty of Chile’s Austral University under the direction of Dr Roberto Schlatter, subsidised by the Innovation and Training Fund (FIC-R 2009) of the Región de los Ríos regional government. It belongs and is part of the La Aguada rural school, located southeast of the Corral commune. To start the museum work, school visits took place to verify the situation of diverse objects and elements that were preserved in vertebrates, invertebrates, flora and cultural objects collections. To work with the collections, school professors and students established research methodologies to document, register, and archive each of the objects.
El museo acoge en su interior los Ninots Indultats de la fiesta de las Fallas de Valencia desde 1934. Estas figuras son las únicas que no ardieron en la “Nit de la Cremà” del 19 de marzo. La Fiesta tiene un reconocimiento de Interés Turístico Internacional desde 1965 y recientemente, 2016, ha sido declarada Patrimonio Inmaterial de la Humanidad por la UNESCO. La sociedad civil valenciana es quien decide mediante votación que Ninot es indultado cada año. Cada una de estas figuras se encuentra acompañada del cartel oficial de la fiesta fallera de ese año, así como de la falla ganadora de la máxima categoría y la falla municipal.
La misión del Museo Histórico Cultural Antuhuenu (sol alto o sol del medio día, figura étinica muy sobresaliente de la época precolombina) es salvaguardar el patrimonio comunal en vías de extinción.
El Museo Historico de Melipeuco busca preservar y poner en valor el patrimonio cultural de la comuna y sus alrededores. Esto a traves de muestras comunitarias que se realizan en un trabajo entre la Municplaidad de Melipeuco y los vecinos de la comuna.
Contribuir en la creación de una cultura de nuestro pueblo Mechuque, destacando los grandes navegantes y las culturas tradicionales de Chiloé.
Museo Histórico y Arqueológico Arturo Möller Sandrock
El Museo recibe el nombre de Museo Histórico y Arqueológico Arturo Möller Sandrock, en homenaje a su gestor y principal donante de las piezas que se exponen en el museo. Este riobuenino reunió durante su vida un conjunto de colecciones que su familia posteriormente donó a la Ilustre Municipalidad de Río Bueno. El Museo fue inaugurado en 1971 con una importante vocación educativa y actualmente es administrado por el Departamento de Educación de la Municipalidad. El Museo exhibe la historia de Río Bueno y su entorno con énfasis en las tradiciones alfareras indígenas desde la Cultura Pitrén (300 -1.200 DC). En sus vitrinas es posible observar el ejemplar estilo alfarero Tringlo o Ranco, de origen indígena con influencia hispana, como vasijas hispanas asociadas a la ocupación de la zona hacia fines del período colonial con la fundación del Fuerte de Río Bueno y la apertura del Camino Real. La muestra se complementa con objetos históricos de la colonización alemana, armas de fuego y armas blancas. En sus depósito se resguarda la famosa colección Sandoval creada por el fotógrafo y cineasta Armando Sandoval que destacó por su interés en divulgar la filmografía de la época, grabaciones de valor histórico y etnográfico como también registros fotográficos.
La campiña de Moche en los alrededores de Trujillo, conserva con orgullo las huacas del Sol y de la Luna (s. I-VIII d.C.) y su moderno museo de sitio, convertidos en un polo turístico y recurso para el desarrollo comunitario. Los programas de capacitación de pobladores locales van a generar emprendimientos familiares en artesanía, gastronomía y servicios complementarios. Consolidando su identidad con sus valores culturales y el museo como centro de producción y comercialización de sus productos. La población participa en concursos de alfarería, cuentos y leyendas. Moche es una comunidad campesina de ancestrales costumbres y tradiciones aún vigentes. The Moche countryside in the surroundings of Trujillo, proudly preserves the Sun and Moon huacas (from the 1st to the 8th century AD) and its modern site museum, turned into a tourist hub and resource for community development. Training programs for local people will generate family enterprises in crafts, gastronomy and complementary services. Consolidating its identity with its cultural values and the museum as a centre of production and marketing of its products. The population participates in pottery, stories, and legends competitions. Moche is a peasant community of ancestral customs and traditions that persist.
El actual Museo de la Rajoleria fue una fábrica de ladrillos conocida también con el nombre de «Rajolar de Bauset», fundada a principios del siglo XX. Estuvo en funcionamiento hasta la década de 1990, siempre en manos privadas, hasta que fue adquirida por el ayuntamiento y dejó de ser un espacio fabril para convertirse en museo. The current Museo de la Rajoleria was a brick factory also known as «Rajolar de Bauset», founded at the beginning of the 20th century. It was in operation until the 1990s, always in private hands, until it was acquired by the city council and ceased to be a factory space to become a museum.
La misión del museo es rescatar, proteger, promover y colocar en valor la cultura ancestral y campesina local en todas sus manifestaciones y diversidad, mediante la salvaguarda del patrimonio cultural y natural material e inmaterial promoviendo un desarrollo humano desde una perspectiva multiétnica y multicultural.
El Museo Tringlo de Lago Ranco emplazado a escasos metros de la costanera del lago conserva y expone una valiosa colección de cerámica indígena prehispánica e histórica, con piezas excepcionales recuperadas de Lago Ranco y su entorno. Fue creado en el año 1968 y es administrado por la Oficina de Turismo y Departamento de Cultura de la Ilustre Municipalidad de Lago Ranco. En su exhibición es posible aprender de la historia de la ocupación humana del lago con evidencias desde las primeras culturas alfareras correspondientes al Complejo Pitrén. Las piezas expuestas demuestran la maestría y simbolismo del arte alfarero de las comunidades originarias, como también la vigencia de la cultura mapuche-huilliche que habita y vive su cultura en diferentes comunidades y localidades en torno al lago. El estilo cerámico Tringlo, que le da nombre al museo, fue definido por primera vez en la localidad homónima, vecina a Lago Ranco y, se caracteriza por su decoración pintada blanca sobre rojo en formas cerámicas que indican procesos de interculturalidad vividos por las poblaciones indígenas, hispanas e hispano-criollas. El museo pretende, rescatar y difundir los diferentes procesos y culturas que influyeron en lo que es hoy día la población de la comuna de Lago Ranco, proyectándose a ser un espacio intercultural de reflexión y encuentro para nuestros habitantes, como también relatar a quienes nos visitan un poco de nuestra historia.
El objetivo es conservar, resguardar y difundir la cultura de Chonchi, contando la historia de nuestros antepasados, através de este espacio cultural que muestra la vida de una familia de clase alta de fines de 1800 y principio de 1900 y a esta casa se anexa un fogón chilote (casa del Huilliche).
El Museo situado en la comuna de Calle Larga, en la casa natal del ex-presidente y está orientado a difundir y promover su memoria y legado, a través de la exhibición de objetos, videos, fotografías y documentos que dan cuenta de su importancia y aporte al desarrollo de la Nación. Por otra parte, el Centro Cultural es un espacio llamado a difundir distintas iniciativas culturales y artísticas en las dependencias restauradas de la antigua Escuela Granja de Pocuro. Ambos Monumentos Nacionales.
Museu Agrícola de Riachos reúne um riquíssimo espólio representativo dos vários aspectos da ruralidade que marcou, até há três décadas, o modo de vida tradicional das gentes riachenses. O Projeto Museológico tem como pilares três Serviços: Serviços de Museologia e Museografia, Serviços de Conservação e Restauro e Serviços Educativos. Assume ainda grande importância o Centro de Documentação na dinâmica e articulação dos Serviços referenciados, onde se encontra arquivada e organizada para estudo e consulta a documentação que esses Serviços recolhem e compilam. Procurando ainda ter disponível bibliografia e informação que permita apoiar investigadores e alunos que nos procurem, sobretudo na área da etnografia e património local. Na área expositiva, o espólio está organizado por colecções, as quais passo a referir: O Cingeleiro; O Mulateiro; Gadanheiros e Valadores; A Horta; O Figo; Pesos e Medidas; A Água; A Agrimensura; O Trajo; Sala José Fonseca (Miniaturas Agrícolas); A Cozinha; Sala das Profissões (Barbeiro; Carpinteiro; Oleiro; Sapateiro; Técnicas de Construção Arquitectura Popular); Os Transportes; A Eira. Sendo que representando este Museu a vida de uma comunidade rural (Riachos), procura ser assumidamente um Museu Comunitário, não só pela sua representação, mas também pela dinâmica e interação que procura estabelecer com a comunidade. O museu foi reaberto em 2006 - após um ano de requalificação do espaço interior e da arquitetura.
Museu Comunitário de São Miguel de Machede
O Museu Comunitário assume-se como um espaço e um tempo consagrados à comunicação entre micaelenses. Entre os que vivem em S. Miguel de Machede e aqueles que se encontram fora da sua terra; entre os vivos e aqueles que já desapareceram; entre os mais idosos e os mais jovens. O Museu é uma realidade episódica e ocorre quando existe uma ocasião propícia para tal, como é o caso de uma comemoração ou de uma data simbólica. Pretendem que cultura da comunidade seja preservada e seja conhecida pelas novas gerações de micaelenses, para que ela comece a fazer parte da nossa memória colectiva. The Community Museum assumes itself as a space and time dedicated to the communication between Micaelenses. Among those who live in S. Miguel de Machede and those who are out of their land; between the living and those who have disappeared; between the oldest and the youngest. The Museum is an episodic reality and occurs when there is a propitious occasion for such, as is the case of a celebration or a symbolic date. They want that culture of the community be preserved and be known by the new generations of Micaelenses, so that it begins to be part of our collective memory.
Um projeto de museologia rural centrado num edifício sede com núcleos polarizados pelo restante território concelhio, composto por cinco núcleos musealizados. O Museu da Memória Rural, concelho de Carrazeda de Ansiães, é uma unidade museológica destinada a trabalhar temáticas relativas à cultura rural e ao património imaterial da região duriense e transmontana.Um projeto de museologia social e coesiva, participado pela comunidade, onde é valorizada uma abordagem participacionista do património, uma visão dinâmica do passado e uma intervenção científico cultural que opera com “metodologias de intervenção comunitária democráticas e participativas”.
Vídeo do Museu da Memória Rural de Vilarinho da Castanheira. Complemento audiovisual do discurso museográfico patente nesta unidade museológica do concelho de Carrazeda de Ansiães
Esta infraestrutura museológica vem dar corpo e complementar algumas das valências que já funcionam no seio da Associação Cultural, Desportiva e Recreativa da Graciosa (ACDRG), nomeadamente as ligadas à educação ambiental, à educação em geral e à cultura. Além da casa de um antigo proprietário rural – edifício onde está instalada a sede e onde funciona uma biblioteca fixa, um clube informático e são tratados os assuntos da gestão desportiva e do bibliomóvel -, dos terrenos anexos, onde se inclui a quinta e do espaço multiusos, o complexo que se passa a designar de Museu da Vida Rural da Ilha Graciosa, integra também a recriação da casa de morada de um camponês remediado. O edifício é constituído por uma casa de morada baixa, pelo alpendre de carro de bois, pelo alpendre de animais que foi modernizado, e pelo tanque de água, tendo em anexo os currais de porcos e de galinhas, o terreno de cultivo e o pomar, estando estes dois últimos a ser cuidados e cultivados.
O Museu das Terras de Basto é um museu da Câmara Municipal de Cabeceiras de Basto, possuindo três núcleos: o Núcleo Ferroviário de Arco de Baúlhe, o Núcleo Museológico do Baixo Tâmega e a Casa da Lã. É sobretudo este último núcleo que se aproxima ao conceito de museu comunitário. A Casa da Lã localiza-se na freguesia de Bucos. Aí existem teares, lã e espaço para o convívio de dez mulheres, que, por gosto, se reúnem todas as 5.as feiras à tarde para pôr a conversa em dia e para se dedicarem à lã – lavar, secar, esguedelhar, cardar, emanelar, fiar, ensarilhar, dobar, encher canelas, tecer e tricotar. The Museu de Terras de Basto is a museum of the Municipal Council of Cabeceiras de Basto, with three cores: the Arco de Baúlhe Railway Center, the Baixo Tâmega Museum Center and the Casa da Lã. It is especially this last nucleus that approaches the concept of community museum. A Casa da Lã is located in Bucos parish. There are looms, wool and space for ten women, who, for pleasure, meet every afternoon in the afternoon to catch up and to devote themselves to wool - washing, drying, spreading, carding, emanating, spinning, tinkering, folding, stuffing, weaving and knitting.
Neste vídeo poderá visualizar uma das fases do trabalho da lã feito pelas artesãs da freguesia de Bucos (Cabeceiras de Basto): o rodar.
O museu privilegia a preservação in situ de coleções e edifícios, a incorporação de espólios etnográficos e oficinais que espelhem a cultura local, e a integração no Museu, a título de depósito, dação ou doação, de outras coleções ou objetos significativos para a memória local.A partir de 2003 o museu criou o Arquivo de Fontes Orais (AFO), que tem como objectivo a valorização das memórias das pessoas do concelho como fontes para a construção da História Local, através de entrevistas realizadas a determinados grupos sócio-profissionais e a pessoas anónimas. A nossa finalidade é constituir um Centro de Documentação que promova uma abertura do Museu à comunidade de forma a melhorar o conhecimento sobre o território e a contribuir para o maior reforço da identidade local. The museum privileges the preservation in situ of collections and buildings, the incorporation of ethnographic and workshop spools that reflect the local culture, and the integration in the Museum, as a deposit, donation or donation, of other collections or objects significant to the local memory Since 2003, the museum has created the Archives of Oral Sources (AFO), which aims to highlight the memories of the people of the county as sources for the construction of Local History, through interviews with certain socio-professional groups and the anonymous people. Our purpose is to set up a Documentation Center to promote the opening of the Museum to the community in order to improve knowledge about the territory and to contribute to the further strengthening of the local identity.
O Museu de Portimão surge a 17 de Maio de 2008, localizado numa antiga fabrica de conserva do século XIX. Tem sido um pólo de difusão cultural e espaço de descoberta das origens e da evolução da comunidade, do seu território e dos aspetos mais marcantes da sua história industrial e marítima. A sua exposição de referência “Portimão, Território e Identidade”, representa uma síntese histórica do percurso socio-económico e cultural das populações que aqui viveram e marcaram a singularidade da sua identidade e território. O Museu de Portimão tem ainda o projeto "O Museu bate à porta da nossa história" que surge como resposta às necessidades de iniciar um trabalho permanente de recolha etnográfica do património cultural (material e imaterial), a desenvolver prioritariamente junto das comunidades rural e marítima (sobretudo de Mexilhoeira Grande e Alvor), de forma a estabelecer uma maior ligação com estes autênticos "professores não formais", com os seus testemunhos, representações e histórias de vida. The Museum of Portimão appears on May 17, 2008, located in an old preserved factory of the XIX century. It has been a pole of cultural diffusion and space of discovery of the origins and the evolution of the community, its territory and the most outstanding aspects of its industrial and maritime history. The Museum of Portimão also has the project "The Museum knocks at the door of our history" that emerges as a response to the need to start a permanent work ethnographic collection of cultural heritage (material and immaterial), to develop primarily to the rural and maritime communities (especially Mexilhoeira
A ADPCMR, que tutela o Museu, tem por objectivo contribuir para o desenvolvimento da Comunidade. Respeitando o Ontem, agindo no Hoje e pensando no Amanhã. Tem como objetivos, contribuir para o desenvolvimento da Comunidade; Recolher, preservar e valorizar o Património Cultural; Promover o conhecimento sobre a área de influência. O acervo do museu está composto por 2000 objetos organizados por coleções de atividades económicas, oferecidos na totalidade pela população durante os períodos de recolha âmbito de investigações. Acervo informatizado com a base de dados Museológica InfoMusa. The ADPCMR, which superintends the Museum, aims to contribute to the development of the Community. Respecting Yesterday, acting on Today and thinking about Tomorrow. Its objectives are to contribute to the development of the Community; Collect, preserve and enhance the cultural heritage; Promote knowledge about the area of influence. The collection of the museum consists of 2000 objects organized by collections of economic activities, offered entirely by the population during the collection periods scope of investigations. Computerized collection with the InfoMusa Museological database.
Museu do Linho de Várzea de Calde
Na aldeia de Várzea de Calde, a cerca de 12 km de Viseu, a arquitetura popular da Beira Alta serve de cenário para o Museu do Linho. Aqui é recriado o quotidiano agrícola da região, em áreas como o pátio de serventia, os currais, o lagar, a adega, a cozinha tradicional, o forno caseiro e até o lugar reinventado do tear. Nesta região, as raparigas aprendiam cedo a fiar e as casas de lavoura integravam quase sempre um tear. No Museu, a salvaguarda e preservação da tradição do linho e da lavoura tradicional estão presentes enquanto cultura identitária da região.
Trata-se de um museu construído de raiz, que dissipa com o seu olhar, a Costa Vicentina, na sua parte mais meridional, rica em vestígios do mesolítico ao período árabe, elegendo a aldeia da Carrapateira como o microcosmo dos habitats ribeirinhos desta região. A contribuição excecional da população para a constituição de uma coleção de objetos testemunhas dos usos e costumes locais, cria os alicerces do lema do museu “para todos e por todos”. It is a museum built from scratch, with a magnificent view over the Costa Vicentina, in its southernmost part, rich in traces from the Mesolithic to the Arab period, electing the village of Carrapateira as the microcosm of the habitats bordering this region. The exceptional contribution of the population to the constitution of a collection of objects that testify to local customs and customs creates the foundation of the motto of the museum "from all and for all".
O Museu do Trabalho Michel Giacometti é um museu municipal, criado em Setúbal em 1987. Sediado numa antiga fábrica de conservas de peixe que foi adaptada a museu em 1995. O edifício é constituído por cinco andares e está integrado num antigo bairro de pescadores, salineiros e operárias conserveiras que trabalhavam na ex-fábrica Perienes. O museu dedica-se dominantemente ao património industrial e ofícios urbanos ligados ao comércio, serviços e às antigas fábricas de conserva e litografias sediadas no concelho de Setúbal, possuindo ainda uma coleção de alfaias agrícolas (Michel Giacometti) e de ofícios tradicionais.
O Museu do Trabalho Michel Giacometti é um museu municipal, criado em Setúbal em 1987. Sediado numa antiga fábrica de conservas de peixe que foi adaptada a museu em 1995. O edifício é constituído por cinco andares e está integrado num antigo bairro de pescadores, salineiros e operárias conserveiras que trabalhavam na ex-fábrica Perienes. O museu dedica-se dominantemente ao património industrial e ofícios urbanos ligados ao comércio, serviços e às antigas fábricas de conserva e litografias sediadas no concelho de Setúbal, possuindo ainda uma coleção de alfaias agrícolas (Michel Giacometti) e de ofícios tradicionais. EU-LAC-MUSEUMS pretende levar a cabo uma análise histórica e teórica comparativa dos museus rurais de pequena e média dimensão, e ainda das comunidades a eles associados na União Europeia, América Latina Caraíbas. A base deste projeto relaciona-se com o facto de os museus comunitários permitirem às suas comunidades sub-representadas terem o seu lugar na história, contribuindo para a sustentabilidade ambiental e empoderamento comunitário.
Espaço dedicado às tradições e à cultura, identificando as diversas vivências da comunidade, este primeiro Pólo Museológico do Museu Municipal de Santiago do Cacém foi criado, para servir em primeiro lugar a comunidade, tentando levar a sua população a tomar consciência dos seus valores culturais, de modo a compreender que são simultaneamente “produto de uma identidade cultural e utentes do seu património cultural coletivo”. O Museu aborda a memória de uma sociedade que, nas últimas décadas, se transformou profundamente, bem como a relação de pertença de uma população com o seu território, contribuindo para uma nova consciencialização no âmbito da preservação e valorização dos recursos naturais, patrimoniais e ambientais e para a proteção dos bens culturais, materiais e imateriais, bem como a sua fruição por parte dessa mesma população. A space dedicated to traditions and culture, identifying the diverse experiences of the community, this first Museological Pole of the Municipal Museum of Santiago do Cacém was created to serve the community first, trying to get its population to become aware of their cultural values, in order to understand that they are simultaneously "the product of a cultural identity and users of their collective cultural heritage". The Museum focuses on the memory of a society that, in the last decades, has undergone profound transformation, as well as the relation of belonging of a population with its territory, contributing to a new awareness in the scope of preservation and valorization of natural, patrimonial and environmental resources and for the protection of cultural, material and immaterial goods, as well as their enjoyment by the same population.
O Museu do Trabalho Rural, da Freguesia de Abela, está instalado no edifício que foi o antigo quartel da Guarda Nacional Republicana. Pretende manter viva a memória da vida e dos costumes da comunidade e da região do Alentejo.
Museu do Traje (São Brás de Alportel)
Museu do Traje de São Brás de Alportel ocupa uma área de 5000 m2. O edifício senhorial que ao longo dos últimos 130 anos foi moradia das famílias Dias, Andrade e Sancho, encontra-se rodeado por infraestruturas que satisfaziam as necessidades de uma família abastada de finais do século XIX: casa de criados, mirante, cavalariças, cocheira, oficinas, casas agrícolas e horta. Aqui e ali os equipamentos indispensáveis à vida: poço e nora, moinho de vento, depósitos de água, cisterna, tanque de lavagens, canais de rega... Embora de nítida influência urbana, o edifício retrata o modo de vida de uma família rural e endinheirada do interior algarvio. Os ventos de um romantismo tardio que soprou pelo Algarve durante as últimas décadas de oitocentos, deixaram em São Brás de Alportel este testemunho: pátios interiores, linhas neo-árabes, recantos, reixas, portas rematadas em forma de ferradura. Hoje, os tempos mudaram e como espaço museológico, este conhece um novo uso e diferentes funcionalidades. Há poucos anos, um novo edifício de traço contemporâneo, veio integrar-se na mescla de visões e influências que já existia. O lugar, esse, ganhou um novo fôlego ao abrir as portas a todos, sendo vivido pelas pessoas da terra como ponto de encontro de pessoas e de ideias.
Museu do Traje de São Brás de Alportel
Museu Etnográfico da Alta Estremadura
Fundado e administrado pelo Rancho Folclórico Rosas do Lena, o Museu Etnográfico da Alta Estremadura – Casa da Madalena, reconstitui aspectos significativos da etnografia do norte estremenho. Instalado num edifício dos séculos XVIII/XIX, recuperado para o efeito, recria, no primeiro andar, a casa rural estremenha, que ocupa quatro divisões: Casa de Fora, Cozinha, Quarto, Casa do Tear e Sótão e expõe, noutras divisões, instrumentos musicais, brinquedos, quadros de calcário, dos canteiros da Batalha (executados na mesma pedra do Mosteiro de Santa Maria da Vitória), gravuras, fotografias, pinturas e uma coleção de centenas de miniaturas reproduzindo carros de bois, carroças de muares, arados, charruas, barcos da costa de Leiria, alfaias agrícolas, instrumentos de tecelagem, cestaria, louçaria, “ofertas” e andores. Founded and administrated by Rosas do Lena Folk Group, the Ethnographic Museum of Alta Estremadura - Casa Madalena, reconstitutes significant aspects of this region. Housed in a buliding of the 18th and 19th century, restoured for this purpose, recreates on the firt floor a typical country house of the region, with four divisions: living room, kitchen, bedroom, weaving and an attic. In other rooms there is an exhibition of tradicional music instruments, toys, limestone frames from the of the stoneworkers of Batalha (executed on the same stone as the Monastery of Santa Maria da Vitória), engravings, photographs, paintings and a collection of hundreds of miniatures reproducing ox carts, mule carts, plows, plows, Leiria coast boats, agricultural implements, weaving, basketwork, canteen, offers and andores for religious cerimonies.
Museu Etnográfico de Vila Chã de Sá ou Ecomuseu de Vila Chã de Sá
A estrutura, construída pedra a pedra por artesãos e mão de obra locais, fica à entrada de Vila Chã de Sá. No espaço, há representações de uma memória ligada à produção de bens colectivos que geravam riqueza e faziam a economia mexer: o moinho de água, o lagar de azeite e de vinho, o forno comunitário, as plantações de árvores de fruto, o vinhedo, o poço de água com a cegonha, a cozinha beirã ou os instrumentos agrícolas de antanho.
Museu Etnográfico de Vilarinho da Furna
O Museu Etnográfico é uma criação manifestada pelos antigos habitantes da extinta aldeia comunitária de Vilarinho das Furnas, destacando o prezado empenho do Senhor Dr. Manuel Azevedo Antunes. No ano de 1981, a Câmara Municipal de Terras de Bouro deu início à sua construção consubstanciada no aproveitamento de matéria-prima originária da aldeia. A inauguração do Museu deu-se a 14 de Maio de 1989. O povoado, a vida e a organização comunitária agro-silvo-pastoril, o culto religioso, a dia a dia e as lides domésticas, os ofícios tradicionais (o sapateiro, o carpinteiro e o artesão), tudo isto é retratado neste Museu que deve a sua existência ao desejo e esforço dos antigos habitantes da aldeia. The Ethnographic Museum is a creation manifested by the ancient inhabitants of the extinct community village of Vilarinho das Furnas, highlighting the esteemed commitment of Dr. Manuel Azevedo Antunes. In the year 1981, the Town Hall of Terras de Bouro began its construction consubstanciada in the use of raw material originating from the village. The inauguration of the Museum occurred on May 14, 1989. The village, life and community organization agro-silvo-pastoril, religious worship, day-to-day and domestic tasks, traditional crafts (cobbler, carpenter and craftsman), all this is portrayed in this Museum that must its existence to the desire and effort of the ancient inhabitants of the village.
Trata-se de um museu cuja ideia foi concebida por emigrantes em França originários de Salselas, ideia que mais tarde foi acolhida pelo município local. O núcleo expositivo encontra-se dividido por duas temáticas: O Universo do Homem e a Sociedade. O primeiro tema reparte-se por 12 secções, enquanto o segundo é composto por seis. O visitante começa por aprender as características da região transmontana e da relação que o Homem estabeleceu com a Terra. Essa relação começa pelas técnicas de aquisição, como a caça e a pesca, seguindo-se para a domesticação. Os avanços da História trazem as técnicas de produção, sendo que na região predominavam a moagem dos cereais, a transformação da uva em vinho e a criação de azeite a partir da azeitona. It is a museum whose idea was conceived by emigrants in France originating from Salselas, idea that later was received by the local council. The exhibition center is divided into two themes: The Universe of Man and Society. The first theme is divided into 12 sections, while the second is composed of 6. The visitor begins by learning the characteristics of the Transmontana region and the relationship that Man established with the Earth. This relationship begins with acquisition techniques, such as hunting and fishing, followed by domestication. The advances of history bring the techniques of production, being that in the region they predominated the grinding of the cereals, the transformation of the grape into wine and the creation of olive oil from the olive.
Espaço museológico localizado no lugar de um antigo lagar comunitário. Este museu da aldeia de Caravela foi criado com base em peças oferecidas pela própria população. Após uma recolha de peças entre os habitantes foi criada esta exposição aberta a todos os visitantes da aldeia. Para ver o museu basta pedir no café situado mesmo ao lado, e será aberta a porta, mostrado e descrito em todo o pormenor. No andar superior pode ver móveis e utensílios de cozinha, um tear e tudo o necessário para a confeção do tecido em linho, alfaias agrícolas e de carpintaria, paramentos litúrgicos. No andar inferior pode ainda ver como era um lagar para produção de vinho. The museum is located in the place of an old community winery. This museum in the village of Caravela was created based on pieces offered by the population itself. After a collection of pieces among the inhabitants was created this exhibition open to all visitors to the village. To see the museum just ask at the cafe located just next door, and the door will be opened, shown and described in every detail. Upstairs you can see furniture and kitchen utensils, a loom and everything needed for the confection of linen cloth, agricultural implements and carpentry, liturgical vestments. Downstairs you can still see what a winery was like for wine production.
Museu rural, de iniciativa privada, apoiado pela Junta de Freguesia, esta estabelecido num antigo lagar comunitário, este espaço alberga algum espólio de cariz etnológico, que testemunham as atividades agrossilvopastoris e artesanais tradicionais, assim como o mobiliário e os utensílios da casa popular. This rural museum of private iniciative, later supported by the local governement (Junta de Freguesia), is established in an old community winery, this space houses some estate of ethnological character, which testify the agrosilvopastoris activities and traditional crafts, as well as the furniture and utensils of the popular house.
Museu Rural do Marão/Casa do Oleiro
Este museu apresenta-nos um vasto leque de espólio, rural, artístico e popular; nele podemos apreciar saberes populares como a tecelagem, compreender a casa rural, descobrir usos e costumes das gerações que nos precedem. Desta-se o seu núcleo na Casa do Oleiro onde ainda se produz de modo tradicional a conhecida olaria de barro negro de Gondar, cuja cozedura é efetuada em soenga. This museum presents us with a wide range of estates, rural, artistic and popular; in it we can appreciate popular knowledge such as weaving, understand the rural house, discover uses and customs of generations that precede us. Its core is located in the House of the Potter where the traditional clay pottery of Gondar is still produced in a traditional way, whose cooking is carried out in soenga.
Situado no Complexo Desportivo e Cultural da Quinta das Pratas, este espaço constitui um dos locais de maior interesse do concelho, reunindo elementos que permitem conhecer a história e a tradição da terra, assim como as principais atividades que contribuem para a preservação da identidade deste concelho ribatejano.O museu possui diferentes espaços temáticos, a começar pela exposição permanente “À Descoberta da Cultura Rural”, que apresenta os elementos geográficos, etnográficos e históricos do concelho. A taberna tradicional, reconstituída com todos os elementos característicos deste espaço de convívio, é um dos espaços mais simbólicos do museu. Located in the Sports and Cultural Complex of Quinta das Pratas, this space is one of the most interesting places of the county, bringing together elements that allow to know the history and the tradition of the land, as well as the main activities that contribute to the preservation of the identity of this county The museum has different thematic spaces, starting with the permanent exhibition "To the Discovery of Rural Culture", which presents the geographical, ethnographic and historical elements of the county. The traditional tavern, reconstituted with all the characteristic elements of this convivial space, is one of the most symbolic spaces of the museum.
Cartaxo Museu Rural e do Vinho do Concelho do Cartaxo
Situado no Complexo Desportivo e Cultural da Quinta das Pratas, este espaço constitui um dos locais de maior interesse do concelho, reunindo elementos que permitem conhecer a história e a tradição da terra, assim como as principais atividades que contribuem para a preservação da identidade deste concelho ribatejano.
O Museu Etnográfico do Grupo Típico de Ançã
O Museu Etnográfico do Grupo Típico de Ançã está situado na parte mais antiga desta vila. É uma casa setecentista, que apresenta no seu exterior janelas de guilhotina com aventais de pedra branca. No 1º andar é possível recordar como viviam os nossos antepassados, visitando o quarto e a cozinha/sala. O rés-do-chão está a ser utilizado como sala de exposição permanente de alfaias agrícolas, brinquedos de criança, peças de vestuário, peças de artesanato local, lembranças e recordações dos lugares por onde o grupo já passou. É igualmente utilizado para a realização de exposições temáticas temporárias.
Rome Museum, located in Walker in the Parish of St. Andrew, is an extended collection of items and artefacts from Grenada’s past. Collected items range from fragments of ‘Janet’ houses to workers’ lunch boxes to an outside mud oven. The collection is a testament to the everyday lives of Grenadians from the 1950’s onwards covering all aspects of life. Galleries include Lifestyle and Sports, Work and Labour and Domestic. The Owner/Curator, Mr. Rome provides a guided tour through his galleries, relating personal anecdotes to bring his collection to life. A desire to educate others whilst preserving the lifestyle and culture of Grenadians lead to the museum’s establishment on the family’s land. El Museo Rome, ubicado en Walker en la parroquia de San Andrés, es una colección ampliada de artículos y artefactos del pasado de Granada. Los artículos recolectados van desde fragmentos de casas 'Janet' hasta cajas de comida para trabajadores y un horno de barro exterior. La colección es un testimonio de la vida cotidiana de los granadinos a partir de la década de 1950 que abarca todos los aspectos de la vida. Las galerías incluyen Forma de Vida y Deportes, Trabajo y Vida Doméstica. El propietario / curador, el Sr. Rome ofrece una visita guiada por sus galerías, relatando anécdotas personales para dar vida a su colección. El deseo de educar a otros mientras se preserva el estilo de vida y la cultura de los granadinos lleva al establecimiento del museo en la tierra de la familia.
The Scottish Fisheries Museum tells the stories of the boats, fish and folk that have underpinned this nationally important industry from prehistoric times to the present. The museum thrives on its links to fishing communities around Scotland to care for and preserve its recognised collection and to deliver programmes, events and activities aimed at keeping traditional skills alive. El Scottish Fisheries Museum cuenta las historias de los barcos, peces e personas que han sostenido esta industria de importancia nacional desde la prehistoria hasta el presente. El museo se nutre de sus vínculos con las comunidades pesqueras de Escocia para cuidar y preservar su reconocida colección y ofrecer programas, eventos y actividades con el fin de mantener vivas las técnicas tradicionales.
Scottish Fisheries Museum/ El Museo Escocés de la Pesca
The Scottish Fisheries Museum was set up to celebrate the fishing heritage of Scotland. It is based in Anstruther, Fife, which was a very important fishing town up until the 20th century. The museum charts how, over time, the fishing industry came to be such a huge part of the lives of Scottish people. It shows the industry from both the sea and the shore - there are vast collections of items from the community, including photographs and domestic equipment, as well as a variety of fishing vessels, in both model and original form. El objetivo del Museo Escocés de la Pesca es celebrar el patrimonio pesquero de Escocia. El museo está situado en Anstruther, en el municipio de Fife, lo cual era un pueblo pesquero muy importante hasta el siglo XX. Muestra cómo, con el tiempo, la industria pesquera viene a ser una parte muy importante de la vida de la gente escocesa, y se ve la industria del mar y de la costa - hay colecciones vastas de objetos de la comunidad, incluso las fotografías y los artículos de menaje, además de buques pesqueros, en la forma original y de modelo.
This collaboration between Europe, Latin America and the Caribbean is designed to facilitate the bringing together of rural communities, to enable the sharing of knowledge and experiences to protect their Cultural Heritage, increase social cohesion and enhance community memory. Esta colaboración entre Europa, América Latina y el Caribe está diseñada para facilitar la reunión de las comunidades rurales para permitir el intercambio de conocimientos y experiencias para proteger su Patrimonio Cultural, aumentar la cohesión social y mejorar la memoria de la comunidad. Cette collaboration entre l'Europe, l'Amérique latine et les Caraïbes vise à faciliter le rapprochement des communautés rurales, à permettre le partage des connaissances et des expériences pour protéger leur Patrimoine Culturel, accroître la cohésion sociale et renforcer la mémoire communautaire.
The Museum of Islay Life / El Museo de la Comunidad de la Isla de Islay
The Museum of Islay Life is managed by the Islay Museums Trust and has as its principal aim the conservation and display of items illustrative of life in Islay, from prehistoric to recent times. Since then, the Museum, with the generous help of islanders donating material of all kinds, has built up a main collection of over 2700 objects. El Museo de la Comunidad de la Isla de Islay está gestionado por el Trust de los Museos de la Isla de Islay, y tiene como su objeto principal la conservación y la visualización de artículos que son ilustrativos de la vida de la isla, desde la prehistoria hasta los últimos tiempos. Desde entonces, el Museo, con la ayuda generosa de los isleños que han donado varios artículos, ha creado una colección principal de más de 2700 objetos.
Museum of Islay Life, Islay, Scotland This collaboration between Europe, Latin America and the Caribbean is designed to facilitate the bringing together of rural communities, to enable the sharing of knowledge and experiences to protect their Cultural Heritage, increase social cohesion and enhance community memory. Esta colaboración entre Europa, América Latina y el Caribe está diseñada para facilitar la reunión de las comunidades rurales para permitir el intercambio de conocimientos y experiencias para proteger su Patrimonio Cultural, aumentar la cohesión social y mejorar la memoria de la comunidad. Cette collaboration entre l'Europe, l'Amérique latine et les Caraïbes vise à faciliter le rapprochement des communautés rurales, à permettre le partage des connaissances et des expériences pour protéger leur Patrimoine Culturel, accroître la cohésion sociale et renforcer la mémoire communautaire.
Localizado na Rua de Santa Madalena, em Entradas (Castro Verde), o Museu da Ruralidade assume um importante papel na salvaguarda do património imaterial do Campo Branco e, em particular, na criação de um espaço de diálogo entre o património material e imaterial, perspectivando a salvaguarda e o estudo da especificidade cultural e social deste território situado entre as faldas das serras algarvias e os barros de Beja. Numa área de aproximadamente 500 m2, este espaço divide-se em três áreas expositivas: a zona de exposições temporárias onde estão patentes algumas alfaias agrícolas e objetos representativos da ruralidade campaniça; a zona de exposições semi-permanentes onde se poderá visitar uma oficina do ferreiro, o espólio do último abegão de Castro Verde e algumas miniaturas de alfaias agrícolas e uma área particularmente vocacionada à oralidade [Núcleo da Oralidade], tendo como pano de fundo a Feira de Castro e a viola campaniça enquanto manifestações singulares do património imaterial desta região.
Museu da Ruralidade, Entradas, Castro Verde
Localizado na Rua de Santa Madalena, em Entradas (Castro Verde), o Museu da Ruralidade assume um importante papel na salvaguarda do património imaterial do Campo Branco e, em particular, na criação de um espaço de diálogo entre o património material e imaterial, perspectivando a salvaguarda e o estudo da especificidade cultural e social deste território situado entre as faldas das serras algarvias e os barros de Beja. Numa área de aproximadamente 500 m2, este espaço divide-se em três áreas expositivas: a zona de exposições temporárias onde estão patentes algumas alfaias agrícolas e objetos representativos da ruralidade campaniça; a zona de exposições semi-permanentes onde se poderá visitar uma oficina do ferreiro, o espólio do último abegão de Castro Verde e algumas miniaturas de alfaias agrícolas e uma área particularmente vocacionada à oralidade [Núcleo da Oralidade], tendo como pano de fundo a Feira de Castro e a viola campaniça enquanto manifestações singulares do património imaterial desta região. EU-LAC-MUSEUMS pretende levar a cabo uma análise histórica e teórica comparativa dos museus rurais de pequena e média dimensão, e ainda das comunidades a eles associados na União Europeia, América Latina Caraíbas. A base deste projeto relaciona-se com o facto de os museus comunitários permitirem às suas comunidades sub-representadas terem o seu lugar na história, contribuindo para a sustentabilidade ambiental e empoderamento comunitário.
Foi criado pela Câmara Municipal de Mértola em 2004, é composto por vários núcleos dispersos geograficamente, na sua maioria localizados no Centro Histórico de Mértola. Tem sido a sua função estudar, inventariar, tratar, conservar e divulgar todo o espólio que, ao longo dos últimos 30 anos, foi sendo descoberto nas inúmeras intervenções patrimoniais e arqueológicas. O património é assim um dos vectores fundamentais para o desenvolvimento do concelho de Mértola, pois é aquilo que nos diferencia de todos os outros concelhos do país, é a nossa mais valia. Núcleos: Núcleo da Basílica Paleocristã ; Núcleo da Achada de São Sebastião; Núcleo Romano; Núcleo Islâmico; Núcleo de Arte Sacra; Forja do Ferreiro; Núcleo de Tecelagem; Núcleo do Castelo; Alcaçova; Casa do Mineiro; Casa de Mértola; Alcaria dos Javazes e Mosteiro.
O Museu é composto por vários núcleos dispersos geograficamente, na sua maioria localizados no Centro Histórico de Mértola. Tem sido a sua função estudar, inventariar, tratar, conservar e divulgar todo o espólio que, ao longo dos últimos 30 anos, foi sendo descoberto nas inúmeras intervenções patrimoniais e arqueológicas. Em finais dos anos setenta do século passado foi iniciado o projeto que hoje é conhecido como Mértola Vila Museu, os seus objetivos eram: o envolvimento da população, numa tentativa de consolidar a sua identidade e contribuir para o desenvolvimento local. A grande opção de fundo do projeto integrado foi a aposta na divulgação local que passa necessariamente pela musealização. Este projeto realizado por Cláudio Torres e Santiago Macias começou com um estudo arqueológico da vila, realizando várias escavações, das quais resultaria grande parte do espólio a estar presente no museu.
O Museu da Comunidade Concelhia da Batelha tem como missão o estudo, a preservação, a valorização e a divulgação do Património, promovendo a Cultura desta região. Para tal, apresenta um programa expositivo dinâmico, de cariz pedagógico, que envolve toda a comunidade. Um novo espaço cultural junto ao Mosteiro de Santa Maria da Vitória que revela um percurso com mais de 250 milhões de anos percorrido atravésdos vestígios fósseis e geológicos do Território. Os primeiros registos humanos; a Cidade Romana de Collippo; a Batalha de Aljubarrota e a progressiva construção do Mosteiro; a vida e a cultura das gentes, a Natureza e a Biodiversidade... Um valioso espólio, complementado com recursos multimédia interativos. Um Museu acessível a todos.
O Museu das Minas de São Domingos está composto por doIs pólos museológicos. O primeiro, a Casa do Mineiro, surgiu em colaboração como Museu de Mértola e mostra a realidade física do espaço de vivência de uma família mineira. Os objetos, as memórias, os símbolos e as carências estão nela representados. Acima de tudo, pretende provocar a imaginação e a sensibilidade do visitante para que ele próprio, num exercício simples, possa procurar conceber a vivência diária duma família dentro de um espaço de 16 m2. O segundo corresponde ao núcleo do Cine Teatro da Mina de São Domingos, espaço que acolhe regularmente exposições e iniciativas de debate relacionadas com a história e património mineiro. The Mines Museum of São Domingos is composed by two museological poles. The first one, Casa do Mineiro, came from the colaboration between the Museum of Mértola and shows the physical reality of the living space of a family from the mines. The objects, the memories, the symbols and the needs are represented in it. Above all, it aims to cause the imagination and sensibility of the visitor so that the museum, in a simple exercise, can try to conceive the daily experience of a family within a space of 16 m2. The second corresponds to the nucleus of the Cine Teatro da Mina de São Domingos, a space that regularly hosts exhibitions and discussion initiatives related to history and mining heritage.
O Museu das Minas de São Domingos está composto por dos pólos museológicos. O primeiro, a Casa do Mineiro, surgiu em colaboração como Museu de Mértola e mostra a realidade física do espaço de vivência de uma família mineira. Os objetos, as memórias, os símbolos e as carências estão nela representados. Acima de tudo, pretende provocar a imaginação e a sensibilidade do visitante para que ele próprio, num exercício simples, possa procurar conceber a vivência diária duma família dentro de um espaço de 16 m2. O segundo corresponde ao núcleo do Cine Teatro da Mina de São Domingos, espaço que acolhe regularmente exposições e iniciativas de debate relacionadas com a história e património mineiro. EU-LAC-MUSEUMS pretende levar a cabo uma análise histórica e teórica comparativa dos museus rurais de pequena e média dimensão, e ainda das comunidades a eles associados na União Europeia, América Latina Caraíbas. A base deste projeto relaciona-se com o facto de os museus comunitários permitirem às suas comunidades sub-representadas terem o seu lugar na história, contribuindo para a sustentabilidade ambiental e empoderamento comunitário.
O âmbito de intervenção do Ecomuseu de Barroso abrange a maioria dos propósitos convencionalmente atribuídos aos museus. Com consciência plena da necessidade de cumprir esse conjunto de funções, pretende assumir-se como elemento âncora da estratégia de desenvolvimento integrado e sustentável do território barrosão. O Ecomuseu de Barroso iniciou atividade no momento em que começou a trabalhar com as instituições locais e as pessoas. Sem estar confinado a um edifício ou a um conjunto de edifícios, nem a horários de visita, dir-se-ia que se entra no Ecomuseu de Barroso quando, vindos de outros territórios, se transpõe qualquer uma das estradas que nos trazem a Barroso. O Ecomuseu de Barroso integra as funções de documentação, investigação e interpretação dos valores culturais e naturais do território barrosão e, deste modo, contribuir para reforçar a identidade cultural da comunidade, revitalizando a relação desta com o seu espaço geográfico - "espaço humanizado".
O Ecomuseu de Barroso afirma-se como fiel representante da Identidade do povo e motor de formação, participação, cooperação, inovação e mobilização. O Património Imaterial é a grande pérola deste museu, assumindo a recolha de lendas, tradições, saberes antigos e ofícios acabados, o centro de toda a estratégia de investigação e da comunicação cultural. Desde 2002 que a recuperação de património, a par do envolvimento da comunidade local foi dando passos lentos, mas consistentes, na valorização da Identidade local. Em Montalegre, o Espaço Padre Fontes, que concentra as funções de natureza organizativa, com vista à dinamização e à gestão do “museu vivo”.
O Ecomuseu de Ribeira de Pena pretende preservar e divulgar o património cultural da comunidade ribeirapenense, assim como promover e dinamizar a ação cultural na sua região de implantação. Integra os vários museus do município instalados em estruturas de grande significado para a comunidade que tem um papel fundamental na identificação e valorização do seu património. São diferentes os seus núcleos como são diferentes as vertentes do património da sua intervenção, criando uma rede de museus interligada e um roteiro cultural na região. Trata-se de um museu polinucleado composto pelo: Museu da Venda Nova; Casa de Camilo; Casa da Cultura-Museu da Escola; Centro de Interpretação-Museu do Linho; Centro de Estudos Regionais; Espaço Santa Marinha; Casa do Minério-Museu do Volfrâmio; Centro dos Vinhos Verdes. The Ecomuseum of Ribeira de Pena intends to preserve and disseminate the cultural heritage of the community of Ribeira de Pena, as well as to promote and stimulate cultural action in its region of implantation. It integrates the several museums of the municipality installed in structures of great significance for the community that plays a fundamental role in the identification and valorisation of its heritage. Its nuclei are different, as are the heritage aspects of its intervention, creating an interconnected network of museums and a cultural itinerary in the region. It is a polynuclear museum composed by: Venda Nova Museum; House of Camilo; House of Culture-School Museum; Center of Interpretation-Museum of Flax; Center for Regional Studies; Space Santa Marinha; House of Ore-Museum of the Wolfram; Center of Green Wine.
Ecomuseu Ribeira de Pena - Museu do Linho
O Ecomuseu de Ribeira de Pena pretende preservar e divulgar o património cultural da comunidade ribeirapenense, assim como promover e dinamizar a ação cultural na sua região de implantação. Integra os vários museus do município instalados em estruturas de grande significado para a comunidade que tem um papel fundamental na identificação e valorização do seu património. São diferentes os seus núcleos como são diferentes as vertentes do património da sua intervenção, criando uma rede de museus interligada e um roteiro cultural na região.
A missão da Casa do Cante é a salvaguarda do cante Alentejano, cuja visão é a sustentabilidade do território através da Identidade, e onde os objetivos são criar projetos que autossustentem e valorizem os elementos de uma identidade em constante dinâmica.O projeto pretende ser uma plataforma entre as pessoas, os grupos e as comunidades, detentoras dos bens culturais imateriais, entre os investigadores e os centros de investigação dedicados a esta área. O edifício integra um centro de documentação, uma galeria de exposições temporárias e um auditório. No centro de documentação o visitante pode aceder a toda a informação sobre o cante Alentejano, assim como a bibliografia em diferentes suportes sobre a polifonia tradicional em Portugal, no Mediterrâneo e no Mundo. The mission of Casa do Cante is to safeguard the Cente Alentejano, whose vision is the sustainability of the territory through Identity, and where the objectives are to create projects that self-sustain and value the elements of an identity in constant dynamics.The project intends to be a platform between individuals, groups and communities, holders of intangible cultural goods, between researchers and research centers dedicated to this area and between agents of the cultural economy. The building includes a documentation center, a gallery of temporary exhibitions, and an auditorium, a cafeteria and a shop. In the documentation center the visitor can access all the information about cante Alentejano, as well as the bibliography in different supports on the traditional polyphony in Portugal in the Mediterranean and in the World.
Centro Interpretativo da Máscara Ibérica
Este espaço cultural dedicado à Máscara e às tradicionais festas ibéricas que envolvem o seu uso conta com locais de exposição, mediateca, fototeca e uma biblioteca, e pretende a valorização, promoção e divulgação da Máscara, património cultural universalmente reconhecido.
O Museu da Terra de Miranda evoca o tempo longo do planalto mirandês. A visita permite descobrir traços característicos da vida social e cultural de uma região com uma forte identidade. O Museu expõe coleções de carácter cultural, etnográfico e artístico desta região; recolhe uma amostra da vida dos povos da Terra de Miranda, mas toda a região é um Museu vivo, de características únicas e cultura própria, bem expressas na língua mirandesa (segunda língua oficial da República Portuguesa desde 1998), nas danças e na música, no teatro e na religiosidade popular, na gastronomia, nas formas de economia e na maneira de ser deste povo que vive do campo e da pecuária
No Museu da Terra de Miranda temos colecções de etnologia, testemunhos da ancestralidade e tradições do povo mirandês, destacando-se o seu vestuário tradicional, os tituais, a dança dos paliteiros e recriação de espaços tradicionais.
O Museu da Terra de Miranda evoca o tempo longo do planalto mirandês. A visita permite descobrir traços característicos da vida social e cultural de uma região com uma forte identidade.
Museu Agrícola de Fermentões
O Museu da Agricultura de Fermentões, que integra a valência cultural da Casa do Povo de Fermentões, está situado na freguesia de Fermentões, e dista cerca de 4 Km do centro histórico da cidade de Guimarães. O Museu possui diversas salas onde podem ser apreciadas peças ligadas ao trabalho e à vida agrícola da região, bem como um vasto espólio fotográfico e documental, destacando-se as seguintes exposições: o vinho, o trabalho do linho, o pão, a oficina do ferreiro, moinhos de água, a casa do agricultor, interpretada pela cozinha e quarto de dormir. Um vasto e rico espólio representado em algumas centenas de peças que marcam, de forma indelével, o trabalho árduo das gentes da nossa terra. The Fermentões Museum of Agriculture, which integrates the cultural valence of Fermentões' Casa do Povo (House of the People), is situated in the parish of Fermentões, and is about 4 km from the historic center of the city of Guimarães. The Museum has several rooms where you can enjoy pieces related to the work and the agricultural life of the region, as well as a vast photographic and documentary collection, highlighting the following exhibitions: wine, linen work, bread, blacksmith, water mills, the farmer's house, played by the kitchen and bedroom. A vast and rich estate represented in a few hundred pieces that mark, indelibly, the hard work of the people of our land.
O Museu possui diversas salas onde podem ser apreciadas peças ligadas ao trabalho e à vida agrícola da região, bem como um vasto espólio fotográfico e documental.
O Museu da Luz (Luz, Mourão, Alentejo) afirma-se como singular espaço de cultura e de identidade. Erigido entre a aldeia da Luz e a margem do lago de Alqueva, é o espaço interpretativo das profundas alterações ocorridas neste território, decorrentes do aparecimento da barragem e da submersão de uma aldeia. O próprio edifício em xisto, diversas vezes premiado, é de uma arquitetura marcante e perfeitamente integrada na paisagem. As suas exposições - temporárias e de natureza diversa - têm como eixo de abordagem as temáticas de fundo do museu: a identidade, a história, a paisagem deste lugar. Leituras múltiplas e diversas que reativam memórias e significados para a reconstrução do lugar. O acervo do Museu da Luz é constituído por coleções representativas da história e património cultural da região. A coleção de natureza etnográfica foi doada pelos habitantes da Aldeia da Luz, no âmbito do processo de constituição do Museu conduzido por Benjamim Pereira. As coleções arqueológicas são provenientes das escavações efetuadas pela EDIA, S.A., no âmbito do Plano de Minimização de Impactes Patrimoniais, prévio ao enchimento da Barragem de Alqueva. O acervo audiovisual tem a sua génese no processo de constituição do Museu e da mudança da comunidade para a nova aldeia da Luz, sendo continuamente fomentado. O Museu preconiza exposições de cariz artístico partindo dos temas que o caracterizam.
O Museu da Luz (Luz, Mourão, Alentejo) afirma-se como singular espaço de cultura e de identidade. Erigido entre a aldeia da Luz e a margem do lago de Alqueva, é o espaço interpretativo das profundas alterações ocorridas neste território, decorrentes do aparecimento da barragem e da submersão de uma aldeia. O próprio edifício em xisto, diversas vezes premiado, é de uma arquitetura marcante e perfeitamente integrada na paisagem. As suas exposições - temporárias e de natureza diversa - têm como eixo de abordagem as temáticas de fundo do museu: a identidade, a história, a paisagem deste lugar. Leituras múltiplas e diversas que reativam memórias e significados para a reconstrução do lugar.
Unst Heritage Trust and Unst Boat Haven are dedicated to the cultural heritage and history of this most northerly island in Scotland. The collection includes fine original wooden boats of various types that have been in use over the past 140 years. El Unst Heritage Trust y el Unst Boat Haven están dedicados al patrimonio cultural y a la historia de esta isla más septentrional de Escocia. La colección incluye los barcos de madera originales de varios tipos que han estado en uso durante los últimos 140 años.
Unst Heritage Centre, Shetland Islands, Scotland
Unst Heritage Centre, Shetland Islands, Scotland This collaboration between Europe, Latin America and the Caribbean is designed to facilitate the bringing together of rural communities, to enable the sharing of knowledge and experiences to protect their Cultural Heritage, increase social cohesion and enhance community memory. Esta colaboración entre Europa, América Latina y el Caribe está diseñada para facilitar la reunión de las comunidades rurales para permitir el intercambio de conocimientos y experiencias para proteger su Patrimonio Cultural, aumentar la cohesión social y mejorar la memoria de la comunidad. Cette collaboration entre l'Europe, l'Amérique latine et les Caraïbes vise à faciliter le rapprochement des communautés rurales, à permettre le partage des connaissances et des expériences pour protéger leur Patrimoine Culturel, accroître la cohésion sociale et renforcer la mémoire communautaire.
The Costa Rica festival video forms part of a suite of videos being hosted on the project website and database to celebrate cultural heritage, intergenerational transmission of knowledge, and youth empowerment between regions. This collaboration between Europe, Latin America and the Caribbean is designed to facilitate the bringing together of rural communities, to enable the sharing of knowledge and experiences to protect their Cultural Heritage, increase social cohesion and enhance community memory. Esta colaboración entre Europa, América Latina y el Caribe está diseñada para facilitar la reunión de las comunidades rurales para permitir el intercambio de conocimientos y experiencias para proteger su Patrimonio Cultural, aumentar la cohesión social y mejorar la memoria de la comunidad. Cette collaboration entre l'Europe, l'Amérique latine et les Caraïbes vise à faciliter le rapprochement des communautés rurales, à permettre le partage des connaissances et des expériences pour protéger leur Patrimoine Culturel, accroître la cohésion sociale et renforcer la mémoire communautaire.
El Museu del Palmito de Aldaia (MUPA) es el centro de difusión de la artesanía y el arte del abanico de Aldaia y la Comunidad Valenciana. Está situado en la Casa de la Llotgeta, un edificio señorial de estilo renacentista de finales del siglo XVI y principios del XVII. En su interior encontramos una extensa representación de abanicos antiguos y actuales, con cronologías que van desde el siglo XVIII hasta nuestros días, así como un amplio repertorio de maquinaria tradicional, piezas y utensilios típicos del proceso de elaboración del abanico. Una colección extraordinaria en la cual se puede apreciar los diferentes estilos, modas y materiales utilizados a lo largo de su historia. The Museu del Palmito of Aldaia (MUPA) is the centre of dissemination of craftsmanship and the art of fan making of Aldaia and the Valencian Community. It is located in the Casa de la Llotgeta, a Renaissance-style mansion from the late 16th and early 17th centuries. In its interior, we find an extensive collection of fans, both past and present, dating from the eighteenth century up to our times, and also a wide range of traditional machinery, with typical pieces and tools for the production of fans. An extraordinary collection in which you can appreciate the different styles, fashions and materials used throughout its history.
Ecomuseu da Terra de Miranda - Terra Mater
O Ecomuseu Terra Mater – Ecomuseu de la Tierra de Miranda centra-se nos quatro elementos primordiais – a água, a terra, o fogo e o ar – propondo atividades de dinamização e de valorização relacionadas com estes elementos e com as práticas tradicionais desenvolvidas na região. Trata-se também de um museu associado a cultura e à língua mirandesa através da Associação Frauga que visa: Estudar, salvaguardar e defender o património cultural e natural do termo de Picote; Promover e desenvolver acções de sensibilização e formação que valorizem os recursos humanos locais, com vista à prossecução dos fins estatutários; Promover o desenvolvimento local, entendido como processo de melhoria das condições de sociais e económicas de vida da aldeia; Zelar de um modo geral pelos interesses de Picote.
O Ecomuseu Terra Mater – Ecomuseu de la Tierra de Miranda centra-se nos quatro elementos primordiais – a água, a terra, o fogo e o ar – propondo atividades de dinamização e de valorização relacionadas com estes elementos e com as práticas tradicionais desenvolvidas na região. Trata-se também de um museu associado a cultura e à língua mirandesa através da Associação Frauga que visa: Estudar, salvaguardar e defender o património cultural e natural do termo de Picote; Promover e desenvolver acções de sensibilização e formação que valorizem os recursos humanos locais, com vista à prossecução dos fins estatutários; Promover o desenvolvimento local, entendido como processo de melhoria das condições de sociais e económicas de vida da aldeia; Zelar de um modo geral pelos interesses de Picote. The Ecomuseum Terra Mater - Ecomuseu de la Tierra de Miranda focuses on the four primordial elements - water, earth, fire and air - proposing activities of dynamization and valorization related to these elements and to the traditional practices developed in the region . It is also a museum associated with culture and the Mirandese language through the Frauga Association which aims to: Study, safeguard and defend the cultural and natural heritage of the Picote term; Promote and develop awareness-raising and training actions that value local human resources, with a view to pursuing statutory purposes; Promote local development, understood as a process of improving the social and economic conditions of village life; Look after Picote's interests in general.
Leighton Rhett Radford "Darcus" Howe (26 February 1943 – 1 April 2017) was a British broadcaster, writer, and racial justice campaigner. Originally from Trinidad, Howe arrived in England as a teenager in 1961, intending to study law and settling in London. There he joined the British Black Panthers, a group named in sympathy with the US Black Panther Party.
Leighton Rhett Radford "Darcus" Howe (26 February 1943 – 1 April 2017) was a British broadcaster, writer, and racial justice campaigner. Originally from Trinidad, Howe arrived in England as a teenager in 1961, intending to study law and settling in London. There he joined the British Black Panthers, a group named in sympathy with the US Black Panther Party. At the age of 18, after leaving QRC, Howe moved to England, arriving on the SS Antilles at Southampton on 11 April 1961, after a two-week journey, and taking a train on to London Waterloo station. He intended to study law, but after two years at Middle Temple he left, becoming more involved with journalism. In 1969 he returned to Trinidad, where his uncle and mentor, radical intellectual C. L. R. James, inspired him to combine writing with political activism. A brief spell as assistant editor on the Vanguard, weekly newspaper of the Oilfields Workers' Trade Union, was followed by a return to Britain.
Walter Daniel John Tull (28 April 1888 – 25 March 1918) was an English professional footballer and British Army officer of Afro-Caribbean descent. He played as an inside forward and half back for Clapton, Tottenham Hotspur and Northampton Town and was the third person of mixed heritage to play in the top division of the Football League after Arthur Wharton and Willie Clarke. He was also the first black player to be signed for Rangers F.C. in 1917 while stationed in Scotland. During the First World War, Tull served in the Middlesex Regiment, including in the two Footballers' Battalions. He was commissioned as a second lieutenant on 30 May 1917 and killed in action on 25 March 1918.
Guy moved from Jamaica to Bristol in 1961 to live with his aunt, as his father thought that he would receive a better education in England, which they called the ‘Mother Country’. Guy was disappointed by the lack of support for Black students and the failure to teach history from a Black perspective. Guy had to teach himself about important Black heroes like Malcolm X, Marcus Garvey, Martin Luther King and Mary Seacole.
Current Trends in the Study of Caribbean Migration
Caribbean Migrants contribution to British Music Culture
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.
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.
Stephen Wiltshire MBE HON FSAI HON FSSAA
For over 30 years, the name Stephen Wiltshire has been synonymous with finely-detailed, vigorous pen and ink drawings of the world’s great cities. These drawings – often drawn from memory and at a great speed -are sketched on the spot at street level ,drawn from the top of skyscrapers or sometimes made after whistle-stop helicopter rides over the city. Stephen regularly travels all over the world on private and public commissions, the most famous of which are his ten city panoramas drawn from memory. His talent is even more incredible considering that he was diagnosed with autism when he was three years old. Born in London in 1974, Stephen was mute as a small child, and found it hard to relate to other people. At the age of five, he was sent to Queensmill School, London, where it soon became apparent that he communicated through the language of drawing. His teachers encouraged him to speak by temporarily taking away his art materials; eventually he uttered his first words – “paper” and “pencil” Oust like Picasso) – but didn’t learn to speak fully until the age of nine. As soon as Stephen’s school started to enter his art into competitions, news of his talent began to spread. Early fans included the late Prime Minister Edward Heath, who bought his drawing of Salisbury Cathedral, made when Stephen was eight. Stephen came to wider public attention when the BBC featured him in the programme, ‘The Foolish Wise Ones’ in 1987, when he was introduced by Sir Hugh as “the best child artist in Britain”. In 2005, he was commissioned to undertake vast panoramic drawings of ten world cities and in 2006 Stephen was recognised for his services to the art world, when he was made a Member of the Order of the British Empire. That year Stephen and his family opened a permanent art gallery in London’s historic Royal Opera Arcade.
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.
The London Borough of Ealing and the black education movement in London bear the imprint of Willis Darnley Wilkie’s tireless struggle for children’s education rights and social justice. Born on the 3rd of October 1926, Willis was one of that early group of post-War migrants recruited from Barbados to come and work on London Transport. Arriving in 1955,he was to spend the following fifty-eight years of his life in public service; initially as a transport worker, then local government officer, social worker, teacher, community organiser, political activist and independent consultant. Like so many others of his generation, his life was spent within the crucible of British racism, an experience that defined the trajectory of his life and his achievements against all the odds. Willis became a social worker with Kensington & Chelsea and then in Ealing, and was highly respected among his colleagues and the entire community. Despite the demands of the job, he made time, with his late wife Edna Wilkie, to act as a one-man citizens advice bureau, law centre, housing and welfare rights service and education advocacy service. He firmly believed in collective action in pursuit of change in society and so pooled his skills and expertise with others. In 1975 he and others founded the Caribbean Parents Group which became a powerful voice and advocate for parents and students. That led in 1980 to the establishment of a Supplementary school. Willis and Edna played a major part in its creation and running over many years. He went on to run small support groups for young people, encouraging them to get training and pursue their careers. He was not only concerned with the social and educational wellbeing of the community, but also its economic disadvantage. Thus, he led the CPG in setting up a credit union in 1990 which operated successfully until 2012. WiIlis was twice nominated for a gong from the Queen and each time he refused, in part because he always felt his achievements were the result of collective effort. He did however, cherish the recognition of his local community. In March 2004 he was given the top prize in Ealing’s inaugural Pride in Our People Award: ‘for the massive difference he made in the lives of those around him’. Other awards, including awards in his name, and recognition have followed.
Born in Belize, Errollyn Wallen gave up her training at the Dance Theater of Harlem, New York to study composition at the universities of London and Cambridge. She founded her own Ensemble X, and its motto ’We don’t break down barriers in music… we don’t see any’ reflects her genuine, free-spirited approach and eclectic musicianship. She has been commissioned by outstanding music institutions from the BBC to the Royal Opera House and performed her songs internationally. Errollyn Wallen’s song Daedalus appears alongside songs by Björk, Sting, Elvis Costello and Meredith Monk on the Brodsky Quartet’s CD Moodswings. The two solo albums Meet Me at Harold Moores and most recently Errollyn feature her songs in her own voice/piano performance and in collaboration with outstanding jazz artists. Her multi-media show Jordan Town, a modern day song cycle with dance and film, was a sell-out hit at the Edinburgh Festival. The Errollyn Wallen Songbook, published by Edition Peters, comprises twelve of her celebrated songs for voice with piano accompaniment. Errollyn Wallen’s quality as a writer for the human voice becomes also apparent in her more classical vocal works: Are You Worried About the Rising Cost of Funerals is a song cycle for soprano and string quartet commissioned by the Birmingham Contemporary Music Group and recorded on her classical solo album The Girl in My Alphabet which received rave reviews at its release; Fairy Scary comprises song settings of fairy stories for voice and small instrumental ensemble and was commissioned by the Wigmore Hall; the Dunedin Consort commissioned and world-premièred Comfort Me with Apples for soloists and instrumental ensemble with words from The Song of Songs in September 2006.
Rudolph Malcolm Walker was born on September 28, 1939 in Trinidad, British West Indies. Walker broke many barriers as a performer, working extensively in theatre and becoming the first black person to star in a major television series. Walker, who arrived in Britain in 1960, established himself as a performer by working in repertory theatres across the country in the 1960s including the Mermaid Theatre, Nottingham Playhouse and the Malvern Theatre. He got his big break in 1972 when he was cast as the main character in the television series, Love Thy Neighbour. Although the show was considered controversial for its use of racist language, it was a popular series that was unprecedented on television at the time. Walker continued to work in theatre, performing at the Tricycle, the Lyric Hammersmith, the Royal Court and the Young Vic. He also appears regularly on the BBC television soap opera, Eastenders.
Lord John David Beckett Taylor, the first black Tory peer was the son of a professional cricketer and a nurse (both Jamaican). He was educated at Moseley Grammar School in Birmingham and Keele University. He was called to the Bar in 1978, when he won the Gray's Inn Advocacy Award. In 1992, he unsuccessfully contested the parliamentary seat of Cheltenham for the Conservatives. He was created a life peer in 1996 - at the age of 42 - at that time making him one of the youngest and only black members of the House of Lords. While only in his first year in the House of Lords, he introduced and carried through all its stages a legislative bill which now sits on the statute bill as the Criminal Evidence Amendment Act. His interest in the media is evidenced by his role as Vice President of the British Board of Film Classification; Vice Chairman of The All Party Parliamentary Media Group and role as presenter with ITV, Sky and the BBC (e.g. Crime Stalker, BBC1's System on Trial with John Taylor, and The John Taylor Programme on BBC Radio 2. John Taylor was Special Advisor to the Home secretary and Minister of State in 1990-91. His portfolio included Inner Cities, Legal services and Crime prevention.
Moira Stuart’s career in radio and television spans three decades. She started her BBC career as a production assistant in Radio’s Talks and Documentaries department in the 1970’s, before moving on to become a BBC Radio 4 announcer and newsreader, and a programme presenter. Moira moved to Television News in 1981 becoming the first female African-Caribbean national newsreader on British screens. She went on to present every type of BBC News bulletin, before leaving in 2007. Moira has presented many programmes on radio and television including “Best Of Jazz” and ” Kings of Cool” on Radio 2, BBC1’s “The Holiday Programme” and “Have 1 Got News For You” in 2007. BBC One’s successful documentary series “Who Do You Think You Are?” featured Moira in 2004. She made a memorable appearance as herself in “Extras” in 2006, and her 2007 documentary “In Search of Wilberforce” offers a new perspective on the abolition of the trans Atlantic slave trade. Her career has been recognised in the industry with numerous awards including the TV and Radio Industries Club Best Newscaster award, and Women of Achievement Television Personality award. In 2001 she received an OBE for her services to broadcasting, and an Honorary Doctorate from the University of Edinburgh in 2006.Shealso received Honorary Doctorates from De Montfort University in 2012, and Canterbury Christ Church University at Canterbury Cathedral in January 2013. Moira has served on various boards and judging panels including Amnesty International, The Royal Television Society, BAFTA, United Nations Association , .the SONY Radio Awards, London Fair Play Consortium ,the Human Genetics Advisory Commission, the Orange Prize for Literature, the BUPA Communications Panel, the IVCA the Queen’s Anniversary Prize, and the Grierson Trust.
Sir Kenneth Stuart was educated at Harrison College in Barbados and Queens University in Belfast. Sir Kenneth served as Professor and Dean of the Department of Medicine at the University of the West Indies, Jamaica; a consultant at University Hospital, Jamaica ; and consultant adviser to the Wellcome Trust. He also served as a past medical adviser to the Commonwealth Secretariat ,London, and as the Honorary Medical and Scientific Adviser to the Barbados High Commission. A former Chairman of the Court of Governors of the London school of Hygiene and Tropical Medicine and a member of the council of Governors of Guys’, Kings and St. Thomas’s Hospitals Medical School, London, Sir Kenneth has published many articles in medical journals on hepatic and cardiovascular disorders. In a letter to ‘The Independent’ in 1996 he called for a national council to respond to emerging medical issues, issues that could not be left entirely to doctors, scientists and lawyers. “It is time that society gave Tiers attention to the processes (other than the current ‘fire- alarm approaches) by which such questions might be dealt with in the future. There is clearly a need for some form of National Ethical Council with a wide-ranging membership, whose role would not only be to review the issues that stemmed or seemed likely to stem from medical scientific advance ” he wrote, "but also to promote community understanding and discussion of them.” Sir Kenneth Stuart is a member of the Academic Board of St. George’s University and a member of the Board of Directors of the UK Trust for the Windward Islands Research and Education Foundation(WINDREF). He is also a patron of Doctors for Human Rights and trustee of London Lighthouse. In 1986, he received an Honorary DSc from Queen’s University in Belfast.
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.
Sir Michael Ronald Stoute is a Barbadian British thoroughbred horse trainer in flat racing. Stoute, (born 22 October 1945) whose father was the Chief of Police for Barbados, left the island in 1964 at the age of 19 to become an assistant to trainer Pat Rohan and began training horses on his own in 1972. Sir Michael Stoute began training in 1972. His first Classic victory came six years later with Fair Salinia in the 1978 Oaks, since when he has never ceased production of top-class winners from Freemason Lodge, Newmarket. Champion trainer ten times, he has won twenty five Classics in England and Ireland, including five Investec Derbies, three Breeders’ Cups, two Japan Cups and the Dubai World Cup. In 2010 the former Derby winner Workforce provided him with his first win in the Qatar Prix de l'Arc de Triomphe.
Born in Barbados on 30 October in 1934,Sam came to the United Kingdom in the 1950s and started his working life with London Transport as a conductor and later a driver of trolley and diesel buses. He worked with London Transport until 1986,when he was retired on medical grounds. His political and trade union activity started in 1958. He played a very active role in the 1958 bus strike and served on the Transport and General Workers Union until his retirement. He campaigned for changes to the 1968 Race Relations Act and stood on the Home Secretary’s Standing Advisory Council on Race Relations for seven years. In 1982 he became the first Black Mayor of the London Borough of Hackney, having served as a Council Member of Council from 1968 to 1986, and Member of the Lea Valley Regional Park Authority. He served as a Member of Industrial Tribunals from 1976 until 1996, and on the Employment Appeals Tribunal from 1984, only retiring on 31 March 2005 at the age of seventy years. From 1967 he served as a Member and/or Chairman of a number of Statutory and Voluntary Bodies, Schools, Colleges, Polytechnics, and the Guildhall University, as well as commercial undertakings. He was a member of the London Employment Conciliation Committee of the Race Relations Board. He spearheaded the Twinning of Barbados with Hackney in 1982 and is a Founder Director Trustee of the Barbados UK Education Bursary Trust. In 2004 he was elected as Chairman of the Democratic Labour Party (UK), an Associate Branch of the Barbados Democratic Labour Party. He is a Trustee of the Hackney/Barbados Education Bursary Trust, Caribbean Families and Friends in Crisis, and was Chairman of the Errol Barrow Memorial Statue Fund. In 1976 he was awarded the MBE for services to Race and Community Relations and in 1984 admitted to the Freedom of the City of London. Appointed a Deputy of the Lord Lieutenant of Greater London, he served until 2010. He was the first recipient of the Caribbean Times Award and has played a significant role in the development of Carnival Arts and Steel Orchestra
Born in Barbados on 30 October in 1934,Sam came to the United Kingdom in the 1950s and started his working life with London Transport as a conductor and later a driver of trolley and diesel buses. He worked with London Transport until 1986,when he was retired on medical grounds. His political and trade union activity started in 1958. He played a very active role in the 1958 bus strike and served on the Transport and General Workers Union until his retirement. He campaigned for changes to the 1968 Race Relations Act and stood on the Home Secretary’s Standing Advisory Council on Race Relations for seven years. In 1982 he became the first Black Mayor of the London Borough of Hackney, having served as a Council Member of Council from 1968 to 1986, and Member of the Lea Valley Regional Park Authority. He served as a Member of Industrial Tribunals from 1976 until 1996, and on the Employment Appeals Tribunal from 1984, only retiring on 31 March 2005 at the age of seventy years. From 1967 he served as a Member and/or Chairman of a number of Statutory and Voluntary Bodies, Schools, Colleges, Polytechnics, and the Guildhall University, as well as commercial undertakings. He was a member of the London Employment Conciliation Committee of the Race Relations Board. He spearheaded the Twinning of Barbados with Hackney in 1982 and is a Founder Director Trustee of the Barbados UK Education Bursary Trust. In 2004 he was elected as Chairman of the Democratic Labour Party (UK), an Associate Branch of the Barbados Democratic Labour Party. He is a Trustee of the Hackney/Barbados Education Bursary Trust, Caribbean Families and Friends in Crisis, and was Chairman of the Errol Barrow Memorial Statue Fund. In 1976 he was awarded the MBE for services to Race and Community Relations and in 1984 admitted to the Freedom of the City of London. Appointed a Deputy of the Lord Lieutenant of Greater London, he served until 2010. He was the first recipient of the Caribbean Times Award and has played a significant role in the development of Carnival Arts and Steel Orchestra.
Zadie Smith, originally Sadie Smith, (born October 27, 1975, London, England), is a British author known for her treatment of race, religion, and cultural identity and for her novels’ eccentric characters, savvy humour, and snappy dialogue. She became a sensation in the literary world with the publication of her first novel, White Teeth, in 2000. Smith, the daughter of a Jamaican mother and an English father, changed the spelling of her first name to Zadie at age 14. She began writing poems and stories as a child and later studied English literature at the University of Cambridge (B.A., 1998). While there, she began writing White Teeth, and at age 21 she submitted some 80 pages to an agent. A frenzied bidding war ensued, and the book was eventually sold to Hamish Hamilton. Smith took several more years to complete the novel, and in 2000 it was published to rave reviews. Set in the working-class suburb of Willesden in northwest London, White Teeth chronicled the lives of best friends Archie Jones, a down-on-his-luck Englishman whose failed suicide attempt opens the novel, and Samad Iqbal, a Bengali Muslim who struggles to fit into British society. Spanning some 50 years, the novel also detailed the trials and tribulations of their families, which prompted some critics to hail Smith as a modern-day Charles Dickens. The ambitious work won numerous awards, including the Whitbread First Novel Award (2000), and was a finalist for the National Book Critics Circle Award and the Orange Prize for Fiction.
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.
Samuel Selvon, in full Samuel Dickson Selvon, (born May 20, 1923, Trinidad — died April 16, 1994, Port of Spain), Caribbean novelist and short-story writer of East Indian descent, known for his vivid evocation of the life of East Indians living in the West Indies and elsewhere. He came to public attention during the 1950s with a number of other Caribbean writers, including V.S. Naipaul. Selvon worked as a wireless operator for a local branch of the Royal Navy during World War II on ships that patrolled the Caribbean; during a slack period he began to write poetry. In 1946 he went to work at the Trinidad Guardian. In 1950 he went to London, where he worked as a clerk for the Indian Embassy and wrote in his spare time. His first novel, A Brighter Sun (1952), describes East Indians and Creoles in Trinidad, their prejudices and mutual distrusts, and the effect of this animosity on a young man. It was the first time that an East Indian author had written with such quiet authority and simple charm about the life of these people. Its sequel, Turn Again Tiger (1958), follows the protagonist on a journey to his homeland. In this novel, which is perhaps his best, Selvon made extensive and striking use of dialect. The Lonely Londoners (1956) describes apparently naive immigrants living by their wits in a hostile city. His later works include a collection of short stories, Ways of Sunlight (1958), and the novels I Hear Thunder (1962), The Housing Lark (1965), Moses Ascending (1975), and Moses Migrating (1983), both sequels to The Lonely Londoners. Highway in the Sun (1991) is a collection of plays.
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.
Cyrille Regis was born on the 9th of February 1958 in Maripasoula, French Guiana, the son of Robert Regis, a labourer from Saint Lucia and Mathilde Regis, a seamstress. His father moved to England in 1962, with the rest of the family, including Cyrille, following a year later. Cyrille grew up in Harlesden, located in the Borough of Brent, and attended Cardinal Hinsley Maths & Computing College. After leaving school, Regis trained as an electrician, earning a City and Guilds diploma; he continued to practise the trade until his move into professional football. Regis was an English international footballer who played as a forward. His professional playing career spanned 19 years, where he made 614 league appearances and scored 158 league goals, most prolifically at West Bromwich Albion and Coventry City. He also won five caps with the England national team. He was a pioneer for black footballers in the game when he played alongside Laurie Cunningham and Brendon Batson at The Hawthorns. Regis, along with Brendon Batson and Laurie Cunningham at West Brom and the likes of Viv Anderson at Nottingham Forest, broke down barriers and demonstrated what could be achieved at a time when high-profile black players were a rarity in Britain.
Medic, political pioneer and labour peer for Hamstead, the late Lord David Pitt of Hampstead was the longest serving black Parliamentarian, having been granted a life peerage in 1975. He spent his life speaking out for the underrepresented black community in Great Britain. Born on the island of Grenada in the West Indies, David Pitt attended Grenada Boys' Secondary school and was raised a devout Roman Catholic and was the second peer of African descent, to sit in the House of Lords. Pitt won a scholarship to come to Britain in 1933 to study medicine at the University of Edinburgh, a returned to the Caribbean to begin his medical career, founding his own practice, and in 1943 married (Lady) Dorothy (née Alleyne).He eventually settled in Trinidad where is passion for social justice continued alongside his medical career. In 1943 Pitt helped found the West Indian National Party and served as its president until 1947. This party was considered radical in its day because it advocated independence for Trinidad within a West Indian federation. He won election to the borough council in San Fernando, Trinidad, where he also served as deputy mayor. In order to lobby the British government for independence, he travelled to Great Britain in 1947. His efforts were unsuccessful, and he grew disillusioned with West Indian politics. He decided to settle in the London district of Euston, where he established a medical practice that he ran for more than 30 years In the 1950s, Pitt was one of the few blacks active in defending the growing black population of Great Britain against discrimination and prejudice. In the 1960s and 1970s, he organized to help immigrants and improve race relations. Pitt became the first and only chair of the Campaign Against Racial Discrimination (CARD), an association founded with the encouragement of Martin Luther King Jr. Pitt believed in fighting racism within the existing power structure. In 1959 Pitt sought to represent London's wealthy Hampstead district in Parliament, becoming the first West Indian black to seek a seat in Parliament. After a campaign plagued by racist insinuations, Pitt lost the election. In 1961, however, Pitt won the election representing the ethnically mixed, working-class Hackney district in London's city government, the London County Council (LCC). In 1964 this body was absorbed by the Greater London Council (GLC). He served as deputy chair of the GLC from 1969 to 1970 and in 1974 became the first black chair, a post he held until 1975. Pitt paved the way for the multiracial politics for which the GLC became known. In 1975 Prime Minister Harold Wilson appointed Pitt to the House of Lords as Lord Pitt of Hampstead. According to Pitt himself, however, his most valued honour was his election as president of the British Medical Association from 1985 to 1986, a position few general practitioners achieve.
Former broadcaster and chair of the Greater London Assembly, Trevor Phillips was born in London in 1953. His parents, wanting him to have the best education, enrolled him at the Queen's College Boys School in Guyana, resulting in him spending the ages between 2 and 17 in either Guyana or London. Despite offers of a scholarship to MIT, he picked Imperial College, London to study chemistry. In 1978, he became the first black president of the National Union of Students. After university, he applied for a job as a researcher in Current Affairs at London Weekend Television. He then presented and produced 'The London Programme' for thirteen years, and later became head of Current Affairs at LWT, one of a small number of black senior executives of major British broadcasting organisations. In 1998, his independent production company, Pepper Productions produced the Windrush series, chronicling the history of black people in Britain over the last 50 years. He has been chairman of the Runnymede Trust, an independent race relations think-tank and campaigning body, and in 2000, he ran for the position of Mayor of London. He didn't win, but became a member of the GLA, and in 2003, was appointed by the Home Secretary to be the chairman of the CRE. He has been awarded an OBE.
Caryl Phillips was born on 13 March 1958 on the Caribbean island of St Kitts. He grew up in Leeds, England, and read English at Queen's College, Oxford. He is the author of six novels, several books of non-fiction and has written for film, theatre, radio and television. Much of his writing - both fiction and non-fiction - has focused on the legacy of the Atlantic slave trade and its consequences for the African Diaspora. The Final Passage (1985), his first novel, won the Malcolm X Prize for Literature. It tells the story of a young woman who leaves her home in the Caribbean to start a new life with her husband and baby in 1950s London. His second novel, A State of Independence (1986), is set in the Caribbean and explores the islands' growing dependency on America. Higher Ground (1989) consists of three narratives linking the lives of a West African slave, a member of the Black Panther movement and a Polish immigrant living in post-war Britain. Cambridge (1991), his fourth novel, is set in the first half of the nineteenth century and centres on the experiences of a young Englishwoman visiting her father's plantation in the Caribbean. The book won the Sunday Times Young Writer of the Year Award. Crossing the River (1993) won the James Tait Black Memorial Prize (for fiction) and was shortlisted for the Booker Prize for Fiction. Phillips' non-fiction includes a travel narrative, The European Tribe (1987), winner of the Martin Luther King Memorial Prize, and The Atlantic Sound (2000), an account of a journey he made to three vital hubs of the Atlantic slave trade: Liverpool in England, Elmina on the west coast of Ghana, and Charleston in the American South. A New World Order: Selected Essays was published in 2001, and A Distant Shore in 2003, the latter being an exploration of isolation and consolation in an English village. He is also the editor of Extravagant Strangers (1997), a collection of writings by British writers born outside Britain, including work by Ignatius Sancho, Rudyard Kipling, Samuel Selvon and Salman Rushdie, and he wrote the screenplay for the film adaptation of V. S. Naipaul's novel The Mystic Masseur, first screened in 2001. His work also includes stage and radio drama, most recently the play Rough Crossings (2007). He was awarded a Guggenheim Foundation Fellowship in 1992 and a Lannan Literary Award in 1994. He has taught at universities in Europe, Africa, Asia, the Caribbean and the United States, where he was Professor of English at Amherst College, Massachusetts (1994-8). Since 1998 he has been Professor of English and Henry R. Luce Professor of Migration and Social Order at Barnard College, Columbia University, New York. He became a Fellow of the Royal Society of Literature in 2000.
Lord Ouseley was born in Guyana in 1945, and came to England when he was 11. He was educated at William Penn School and Catford College, where he gained a diploma in municipal administration. He was appointed as the first principal race relations advisor in local government, and served as Head of the GLC's Ethnic Minority Unit. He later became Chief Executive of the London Borough of Lambeth and the former Inner London Education Authority (the first black person to hold such an office), responsible for over 1000 schools and colleges across the capital. In 1993, he became the executive chairman of the Commission for Racial Equality, a position he held until 2000. He is widely credited with having restored the CRE's flagging credibility. In 2001, he was raised to the peerage of Baron Ouseley of Peckham Rye in Southwark. He is often called upon to chair independent inquiries into racism, be it in the educational system, or the Bradford riots. He is actively involved in the work of many independent and voluntary organisations including the Institute of Race Relations and the Ethnic Minority Foundation. He is non-Executive Director of Focus Consultancy Ltd, Brooknight Security Ltd and Quiktrak. Herman Ouseley is also the Chair of PRESET Education and Training trust, Kick-It-Out plc (Let's kick racism out of football campaign), Policy Research Institute on Ageing. & Ethnicity (University of Central England). He is the recipient of eight honorary degrees
Sir Vidiadhar Surajprasad Naipaul TC, most commonly known as V. S. Naipaul, and informally, Vidia Naipaul, was a Trinidadian-British writer of works of fiction and nonfiction in English. Vidiadhar Surajprasad Naipaul was born in rural Trinidad on 17 August 1932. The island of his birth was a complicated post-colonial patchwork of racial tensions and subtle hierarchies. His grandparents had been labourers: part of the great nineteenth-century Indian diaspora who had settled in the Caribbean. The young Vidia was raised as a Hindu, part of a displaced community within a plantation society. It was a blend of histories, customs and ethnic identities which later formed an important part of his work. Naipaul's father, Seepersad, was a journalist for the Trinidad Guardian who revered Shakespeare and Dickens. He would read the great works of European literature aloud to his children - giving the young Vidia a burning ambition for writing, a "fantasy of nobility" and a "panic about failing.". He attended the Queen's Royal College, proving himself an able student. On graduating, he won a government scholarship giving him entry to the Commonwealth university of his choosing. In 1950, he arrived in Oxford. University College commencing a time of poverty and terrible loneliness. Isolated and unsure of his future, Naipaul became severely depressed For his numerous critics, Naipaul's writing was troubling and even bigoted. They recognised his literary gifts but saw him as a hater: an “Uncle Tom” who dealt in stereotypes, paraded his prejudices and bathed in loathing for the world from which he came. They hailed him as a towering intellect - delivering an original, scorching critique refreshingly devoid of political correctness: attacking the cruelty of Islam, the corruption of Africa and the self-inflicted misery he witnessed in the poorest parts of the globe. For his many supporters, his fiction had merciless comic clarity and his travel writing a terrifying honesty - refusing to glamorise or idealise the developing world, to his detractors, Naipaul was essentially political; bearing witness against the post-colonial world with great writing but shielded from criticism by virtue of being 'one of them'. In his later years, he entered an autumnal phase with The Enigma of Arrival (1987) and A Way in the World (1994), combining personal experience (though denying it was autobiographical) with the broad historical sweep of post-war migration from developing world. A knighthood followed. And In 2001, he received the Nobel Prize for Literature. The Academy compared him to Joseph Conrad and extolled his ability to "transform rage into precision."
Carmen Munroe is a British actress best known for her role as Shirley, the wife of barber Desmond Ambrose, played by Norman Beaton, in the British TV sitcom Desmond’s (1989 to 1994). She was born in Berbice, Guyana on November 12th 1932 and has been a resident of the UK since the early 1950’s where she performed with the West Indian Students’ Drama Group. In 1962 she made her professional stage debut at London’s Wyndham’s Theatre in Tennessee Williams’ Period of Adjustment, and later played leading roles in other West End productions: Alun Owen’s There’ll Be Some Changes Made (1969), Jean Genet’s The Blacks (1970), and as Orinthia in George Bernard Shaw’s The Apple Cart (1970). Carmen has played an instrumental role in the development of black British theatre and representation on small screen. She has had high-profile roles on television in The Fosters (1976–77), Mixed Blessings (1978–80), both on ITV, and on stage in Lorraine Hansberry’s A Raisin in the Sun, Alice Childress’s Trouble in Mind and James Baldwin’s The Amen Corner. Some of her other roles include a part in the 1967 Doctor Who story “The Enemy of the World”; a part in General Hospital; and she was for a time a presenter of Play School. She is also one of the founders of Talawa, the UK’s leading black theatre company, which she established in 1985 together with Mona Hammond, Inigo Espegel and Yvonne Brewster.
Lord Beginner (born Egbert Moore) was at the heart of the expansion of calypso music immediately after WW2. Originally from Trinidad, Beginner recorded and toured in New York with other leading members of the Trinidad's "Old Brigade" of calypsonians, but his cricket credentials were already established. In 1937 he wrote "Les Ames he played fine/Till he was bowled by the quicker ball from Constantine". In 1948 he emigrated to England on the Windrush, the first boat from the Caribbean bringing a new generation of immigrants to the UK. Also on the boat was the legendary calypsonian Lord Kitchener. Beginner began playing clubs throughout London - primarily the Caribbean and the Paramount - and was a success, signing for Parlophone in 1950. Two of Lord Beginner's more well known calypsos were Victory Test Match - penned immediately after the 1950 Lord's Test won by West Indies and opening with the line "Cricket, lovely cricket" - and General Election, inspired by Clement Atlee's victory in the 1950 general election.
Wayne Marshall was born in Oldham, Lancashire, to Barbadian parents, on January 13,1961. He played the piano by ear at three, and began lessons at seven. He studied organ and piano at 11 at Chetham’s School of Music in Manchester. Later studies were at the Royal College of Music in London and at Vienna’s Hochschule fur Musik. While much of his time has been devoted to Broadway and jazz music, Marshall began his career as a church musician, serving as organ scholar first at Manchester Cathedral, then at St. George’s Chapel, Windsor. Marshall quickly developed an international reputation as an organ soloist and recitalist. He also began appearing regularly as a pianist in both roles and as accompanist. Among Marshall’s earliest recordings are the 1994 Saint-Saens Organ Symphony with Mariss Jansons on EMI, and the 1995 album Masters of English Church Music on Collegium, containing organ works by Byrd, Stanford, and Howells. Marshall had also begun developing his career as a conductor by this time, and over the years would lead such orchestras as the Rotterdam Philharmonic, Vienna Symphony and BBC Philharmonic. His choice of repertory with these ensembles tended to favour selections from American musicals like Wonderful Town, West Side Story, and Guys and Dolls. In 2004, Marshall premiered James MacMillan’s Organ Concerto, subtitled “A Scotch Bestiary,” and recorded it for the Chandos label in 2006. He also received same year an Honorary Doctorate from Bournemouth University and became a Fellow of the Royal College of Music in 2010. He is the Chief Conductor of WDR Funkhausorchester Cologne, and Organist and Associate Artist of the Bridgewater Hall.
Sir (Oshely) Roy Marshall was born on October 21, 1920. He was one of 6 children who lost their father when Roy was 10 years old. His mother Korine worked tirelessly to support and allow the family to thrive. He was educated at Harrison College, where he won the Barbados Scholarship in 1938. His further education was delayed through illness and World War II and it was not until 1942 that he entered Pembroke College, Cambridge, where he took a Bachelor of Arts degree with first class honours in 1945. He took a master’s in 1948 and was awarded a doctorate from University College, London in the same year. He was called to the Bar of the Inner Temple in 1947. From 1946 until 1969, Sir Roy taught law full-time: from 1946 until 1956 as assistant lecturer and then lecturer at University College, London; from 1956 until 1963, and 1965 until 1969 as professor of law at the University of Sheffield; and from 1963 until 1965 as professor of law at the University of Ife in Nigeria, He was a constitutional advisor to the Government of Barbados at the Independence Talks with the United Kingdom in 1966 and one of the Law Revision commissioners responsible for the edition of laws published in 1974. In 1979, he drafted a comprehensive package of statutes on property and related matters for the island. In 1969,he began a new career in university administration, becoming vice-chancellor of the UWI and served until 1977. He was also secretary general of the Committee of Vice-Chancellors and Principals of the United Kingdom Universities from 1974 to 1979 and Vice­ Chancellor of the University of Hull from 1979 to 1985.After retirement, he entered yet another field, serving as High Commissioner for Barbados in London from 1989 to 1991. He served as Chair of the Commission for Law and Order appointed by the Government. At Cave Hill, the campus’ principal teaching facility is named the Roy Marshall Teaching Complex in his honour.
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.
Dalton McConney is a retired Metropolitan Police Chief Inspector. He mostly served as a uniformed officer in South London and came to prominence following the second Brixton riots In the mid-eighties. He was born in Barbados and educated at Ebenezer Boys and the Modern High School. He worked as a proof reader at the Barbados Advocate newspaper and at the Government Printing Office before joining the economic migration to the UK in I960. Aged 36, he joined the Metropolitan Police in 1976. He served as a Constable at Battersea, Sergeant at Belgravia and a Recruit Instructor at Hendon Police College. He obtained the Certificate of Education (University of London), helped to research the new Police & Criminal Evidence Act 1984, updated the Training Manual and taught the changes in the Act to instructors. He passed the Inspector’s examination in 1988 and was posted to Brixton after the second riots. He was the first senior black officer to serve at Brixton Police Station in the Borough of Lambeth. gaining the trust of residents and helping to lower tensions. He also set up the “Brixton Summer Project” during the school holidays, engaging local unemployed youth as staff. A two-part C4 documentary, “The Brixton Beat”, highlighted Dalton’s role in the changes at Brixton. He received a Lambeth Civic Award, the Mayor’s Special Award and in 1994 was awarded the MBE for Police/Community Service. He was promoted to Chief Inspector in 1994, becoming Staff Officer to the Assistant Commissioner. As Personnel Manager at Walworth Police Station, he set up the first Criminal Justice Unit and formulated a strategy to deal with street robbery (Operation Eagle Eye)i. He received two Assistant Commissioner’s Commendations for this work. After serving in Bromley, he returned to Lambeth where he devised the Policing Diversity Strategy and Community/ Race Relations programme. He was awarded the Police Long Service and Good Conduct Medal, featured in books highlighting black achievements for the Millennium and was one of the subjects of the “Black Power” photographic exhibition at the National Portrait Gallery. On retirement, he was awarded the Queen’s Police Medal for Distinguished Police Service and later received an Assistant Commissioner’s Commendation for work on Critical Incident Management. Dalton also supports various Barbadian Organisations in London and continues to use the high profile of his career to promote Barbados.
Dalton McConney is a retired Metropolitan Police Chief Inspector. He mostly served as a uniformed officer in South London and came to prominence following the second Brixton riots In the mid-eighties. He was born in Barbados and educated at Ebenezer Boys and the Modern High School. He worked as a proof reader at the Barbados Advocate newspaper and at the Government Printing Office before joining the economic migration to the UK in I960. Aged 36, he joined the Metropolitan Police in 1976. He served as a Constable at Battersea, Sergeant at Belgravia and a Recruit Instructor at Hendon Police College. He obtained the Certificate of Education (University of London), helped to research the new Police & Criminal Evidence Act 1984, updated the Training Manual and taught the changes in the Act to instructors. He passed the Inspector’s examination in 1988 and was posted to Brixton after the second riots. He was the first senior black officer to serve at Brixton Police Station in the Borough of Lambeth. gaining the trust of residents and helping to lower tensions. He also set up the “Brixton Summer Project” during the school holidays, engaging local unemployed youth as staff. A two-part C4 documentary, “The Brixton Beat”, highlighted Dalton’s role in the changes at Brixton. He received a Lambeth Civic Award, the Mayor’s Special Award and in 1994 was awarded the MBE for Police/Community Service. He was promoted to Chief Inspector in 1994, becoming Staff Officer to the Assistant Commissioner. As Personnel Manager at Walworth Police Station, he set up the first Criminal Justice Unit and formulated a strategy to deal with street robbery (Operation Eagle Eye)i. He received two Assistant Commissioner’s Commendations for this work. After serving in Bromley, he returned to Lambeth where he devised the Policing Diversity Strategy and Community/ Race Relations programme. He was awarded the Police Long Service and Good Conduct Medal, featured in books highlighting black achievements for the Millennium and was one of the subjects of the “Black Power” photographic exhibition at the National Portrait Gallery. On retirement, he was awarded the Queen’s Police Medal for Distinguished Police Service and later received an Assistant Commissioner’s Commendation for work on Critical Incident Management. Dalton also supports various Barbadian Organisations in London and continues to use the high profile of his career to promote Barbados
Val McCalla arrived in England in May 1959, aged 15, with dreams of being a pilot. He joined the RAF, but his plans were soon grounded by a perforated eardrum. He spent five years in the supplies section, where he picked up book-keeping skills. After leaving the RAF in the mid-1960s, he worked in a variety of accounts and book-keeping positions, before volunteering to go part-time on a radical community newspaper, East End News, based near his flat in Bethnal Green. The newspaper bug took a grip, and, within a few years, the Voice had risen from idea into reality McCalla saw that Britain's national press gave scant coverage to black issues - and that when it did, it was usually negative. There were a couple of black-orientated publications which appealed to an older generation of Caribbean immigrants, whose notion of "home" lay thousands of miles away. But for a younger generation of British-born blacks, there was nothing. McCalla identified the emerging culture of the black British identity and honed it into tabloid form. Helped with start-up money from the Greater London Council, his paper quickly established itself as an important campaigner against all forms of racism. For local authorities, and voluntary sector organisations concerned about the lack of ethnic minorities in their ranks, it became a valuable recruitment tool. This led to pages of job advertising From a small, east London council flat in 1982, Val McCalla started the weekly newspaper, the Voice, which went on to become the mouthpiece of Britain's black community and made him a multi-millionaire. Launched at the Notting Hill carnival that August, it grew into the most popular and important black newspaper in this country. From initial sales of only 4,000, within eight years the Voice was selling more than 53,000 copies a week - and turning over a small fortune in job recruitment advertising.
Val McCalla arrived in England in May 1959, aged 15, with dreams of being a pilot. He joined the RAF, but his plans were soon grounded by a perforated eardrum. He spent five years in the supplies section, where he picked up book-keeping skills. After leaving the RAF in the mid-1960s, he worked in a variety of accounts and book-keeping positions, before volunteering to go part-time on a radical community newspaper, East End News, based near his flat in Bethnal Green. The newspaper bug took a grip, and, within a few years, the Voice had risen from idea into reality. McCalla saw that Britain's national press gave scant coverage to black issues - and that when it did, it was usually negative. There were a couple of black-orientated publications which appealed to an older generation of Caribbean immigrants, whose notion of "home" lay thousands of miles away. But for a younger generation of British-born blacks, there was nothing. McCalla identified the emerging culture of the black British identity and honed it into tabloid form. Helped with start-up money from the Greater London Council, his paper quickly established itself as an important campaigner against all forms of racism. For local authorities, and voluntary sector organisations concerned about the lack of ethnic minorities in their ranks, it became a valuable recruitment tool. This led to pages of job advertising. From a small, east London council flat in 1982, Val McCalla started the weekly newspaper, the Voice, which went on to become the mouthpiece of Britain's black community and made him a multi-millionaire. Launched at the Notting Hill carnival that August, it grew into the most popular and important black newspaper in this country. From initial sales of only 4,000, within eight years the Voice was selling more than 53,000 copies a week - and turning over a small fortune in job recruitment advertising.
Born in Trinidad in 1939, Trevor worked in various aspects of the media including local newspapers, radio and television. He joined the Caribbean Regional Service of the BBC World Service in 1960 as a producer, before moving to London at the end of that decade to work for the corporation (BBC Radio, London). Moving to Independent Television News (ITN) in 1973, he rose steadily through the ranks. He's served as news, sports and diplomatic correspondent before moving on to become diplomatic editor and newscaster. Twice voted Newscaster of the year, McDonald is perceived as the face of ITN after years of fronting its flagship 'News at Ten' bulletin. An accomplished journalist, he has penned several books including autobiographies on cricketers Clive Lloyd and Viv Richards. His own biography, 'Fortunate Circumstances', was published in 1993.
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.
Lennox Claudius Lewis was born in Stratford, London on 2 September 1965 to Jamaican parents. Lewis made his professional debut at The Royal Albert Hall, in England on June 27, 1989 and proceeded to seize 20 victories - 17 being by straight knockouts. While focusing on his career as a boxer, Lewis decided to put something back into the community and in 1994/5 opened up The Lennox Lewis College in east London. He wanted to create opportunities for young black people, especially males, whose inherent talent often went unrecognised. Unfortunately it has recently closed due to lack of support from the appropriate authorities. However, during its lifespan a number of young people benefited from being associated with it. His illustrious career heightened, when in March 1999 he fought Evander Holyfield to gain the three international title belts. The fight was declared a draw, which was seen as a travesty by most of the boxing fraternity, including Lewis himself. On 13 November 1999 he defeated Holyfield. Finally his quest to unify all three championship titles - the IBF, WBA and WBC - had been attained, making Lewis the second British born boxer in 100 years to hold all three belts. In recognition, Lewis has been awarded an honorary doctorate by the University of North London for his services not only to sport but also the community in the education of disadvantaged young people. Regarded as the corporate world's 'most wanted' endorser, he recently launched his own line in fashion wear. Along with Muhammad Ali and Rocky Marciano, Lewis's name is recognised the world over.
George William Lamming, (born June 8, 1927, Carrington Village, near Bridgetown, Barbados), is a West Indian novelist and essayist who wrote about decolonization and reconstruction in the Caribbean nations. At Combermere High School, Lamming studied under Frank Collymore, editor of the Caribbean literary journal Bim, which published some of Lamming’s early work. Lamming left Barbados and worked as a teacher in Trinidad from 1946 to 1950 before settling in England. His highly acclaimed first novel, In the Castle of My Skin (1953), is an autobiographical bildungsroman set against the backdrop of burgeoning nationalism in the British colonies of the Caribbean in the 1930s and ’40s. Lamming continued to study decolonization in his succeeding three novels: The Emigrants (1954), a despairing, fragmentary work about Caribbean immigrants in post-World War II England; Of Age and Innocence (1958), a microcosmic look at the problems of political independence; and Season of Adventure (1960), in which a West Indian woman discovers her African heritage. The Pleasures of Exile (1960) is a collection of essays that examines Caribbean politics, race, and culture in an international context. Lamming’s later novels include Water with Berries (1971), a political allegory based on Shakespeare’s The Tempest, and Natives of My Person (1971), about 16th-century explorers in the West Indies. His poetry and short stories were published in various anthologies and Conversations, a volume of essays and interviews, was published in 1992.
From her modest beginnings as a singer in English dance halls, Cleo Laine has gone on to achieve international fame by continually expanding her talents in a career which spans some four decades. She is one of the most celebrated singers of our time. Cleo commands a dazzling array of vocal styles and is the only singer ever to receive Grammy nominations in the Female Jazz, Popular, and Classical categories. Laine began her musical career in the early 50's in her native England, where she was born in a London suburb. Cleo showed early singing talent which was nurtured by her Jamaican father and English mother who sent her to singing and dancing lessons. In addition to concert appearances, Cleo has carved a niche as an illustrious actress. Laine's professional career in the legitimate theatre began in London when she starred in Flesh to a Tiger, directed by Tony Richardson at the Royal Court Theatre. Her theatrical credits include A Midsummer Night 's Dream, Valmouth, Women of Troy and the title role in Ibsen's Hedda Gabler. In 1983 Cleo became the first British artist to win a coveted Grammy award - Best Female Jazz Vocalist, for the third of her "live" Carnegie Hall albums, all recorded at the famous New York auditorium. She has been a frequent guest on American television including such specials as "An Evening at the Boston Pops with Cleo Laine" and "Cleo Laine: Live at Wolftrap". In addition to her numerous international television specials, she has also been a featured performer on the classic British television show 'That Was The Week That Was". In addition to receiving an honorary Doctor of Music degree from Boston's prestigious Berklee School of Music and being named, along with her husband John Dankworth, the Variety Club's "Show Business Personality of the Year," Cleo Laine was honoured by Queen Elizabeth with an O.B.E. The beginning of this decade has already brought Cleo new acclaim with a Presidential Lifetime Achievement Award presented by the National Association of Recording Merchandisers (NARM), and a Lifetime Achievement Accolade from the British Jazz Awards in 1996. Whether interpreting a collection of Shakespeare's sonnets set to music, appearing in Jazz Festivals, operas, or singing with Symphony orchestras and big bands, Cleo Laine is consistently finding new forums for her considerable range of talents.
Claudia Jones, feminist, black nationalist, political activist, community leader, communist and journalist, has been described as the mother of the Notting Hill Carnival. The diversity of her political affiliations clearly illustrated her multifaceted approach to the struggle for equal rights in the 20th century. She was born in Belmont, Port-of-Spain, Trinidad in 1915 and at the age of eight moved to Harlem, New York with her parents and three sisters. Her education was cut short by Tuberculosis and the damage to her lungs as well as severe heart disease plagued Claudia for the rest of her life. For over 30 years she lived in New York and during this time became an active member of the American Communist party, an organisation in which her journalistic and community leadership skills were maximised. By 1948 she had become the editor of Negro Affairs for the party's paper the Daily Worker and had evolved into an accomplished speaker on human and civil rights. In 1955 she was deported from the US and given asylum in England, where she spent her remaining years working with London's African-Caribbean community. She founded and edited The West Indian Gazette which despite financial problems remained crucial in her fight for equal opportunities for black people. Claudia Jones lasting legacy is undoubtedly the Notting Hill Carnival, which she helped launch in 1959 as an annual showcase for Caribbean talent. These early celebrations were held in halls and were epitomised by the slogan, 'A people's art is the genesis of their freedom'.
Linton Kwesi Johnson was born in 1952 in Chapelton, Jamaica. He moved to London in 1963 to be with his mother and went on to read Sociology at Goldsmiths College, University of London. He joined the Black Panther movement in 1970, organising a poetry workshop and working with Rasta Love, a group of poets and percussionists. He joined the Brixton-based Race Today Collective in 1974. His first book of poems, Voices of the Living and the Dead, was published by the Race Today imprint in 1974. His second book, Dread, Beat An' Blood (1975) includes poems written in Jamaican dialect, and was released as a record in 1978. He is widely regarded as the father of 'dub poetry', a term he coined to describe the way a number of reggae DJs blended music and verse. Johnson maintains that his starting point and focus is poetry, composed before the music, and for this reason he considers the term 'dub poetry' misleading when applied to his own work. He recorded several albums on the Island label, including Forces of Victory (1979), Bass Culture (1980), LKJ In dub (1980) and Making History (1984) and founded his own record label - LKJ - in the mid-1980s, selling over two million records worldwide. In 1977 he was awarded a C. Day Lewis Fellowship and became Writer in Residence for the London Borough of Lambeth. Race Today published his third book of poetry, Inglan Is a Bitch, in 1980. He worked primarily as a journalist in the 1980s and was a reporter for Channel 4 television's The Bandung File. Tings An' Times: Selected Poems was published in 1991 as both a book and musical recording. He was made Associate Fellow at Warwick University in 1985 and Honorary Fellow at Wolverhampton Polytechnic in 1987. He is a regular broadcaster on radio and hosted an evening of Caribbean music and culture for BBC Radio 2 in October 2001.
Nola Ishmael left Barbados In 1963 to start her nursing career in the National Health Service (NHS) at a hospital in Bishops Stortford. She later moved to the Whittington Hospital in London to gain her State Registration Qualification. Within 18 months of qualifying as a nurse she was promoted to Unit Sister in the Neurosurgical Unit of the Maudsley Hospital in London. Later she went on to qualify as a Health visitor. In 1981, she became a Community Manager and in 1987 became Assistant Director of Nursing in Greenwich. Eighteen months later she was appointed Director of Nursing, thereby becoming the first black Nursing Director in the NHS in London. Nola was invited in 1994 to the Department of Health for six months which evolved into a ten year tenure, where she worked closely with Ministers and Chief Nursing Officers in different roles, including Professional Private Secretary to the Chief Nursing Officer. She later added Nursing Policy responsibilities in Public Health areas and Black and Minority Ethnic issues to her portfolio. Nola initiated programmes of mentoring, coaching and personal development, and collaborated on the establishment of the Mary Seacole Leadership Awards. She co-produced the Department’s publication Many Rivers to Cross which chronicled the contribution of Caribbean staff to the NHS. She worked closely with organisations such as Barbados Overseas Nursing Association (BONA) and the Royal College of Nursing, as well as sitting on the boards of a number of charitable organisations. She is Patron of the Sickle Cell Society and past Vice Chair of Greenwich Community College. Nola is active as a mentor and motivational speaker. She travelled across the UK and overseas including Australia, Europe, Africa and the Caribbean, including Barbados, representing the Department of Health. Nola is a member of the High Commission Health and Welfare Group. Nola’s service was recognised in the NHS with her receiving the Order of the British Empire (OBE) in the Queen’s Birthday Honours in 2000, and an Honorary Doctorate degree for services to Nursing from Birmingham City University. She also received a Breakthrough Equality Award from the Wainwright Trust and Nursing Times Magazine’s recognition as one of top 50 Influential Nurses in the last 100years. Nola was among 15 Health Leaders who had a Portrait displayed in the National Portrait Gallery in London in 2006
Paul Emerson Carlyle Ince, born on 21 October 1967 in Ilford, London to Barbadian parents, is a former professional footballer who played as a midfielder from 1982 to 2007. He was capped 53 times by England, scoring two goals. Ince spent the majority of his playing career at the highest level; after leaving West Ham United he joined Manchester United where he played in the Premier League. After two years in Serie A with Inter Milan he returned to England to play in the top flight for Liverpool, Middlesbrough and Wolverhampton Wanderers. After a period as a player-coach of Swindon Town, he retired from playing while player-manager of Macclesfield Town in 2007. He went on to manage Milton Keynes Dons (twice), Blackburn Rovers, Notts County and, after an almost-two-year break, Blackpool. As a player he won numerous honours with Manchester United, became the first black player to captain the England team and was also the first black Briton to manage a team in the highest tier of English football.
C.L.R. James, in full Cyril Lionel Robert James, (born Jan. 4, 1901, Tunapuna, Trinidad — died May 31, 1989, London, Eng.), was a West Indian-born cultural historian, cricket writer, and political activist who was a leading figure in the Pan-African movement. James was certified as a teacher at Queen’s Royal College in Port of Spain, Trinidad (1918). In 1932 he moved to England, where he published The Life of Captain Cipriani (1932; revised as The Case for West-Indian Self-Government, 1933) with the personal and financial support of the West Indian cricketer and politician Learie (later Lord) Constantine. During the 1930s James was a cricket correspondent for The Guardian (Manchester) and became increasingly involved in Marxist politics and the African and West Indian independence movements. His most notable work was The Black Jacobins (1938), a Marxist study of the Haitian slave revolution of the 1790s, which won him widespread acclaim. James left England to live in the United States (1939–53), but he was expelled for political reasons. He was interned at Ellis Island in New York City, where he wrote an analysis of Herman Melville’s Moby Dick called Mariners, Renegades, and Castaways (1953). Thereafter he moved between London and Trinidad, where he was secretary of the West Indies Federal Labour Party (1958–60). In Beyond a Boundary (1963) James discussed the importance of cricket to the British character and to the development of the West Indies. His other books included the novel Minty Alley (1936), World Revolution (1937), Notes on Dialectics (1971), Nkrumah and the Ghana Revolution (1977), and Cricket (1986), a collection of articles spanning the period 1935 to 1985.
Born and brought up in superlative St George, John was educated at St Giles School, then Combermere High School, representing Combermere at first team level in Barbados first division cricket competition. In 1964, he migrated to the UK under London Transport’s recruitment scheme to work on the Underground as a guard. The BBC invited him to play in its cricket team, where he joined two other Barbadians, Rodney Norville and the late Dr Bertie Clarke. At this stage he bowled genuinely fast and Dr Clarke recommended him to Hampshire to play county cricket. A serious back injury brought an end to his County career, after which he moved back to Barbados briefly. An offer to return to the UK and go to Lancashire to play as professional in League cricket saw him leave Barbados for the second time. League cricket was much less stressful, playing just at weekends rather than seven days a week at County Level. In his mid-thirties and with his playing career coming to an end, he joined the English First Class Umpires Panel, where he was employed for twenty seven years. In 1988, history was made when he was appointed to stand in his first Test match, at Lord’s. He was the first black person to stand in a Test match in England. The following year while umpiring he became part of the first neutral umpires, when he was chosen to officiate in the Test series in Pakistan with India. In total he stood in eleven Tests, twenty three ODI’s and several finals. He became a full member of MCC in 1999, going on seven tours with teams to Kenya (twice), Greece, Italy, Uganda, Namibia and the Cayman Islands. He was also a member of MCC’s Laws working Party, a panel which drafts the laws of cricket worldwide. In 2008 the ICC appointed him as a Regional Umpires Performance Manager with responsibility for Europe, the Caribbean and the Americas, a post he held until his decision to retire at the end of 2010.
Comedian and one of the founders of comic relief, born on August 29th 1958 in Dudley, West Midlands to a Jamaican family, Lenworth George Henry shot to fame in 1975 aged just 17. After doing impressions to amuse his classmates as a child, Lenny won a place on the TV talent show 'New Faces', doing a Frank Spencer impersonation. He won, and was subsequently offered numerous contracts including those he took up, The Fosters and Tiswas (1975). From there he joined the touring 'Black and White Minstrel Show' alongside 'blacked up' whites. After 5 years he left, admitting "I'd like to do anything else rather than that" and went on to star and write alongside Tracey Ullman in 'Three of a Kind' (1981), through which Lenny first met TV producer Paul Jackson who introduced him to the Comic Strip team. He hosted the pilot 'Saturday Night Live' in 1985 which starred French and Saunders as well as Rik Mayall and Adrian Edmonson. Later that year he performed at the Edinburgh Festival and starred in the second series of 'The Lenny Henry Show'. Lenny's impression of Steve Martin in 'Lenny, Live and Unleashed' led to interest in his comedy from across the Atlantic, and he was offered a three film deal for £1.75m from Disney which began with the film 'True Identity'. The film flopped at the box office and Lenny's contract was subsequently terminated. Lenny has worked for Comic Relief for almost 15 years, and is now a key member of their fundraising team. In 1993 he wrote a serious letter to newspaper The Times protesting against government cuts in foreign aid. Lenny also spends a lot of his time helping young, black comedians start their careers, particularly through his production company Crucial Films. After creating the series 'Chef' he encouraged the producers to hire more black workers on set, and as a result the programme is made with many black crew members. He won a Royal Television Society Silver Award medal for outstanding contributions to multi-ethnic programming in the UK, through his production company Crucial Films.
One of seven siblings, Russel Henderson grew up in Port Of Spain, Trinidad, initially learning to play the piano, and subsequently steel-pan. By 1948, at the age of 24, Henderson had achieved a fair amount of success with his jazz quartet in Trinidad and also began taking an interest in steel-pan, this being facilitated by meeting Beryl McBernie, who ran a theatre company and was championing steel-pan, an instrument hitherto stigmatised by its working class origins and association with gangs. On coming to England to study piano tuning in North London he soon began playing in clubs, and also formed a small steel-band with Sterling Betancourt and Max Cherrie. This steel-band achieved considerable success in various formats in the succeeding years and was the first such combo to play for royalty. Other notable musical associations at that time were with the calypsonian Lord Kitchener and trumpeter Leslie Hutchinson. Henderson is also credited as one of the founding fathers of the Notting Hill Carnival, which started as a marching band festival in London's Bayswater Road and Queensway. In 1966 he and his band were instrumental in establishing the Carnival as a national annual event. Reflecting on its initial success years later Henderson joked, "That was fantastic, let's do it again next year!" He is remembered with a blue plaque on Tavistock Road.
Born on the 12th of March 1927, Aaron attended Combermere School after which he travelled to Trinidad to attend the Seventh Day Adventist College. He graduated from there in 1945, gaining a teaching posting at an elementary school in San Juan and Sangre Grande two years later. Two years at Port of Spain Secondary School prepared him for the post of Principal of Southern Academy. Two years later, he left to attend Long Island University in Brooklyn N.Y, where he majored in biology while working at Brooklyn Jewish Hospital as a technician in the blood laboratory. He came to England in 1965 and at first taught biology and chemistry at Pollards Hill Secondary School before entering the field of Race and Community Relations. He served as senior community relations officer in Wolverhampton before moving on to the Community Relations Commission as Principal Development Officer. He held several posts in the Commission for Racial Equality, culminating in the post of Chief Executive. After retiring from the Commission, he functioned as a freelance journalist and broadcaster. He is the author of The State of Black Britain Volume One, first published in 1983, which carries an analysis of the forces that governed the post-war immigration of black people into Britain. It covers the search for jobs and housing, the challenges faced in education and social services and how race became a volatile political issue. Volume Two picks up where Volume One concludes and begins with an analysis of the Thatcher years and their impact on the Black community. Together the two volumes represent a comprehensive, honest, insider’s view of the struggle for equality in Britain
Born in Barbados in 1941, in his teens Trevor became an outstanding leader in the Church Lads’ Brigade, first visiting the UK on its behalf, aged 16. In the early 60s, he travelled to England to work for London Transport while maintaining his commitment to community and youth work through the church. This led to a post as Administrator for the Church of England Board of Education, and the early beginnings of his influence on national thought and practice in race relations. He moved to Rugby in Community Relations, focusing specifically on young people, where his creative methods soon brought the very diverse communities of the town together, reaching the lives of children, young people, and adults alike. Never afraid to tackle the big issues, he initiated research, developed community initiatives, and pioneered multiracial youth international exchanges. He created innovative training programmes, gaining the confidence of communities, police, and local authority, to bring people together in challenging times in terms of race equality. With significant race relations legislation just beginning to emerge, Trevor’s skills and expertise were soon noticed at the national level and he was appointed in 1982 to the Home Office as Race Equality Adviser to the Permanent Secretary. Trevor was instrumental in transforming policy and practice, whilst maintaining absolute integrity and independent thought. As the most senior black civil servant of the time, Trevor was promoted to join the Management Board, sharing perspectives and initiatives at the very highest levels, always keeping in mind the interests of those unable easily to communicate with those in power. Trevor’s initiatives in training senior police, magistracy, senior judges and immigration service had a lasting impact, significantly changing race relations practice. Throughout, Trevor never lost track of his commitment to young people and communities, taking on the roles of Chair of the Commonwealth Youth Exchange Council, and Vice Chair of the National Youth Bureau. In the mid-80s, he spearheaded the establishment of the Windsor Fellowship, creating leadership development programmes for young Black and Asian undergraduates to enable them to compete positively in both public and private sectors, where they were significantly under-represented at senior level. Conventional retirement was not an option and on leaving the Home Office, Trevor was asked to continue as Race Advisor to the Lord Chancellor’s Department, and he continues even now to direct Windsor Fellowship programmes. In recognition of his outstanding work, Trevor has been recognised both by academia, through an honorary Doctorate in Law and Letters, and by government, having been awarded both an OBE and the CBE
Stuart McPhail Hall, Jamaican-born British cultural theorist and academic (born Feb. 3, 1932, Kingston, Jamaica — died Feb. 10, 2014, London, England), was a pioneer in the field of cultural studies, an interdisciplinary approach to the role of social institutions in the shaping of culture and “the networks of meanings which individuals and groups use to make sense of and communicate with one another.” Hall attained international stature in 1979 when he coined the term “Thatcherism” to describe the phenomenon of the broad (and ultimately long-lasting) political, economic, and cultural changes that would eventually be wrought by incoming Prime Minister Margaret Thatcher and her conservative supporters. He later chastised leftist thinkers and politicians for underestimating Thatcherism’s enduring popularity among disillusioned working-class people and for failing to counter the harshest elements of Thatcherism with a compelling alternative that would promote multiculturalism, environmentalism, and civil rights.
Cuthbert Gordon Greenidge was born in Barbados and like many Caribbean families in the late 50’s and 60’s migrated to the UK to seek a better life. Educated at Speightstown Boys School and Black Bess Boys School in Barbados, he continued his education at Alfred Sutton Boys in Reading, and later Clarendon College in Nottingham, where he developed a love for cricket, a game for which he would later become world famous. He had the opportunity to display his cricket prowess playing in Reading, Berkshire and Hampshire and the England Boys School benefitted from his cricket skills. Even though he represented Barbados and the West Indies in cricket, he was still able to make a meaningful contribution to his adopted homeland of the United Kingdom. Whilst still an apprentice at Hampshire, he represented three different clubs playing on Wednesdays, Saturdays and Sundays. He was also privileged to play League Cricket for Leyland in the Lancashire League, playing 19 years for one club. Not only has he been a player but he also conducted Cricket Coaching Clinics at several places, including Nottingham High School and Merchant Taylor’s School. Schools in Scotland have also benefitted from his skills when playing for the club Greenock, which he also represented at the National Level. He continues to be involved in fund raising programmes for clubs and schools throughout the UK.
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’.
Natasha is an award-winning writer and actor born in London, of Jamaican descent. Her debut play, Nine Night, enjoyed a stunning sold-out run at the National in April 2018 before transferring to Trafalgar Studios making her the first black British female playwright to be produced in the West End. In recognition of the play’s overwhelming success Natasha won the Charles Wintour Award for most promising playwright at the 2018 Evening Standard Theatre Awards. As a performer, her stage credits include; Nine Night at Trafalgar Studios, Red Velvet at the Tricycle Theatre, The Low Road and Clubland at the Royal Court Theatre, Mules at the Young Vic and As You Like It at the RSC. Film and TV includes; Dough, Line Of Duty, Class, and Danny And The Human Zoo.
Paul Dash is a Barbados-born artist, educator and writer. Born in Fairfield Cross Road, St Michael in 1946, he migrated to Oxford England in 1957. He pursued studies in art and education culminating with a PhD for Goldsmiths University where he focused on Afro-Caribbean pupils in Art Education. A former art teacher, he moved into tertiary level education and for three years was co-director of Goldsmiths’ MA Artist Teacher course or (MAAT) with special responsibility for programming. He retired in 2011 as a Senior Lecturer at Goldsmiths although he continues in a part-time capacity as a doctoral studies supervisor. He has earned awards such as the Peake Award for Innovation and Excellence in University Teaching, the Windrush Award for Outstanding Achievement in Education and is listed in Jacqui MacDonald’s Portraits of Black Achievement He has authored a number of books and was Sub-Editor for International Journal for Art and Design Education. His autobiography ‘Foreday Morning’ “tells of growing up under the influences of two disparate cultures, a multi-faceted drama that examines the tensions of race and colour in the colonial Caribbean and modern Britain.” A member of the Caribbean Artists Movement (CAM), his artwork has been shown in number of venues including: Guildhall Gallery, The Royal Academy, Whitechapel Gallery, and Mali Galleries. He is also a trustee of the Ronald Moody Trust
Anyone who felt that the British Parliament was the preserve of those who wield political power, now stands corrected. For one night only the control of the UK Parliament was handed over to Barbadian-British DJ Carl Cox to lead members in a disorderly session. The British Parliament invited the veteran house DJ to headline a charity bash. “House The House” by the Last Night A DJ Saved My Life Foundation. The event, a competition focused on engaging young people to support children in conflict zones, took place on the 11th of May 2016 at the Westminster Palace. The “House The House” event is open to aspiring DJs between the ages of 14 to 24, who raise funds for the charity and submit their own music mixes for the chance to open the event for the DJ legend. Other prizes include DJ equipment and the chance to see Carl Cox perform in Ibiza. Described as a musical ambassador and one of the most charming DJs in the business, few persons, including many Barbadians are aware that Carl Cox has roots in Barbadian soil. Born in Manchester, at the age of 15 Carl bought a set of turntables and began working as a Disco DJ. By the early 80s, he had joined the ranks of other young London DJs playing groove, hip-hop and electro, but by the late 80s had distinguished himself with his own sound ‘Phuture track’. When Cox’s 1991 debut single ‘I Want You.’ became a hit, including a Top of the Pops appearance, his career took off. Now the owner of 2 labels, with 4 albums to his credit and more than 900, 000 Facebook followers, this veteran of 30+ years in the music business has achieved much. He has played all over the world, including to a crowd of 1, 400, 000 in Duisburg Germany. DJ Magazine ranked him as the Number One DJ in the World in 1996 and 1997, and he is included on the top 100 list of best Glastonbury performances ever. Now in his mid-50s. Cox is planning to take it more slowly. having announced that 2016 was his 15th and last season as resident DJ at Space. Space, an Ibiza nightclub with a capacity for 10, 000 patrons, has 13 times been awarded “Best Global Club” at the US International Dance Music Awards.
Edric Connor is primarily remembered by filmgoers as an actor for his work on screen during the last 15 years of his life, but the Trinidad-born singer also played a pivotal role in the introduction of what is now called world music to England during the late '40s and early '50s. Born in Mayaro, Trinidad, in the British West Indies in 1913, he began singing as a young man and left Trinidad in 1944 for England, in search of wider success as both a musician and actor. Over the ensuing half decade, he became one of the leading exponents of West Indian music in England, in an era in which American jazz barely had a foothold. His performance with a steel band at the 1952 Festival of Britain in London was a major event in the musical life of postwar England, bringing exposure to a form of music that was beloved in a key part of the empire, and also planting a seed in the spread of Jamaican music that ultimately led to the boom in ska and reggae. Edric Connor and his wife, Pearl, became major stars in music and acting over the ensuing decade, Connor becoming the first black actor to work with the Royal Shakespeare Company and playing key roles in a dozen major British and international films. In 1952, teamed with a singing group, he released Songs from Jamaica, a groundbreaking LP of Jamaican folk music credited to Edric Connor & the Caribbeans, on the Argo label. Acting came to dominate Connor's career during his final decade, in which he worked in several major epic movies and some prominent British television shows
Linford Christie was the greatest sprinter Britain produced, an athlete who emerged onto the scene at a late stage in life for an athlete and carved out an unique niche. Jamaican born Christie was the middle child of seven. He came to Britain when he was seven and lived in Shepherd’s Bush. Though he left school when he was 16 and had a different number of jobs, sport always held a place in his heart and he was coached at the West London Stadium near his home by Ron Roddan, who remained his mentor for his whole career where he ran for Thames Valley Harriers. His 23 major championships medals, which included 10 golds, is a British male record along with his 26 national titles, and he was, and arguably still is, among the most famous sportsmen in the country. His two greatest moments came within a year of each other, when he won the Olympic 100m gold medal in Barcelona in 1992 before winning the World title in Stuttgart 12 months later. Whenever he ran, you could not help but be drawn to the drama his races would produce and more often that not a story would emerge from the edge he would bring to an occasion.
Barbados-born Roland Butcher secured his place in history when he became the first black player to represent England, making his Test debut at Bridgetown in 1980-81 (the headline in the local paper was "Our boy, their bat"). A batsman capable of playing the most thrilling, attacking innings, Butcher was sadly, and frustratingly, inconsistent, his compulsion to hit every ball hard and far usually his undoing. For every onslaught there were a dozen disappointments. More than once he saved his contract with Middlesex with a brilliant hundred. Butcher moved to England at the age of 14, joined Middlesex in 1974 and was picked for two ODIs against Australia in 1980 on the strength of county form. A run-a-ball fifty in the second game, allied to an unbeaten half-century in the Gillette Cup final that September, secured him a place on the tour of the Caribbean, but his technique against fast bowlers was exposed and he was never considered again. In 1983 he suffered a sickening injury which threatened his eyesight when struck by George Ferris, but he returned and continued to entertain and frustrate until he retired in 1990. One blemish in his final years was a brief involvement with the planned rebel tour of South Africa in 1989 - he withdrew when media reaction threatened the success of his benefit. As a fielder, he was among the best, either swooping in the outfield or, in latter years, in the slips. After retiring he pursued business interests as well as coaching a variety of sides, including Tasmania and Bermuda. In November, 2004 he was appointed director of sports at the University of the West Indies' Cave Hill Campus. He was also a good enough footballer to play semi-pro for Stevenage and Biggleswade
Pop singer/songwriter and front man for Hot Chocolate, Errol Brown was born in Jamaica and moved to Britain when he was 12. His musical career started in 1969, when he and some friends sent a reggae version of Give Peace A Chance to John Lennon. Lennon liked the track, and it was released on the Beatles label, Apple Records, attributed to The Hot Chocolate Band which was later shortened. The producer Mickie Most signed him and Tony Wilson, the co-founder of the group as writers, and they wrote songs for Mary Hopkins and Herman's Hermits before deciding to write songs for themselves. In 1970, Hot Chocolate, with Errol as the lead singer released their first single, Love is Life, which reached No.6 in the charts. Brown's bald headed sexy image and unique voice as the central focus of the group led to many Top Ten hits such as It started with a Kiss, You Sexy Thing and Everyone's a Winner. In 1981, Hot Chocolate was invited by Prince Charles and Lady Diana to their pre-wedding reception. In 1985 Errol left the band to spend more time with his wife and children, and has since resurfaced to enjoy a successful solo career. Hot Chocolate enjoyed a revival when their hit You Sexy Thing was featured in the film The Full Monty. In June 2003 Errol was awarded an MBE for his services to popular music.
Dr Jeffrey Brathwaite was born in Congo Road, St Philip, Barbados. He was a student at Princess Margaret High School until the age of 16. He came to the UK in the late 1960s and after a short stint in the Army, worked as a psychiatric nurse for four years. Dr Brathwaite joined the Metropolitan Police Service on the 2nd of December 1974 as a constable. He rose through the ranks in both Uniform and CID roles. In 1997, as Uniform Superintendent he was responsible for operational policing in the Borough of Croydon until a year later, when he was appointed Deputy Director of the Racial and Violent Crime Task Force at New Scotland Yard. The Task Force provided leadership and vision at a time of crisis, during the high profile Stephen Lawrence Inquiry. One of his key achievements at that time was the development and coordination of the first Independent Advisory Group in UK policing. Independent advisors now bring community perspectives to policing that have proved beneficial to community-police relationships over the years while independent Advisory groups have been adopted by most of the UK Police Services. In 2001, Dr Brathwaite was promoted to Chief Superintendent and appointed Police Borough Commander for the Royal Borough of Kingston upon Thames. In 2003, he was awarded the Queen’s Police Medal for distinguished Police service in the community. He was presented with the medal by Her Majesty the Queen at Buckingham Palace in April of that year. Dr Brathwaite retired from the Metropolitan Police on the June 4th, 2004 after 30 years of service. Following that, he pursued a second career as an Organisational Management Consultant until 2015 when he finally retired from full time employment
James is an internationally recognised business leader with operational experience in the media and environmental industries, public office, alongside expertise in SME business start-ups and management. In 1996, he was Britain’s first Black CEO of a publicly quoted company, Epic Interactive Media and was awarded the CBE for services to the Sussex Economy. He was the longest serving Chairman of South East England Development Agency (SEEDA), Honorary Consul for South Africa for South East England, and a member of the FCO Caribbean Advisory Group, created to increase links with the West Indies and the Caribbean Diaspora in the UK. Currently, he is Executive Chairman of Drenl Ltd, which focuses on developing 1-10 MW Power & Energy facilities using waste and biomass as the fuel. Jim has created Drenl to address the power generation challenge that exists globally. This will be particularly useful to island states, such as his native Barbados, which spend a large proportion of their GDP on power production. Jim is passionate about economic development and the role that power and waste can play in the circular economy. Power is needed to drive economic development and waste is a resource that should not be overlooked in our efforts to develop without destroying our planet. His charitable work has included raising over £2million for the Rocking Horse Charity for the Children’s Hospital in Brighton, and ‘Work This Way’ which rehabilitated prisoners through training and preparation for work, the most effective way of stopping reoffending. He was Chairman of the Arundel Festival, a charity that put on one of the largest and best attended Art Festivals in England
E.R. Braithwaite, (Eustace Edward Ricardo Braithwaite), Guyanese author and diplomat (born June 27, 1912, Georgetown, British Guiana (now Guyana) — died December 12, 2016, Rockville, Md.), was the author of the best-selling memoir To Sir, with Love (1959), an account of his experience as a well-educated black man teaching a group of undisciplined high-school students in the slums of London’s East End. The book was translated into more than 20 languages and was made into an immensely popular 1967 film starring Sidney Poitier. Braithwaite was educated at Queens College in British Guiana and studied (1940) at the City College of New York before joining the Royal Air Force in Britain as a pilot. After World War II he earned (1949) a master’s degree in physics from the University of Cambridge. However, because of his race, he was unable to work in his field, but he did find employment teaching (1950–57) at a secondary school in London and later (1958–60) as a social worker finding foster homes for nonwhite children. He subsequently wrote Paid Servant (1962). Braithwaite worked as a human rights officer for the World Veterans Federation and later as an education consultant for UNESCO, and in 1966 he was appointed Guyana’s representative to the United Nations. He also served (1968–70) as Guyana’s ambassador to Venezuela. From 1970 he taught at various American universities. He wrote other books, notably the memoir Honorary White (1975), about a visit to South Africa.
Born in Barbados but raised in Reading, Karen has been in media for 22 years and is currently Chairperson of MediaCom, the largest media agency in the UK with billings over £l billion. Prior to this Karen was CEO for 5 years. Karen has been instrumental not only in the success of MediaCom, but in championing diversity throughout the advertising and media industry. In 2012 Karen launched the first ever Government backed Apprentice Scheme for the sector, where the apprentices qualify for an NVQ (National Vocational Qualification) in Marketing and Communications. In June 2014, Karen received an OBE in the Queen’s Birthday honours and in 2015 Karen was the first business woman to be named Britain’s Most Influential Black person in the Power List. In 2015 Karen was appointed as one of four external advisors to help diversify the Civil Service, and as a DIT (Department for International Trade) Business Ambassador for No 10. Karen is also a Non-Exec for Creative England whose’ focus is to support new and emerging talent in the Creative Industry helping grow the UK Economy. In March 2016 Karen became the President of NABS, the advertising industry charity which focuses on health and wellbeing in the workplace and presenting the business case for Diversity.
Sterling Betancourt was born 1 March 1930 in Laventille, Trinidad. In his early years, he was a member of one of the local Laventille Tamboo Bamboo bands until he became a tenor pan player in Tripoli steel band. He later progressed to become a band member and the tuner for Crossfire, a steel band he was more notably associated to during the 1940s. His skills on the pans earned him selection for TASPO (The Trinidad All-Steel Pan Percussion Orchestra) which was formed to participate in the Festival of Britain in 1951. This tour became a defining point in his career as he decided to remain in England with his pan and promote this new found musical art form. In 1952, Sterling Betancourt joined forces with a fellow Trinidadian musician, pianist Russell Henderson, to record some of Henderson’s piano music. Later the Russ Henderson Steel Band was formed along with Mervyn Constantine. A defining point for the band came in 1964 when the band was invited to play at the opening of a Children’s Carnival in Notting Hill. The invite came from Rhaune Laslette, a Notting Hill resident and local social worker, who was organising the event. In keeping up with the tradition of the Trinidad carnival at that time, the steel band began an impromptu march through the streets, enticing some of the onlookers to take part in the procession. This led to the start of the Notting Hill Carnival in 1965 with steel band music as the music of choice. Betancourt has taken Pan to many countries throughout Europe and Asia and as recognition for his contribution he was awarded Trinidad and Tobago’s Scarlet Ibis award, a University of East London Fellowship, an MBE (Member of the Most Excellent Order of the British Empire) and made a member of FRSA for his commitment in promoting steelpan culture throughout the United Kingdom, and pioneering steelpan projects in English schools
Winston Best, the eldest child of Lillian and Luther Best from Sugar Hill St Joseph, was born on 15 Aug 1930. He came to England in 1961 and after working for British Rail, went to teacher training college at the Sydney Webb College of Higher Education. He started his career as a teacher in 1966 and continued in education throughout his working life. Starting as a primary school teacher, Winston’s goal was always to improve teaching standards, and the educational achievements of black and Afro-Caribbean children as they struggled against low expectations. He campaigned against bussing, banding and streaming in Haringey in the 1960s, a policy born of the fear that black students would depress overall educational performance. He was also a founding member of the Caribbean Education and Community Workers Association (CECWA) and the Caribbean Teachers Association (CTA). In the 1980s, Winston worked for the Inner London Education Authority (ILEA) as an education officer, developing links with the Ministry of Education in Barbados and developing an exchange program that allowed Barbadian teachers to bring their expertise and experience to London schools whilst providing positive role models. Winston was also appointed Chair of Westphi Academy, an education and training consultancy that broke new ground as one of the first black national consultancy groups in the UK. In 1989, he co-founded the National Association of Supplementary Schools (NASS) and was appointed a primary schools inspector. In the 1990s, as Inspector of Primary Schools for the London Borough of Hackney, he strove for improvements in outcomes for children in the borough. After retirement he continued his vocation, working as a consultant for Southwark Education Authority. Winston co-founded the Caribbean Volunteers Readers & Performers Project (CVRPP) in 1999, an initiative that grew out of the work of Herbie Yearwood, former Deputy High Commissioner in the Barbados High Commission, London, who was eager that the High Commission should take an active interest in the experience of Barbadian and other Caribbean heritage children in London’s schools.
Floella is best known to a generation as the presenter of the BBC's pre-school children's programme Play School, alongside mute co-stars Humpty, Jemima, and Little Ted but now she runs her own production company, and is also chairman of the film and television organisation BAFTA. She has promoted the Commonwealth around the world, and sits on the government's Millennium Commission alongside former Northern Ireland secretary Mo Mowlam, and former Conservative deputy leader Michael Heseltine. Born in Trinidad, she immigrated to the UK as a child in the early 1960s, where her family settled in the south London suburb of Beckenham. She left school with two A levels, eight O-levels, a talent for athletics, and a passion to become the first ever black woman bank manager. Benjamin passed her part one banking diploma, but her love for acting won her over, and her first major role was in the hippy musical Hair. Her big break came when she was cast as a prostitute in the prison drama Within These Walls, but it was her love for children which shone through, and she has now been involved with children's television for 23 years
The most familiar of the handful of black actors able to sustain a career in British television from the 1960s to the 1990s, Norman Beaton became particularly associated with spirited patriarch roles, most famously as the eponymous barber of Desmond's (Channel 4, 1989-94), but was a much more versatile actor than his popular image acknowledged. A highly expressive performer who was equally at ease with weighty parts and light comedy, he won great respect on stage and screen but, like many black actors of the time, frequently found consistent television or film roles, particularly ones worthy of his talents, thin on the ground. Born 31 October 1934 in Georgetown, Guyana (then British Guiana), he did some amateur acting while training as a teacher, and developed a parallel career as a Calypso singer, scoring a no. 1 hit in Trinidad and Tobago with 'Come Back Melvina' in 1959. Arriving in Britain in 1960, he became Liverpool's first black teacher, but the experience was not an entirely happy one, and he was soon back making music, hanging out with the likes of Adrian Henri, Roger McGough and the other 'Liverpool poets' and watching from the sidelines as his peers found success. He entered the theatre in 1965 with the musical drama Jack of Spades, for which he wrote both the scenario - inspired by his own experiences as a young West Indian in Liverpool - and the music. With a flurry of successes as a stage composer, narrator and, increasingly, actor, it looked like his career was beginning to take off.
Cecil Archibald Baugh, Jamaican potter (born Nov. 22, 1908, Bangor Ridge, Jam.—died June 28, 2005, Kingston, Jam.), was one of the most influential Caribbean potters of the 20th century and was renowned for works that showcased his artistry and technical creativity. During his adolescent years he was given the task to take food for his brother at Long Mountain Road (now Mountain View Avenue. It was here that he was first exposed to the ancient art of pottery. Young Cecil Baugh watched the women who made and fired the yabbah bowls which were produced by a technique which survived from the days of slavery itself, and was of African origin. His first efforts were limited to ‘dollyhouse’ items including little clay tables and chairs, which brought him earnings of three shillings a week on average. He soon ‘graduated’ into making flower pots and yabbahs. He increased his earnings but more importantly, fuelled the fires of his ambition. He was about 25 years old in 1933 when an incident occurred bringing a new dimension to his work and changing the face of ceramics. One night while firing his day’s work he noticed fire escaping through the top of his rude kiln. Not wanting the temperature to drop he quickly grabbed the nearest thing he could find to cover it. It was a sheet of copper. As the copper became increasingly hot, he saw a flame coming from it. It was not orange-red as he was used to, but turquoise. As it licked at the night Cecil Baugh thought it was the prettiest colour he had ever seen, and he thought about capturing that colour in his work. Having no formal education in chemistry he quite often did not get the colours he tried for, but whatever came out was new to Jamaicans and he sold all he could make In 1941, in response to a newspaper advertisement Cecil Baugh enlisted in the Royal Engineers of the British Army. He kept in close touch with his art, but because of World War II, work in ceramics was at a minimum. He claimed that in 1942 his Division was sent to Cairo and it was there that he saw the Persian Blue, a colour quite similar to what he had got using copper oxide and glass in Jamaica. He was greatly encouraged. Cecil wanted to know everything there was to know about ceramics to enhance his teaching skills upon returning to Jamaica. When he returned to Jamaica in 1946 he was not satisfied with the extent of his knowledge. He wanted to return to England to study under the most respected figure in ceramics in the Western world, Bernard Leach. However, no scholarships were available and when contacted, Leach said he had no time for beginners. Cecil remained undaunted, went to England to study with another ceramist, and would not rest until he managed to secure a one-year term under the guidance of Bernard Leach who was regarded as the ‘Father of British Studio Pottery’. It was the beginning of a friendship, which lasted throughout the years. He returned to Jamaica in 1949 and in 1950 mounted his first one-man exhibition. Soon after with Albert Huie, Linden Leslie, Jerry Isaacs and Edna Manley formed the Jamaica School of Art. Cecil Baugh was the last to leave the institution when he retired in 1975. In 1991 the National Gallery opened a ceramics gallery bearing his name, and in 2003 he received the Order of Jamaica.
Dame Jocelyn Anita Barrow DBE (15 April 1929) was born in Trinidad, where she was active in the People's National Movement, and came to England as a postgraduate in 1959. The Director for UK Development at Focus Consultancy Ltd. Dame Jocelyn was a founding member and General Secretary of CARD (Campaign Against Racial Discrimination), the organisation responsible for the Race Relations legislation of 1968. As a senior teacher, and later as a teacher-trainer, at Furzedown College and at the Institute of Education London University in the '60s, she pioneered the introduction of multi-cultural education, stressing the needs of the various ethnic groups in the UK. She was the first black woman Governor of the BBC and Founder and Deputy Chair of the Broadcasting Standards Council. Her equal opportunities and educational expertise is reflected in her many Government appointments to a variety of organisations and statutory bodies. Governor of the Commonwealth Institute for eight years, Council Member of Goldsmith's College, University of London, Vice-president of the United Nations Association in the UK and Northern Ireland and Trustee to the Irene Taylor Trust providing Music in Prisons. She is National Vice-President of the Townswomen's Guild and was instrumental in the establishment of the North Atlantic Slavery Gallery and the Maritime Museum in Liverpool. She was a Trustee of the National Museums and Galleries on Merseyside and a Governor of the British Film Institute. In 1972 she was awarded the OBE for work in the field of education and community relations. In 1992 she received the DBE for her work in broadcasting and her contribution to the work of the European Union as the UK Member of the Social Economic Committee
John Charles Bryan Barnes MBE (born 7 November 1963) is an English former professional footballer and manager, who currently works as a commentator and pundit for ESPN and SuperSport. A fast, skillful left winger, Barnes had successful periods at Watford and Liverpool in the 1980s and 1990s, and won 79 caps for England. Born and initially raised in Jamaica, the son of a military officer from Trinidad and Tobago and a Jamaican mother, Barnes moved to London with his family when he was 12 years old. He joined Watford at the age of 17 in 1981 and over the next six years made 296 appearances for the club, scoring 85 goals. He made his debut for England in 1983 and four years later joined Liverpool for £900,000. Between 1987 and 1997 Barnes won the then top-flight First Division twice and the FA Cup twice with Liverpool, scoring 106 goals in 403 matches. By the time of his last appearance for England in 1995, he had played more times than any other black player. His brilliant solo goal against Brazil in the Maracana Stadium in 1984 marked his arrival at international level. His dazzling and intuitive play made him a firm favourite with the Kop at Anfield during his stay with Liverpool and in 1993/1994 John was installed as Liverpool club captain. Under the management of Graeme Souness and Roy Evans, John moved from playing on the wing to central midfield where his vision and passing ability established him at the centre of Liverpool's exciting young team.
Carrington Village, near Bridgetown, Barbados
Pioneer of British rock during the 70s; singer/songwriter, Joan Armatrading is credited with being the first black female singer/songwriter to gain prominence on the British music scene. She offered a unique take on folk and reggae that was highly influential to artists like Tasmin Archer and Tracy Chapman. Born in St Kitts in 1950, she moved to Birmingham with her family when she was eight, where she taught herself to play piano and guitar. She began her career playing small sets of her own music at local clubs as a teenager. While touring with a production of Hair, she met Pam Nestor, who became her writing partner and the two collaborated on material that later featured on her first album. After this, Joan went solo and released Back to the Night. Her first commercial success was with her self titled release in 1976, and she followed that with 1977's Show Some Emotion and 1978's To The Limit. Armatrading's loyal cult following has kept her touring and recording for more than 25 years. Her classic songs - Love and Affection, Drop the Pilot, Me, Myself and I have earned her Grammy nominations. She has also accumulated 18 gold records, and 10 platinum records in her career, as well as critical acclaim. She is also in the enviable position of choosing her own touring and recording timetable.
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.
Representing the London constituency of Hackney North and Stoke Newington, Diane Abbott was Britain's first Black woman MP. Born on September 27th, 1953, in London of Jamaican parents, Abbott was educated at Harrow County Girls' Grammar School and Newnham College, Cambridge, with an MA in History. A journalist by profession, she worked as an administrative trainee with the Home Office; Race Relations Officer for the National Council for Civil Liberties; a reporter with TV AM and Thames Television; Public Relations Officer with the GLC and Head of Lambeth Council's Press Office. Abbott was active in the Black Sections movement within the Labour Party and in community politics, including OWAAD (Organisation of Women of African and Asian Descent); the "Scrap Sus" campaign to ban police stop-and-search tactics levelled at Black youth, and was a founder member of the Black Media Workers' Organisation. Active for many years in the Trade Union movement, particularly on race equality issues, Ms Abbott served for a year as Britain's first Black female Equality Officer in the Association of Cinematographers Television and Allied Technicians. She also served as an elected local councillor in the London Borough of Westminster for four years, during which she was a member of the Environment, Grants and Social Services She is also founder and president of the organisation Black Women Mean Business
Image of the front entrance of the Barbados Museum & 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.
Image of "Margaret's Head" by Karl Broodhagen terracotta bust
Image of "Barbara" by Karl Broodhagen Terracotta bust
Image of a decorated Amerindian Cassava Grater
Image of Iron ball used to chain enslaved peoples
Image of jail cell eyelets different angle
Image of metal jail cell eyelets from another angle
Image of metal eyelets for hanging prisomers cots
Video of tamarind tree seeds and describing Barbadian African and European roots
Video of museum staff describing how Barbados has roots to Africa and Europe
Video of museum staff telling legend of the tamarind tree seed
Video of inside jail cell located at the museum
Video of volunteer giving an introduction to the jail cells at the museum
Video of description of jail cell construction
Video of volunteer describing jail cell construction
Video of description of prisoners in jail cell
Video of volunteer giving a description of prisoner conditions in jail cell
Video of wicker rug beater with commentary by museum staff
Image of gourd bowl decorated with symbols
Image of a woven blanket in traditional pattern
Image of a decorative bowl made out of a gourd
Image of a female figure made out of a gourd and straw
Image of taburete de armadillo, armadillo stool
Image of symbolic tree inside the museum
Image of symbolic tree inside the community museum
Image of building associated with museum
Image of outside building associated with the community museum
Image of community museum sign on the side of the museum
Image of community member talking to students in museum
Image of community member speaking to students inside the community museum
Image of community member being interviewed
Image of community members interviewing and filming each other
Image of Boruca from road outside museum
Image of community member standing beside stone sphere
Image of community member standing next to the stone sphere at the museum
Image of students around a 360 degree camera next to a waterfall
Image of waterfall outside of Boruca that is tied with traditional stories and myths
Image from path through Boruca at sunset
Image from inside traditional Brucan house
Image from inside an open traditional Brucan house
Image of Brucan community member holding a traditional mask
Image of the Museo Comunitario de Boruca sign
Video of Brucan community members playing the Cuerno de toro, a Bull horn and Concha, a Seashell
Video of Brucan community members playing the Cuerno de toro (Bull horn) and Concha (a Seashell)
An image of a Cuerno de toro, a Bull horn
An image of a Brucan wooden mask in a traditional style
An image of a Brucan weaving loom with a traditional pattern
An image of a canasta tejida, a woven basket from Boruca
Calabaza decorativa - Decorative gourd 3D image
An image of the 3D object Calabaza decorativa, a decorative gourd
Image of the Stone Sphere with camera and tripod
An image of the Bola de peidra during the process of photogrammetry
CULTURAL HERITAGE,HISTORY,SOCIAL HISTORY
The uniform belonged to 2nd Lieutenant Thomas William Deeves MC, who served in the 16th (Public School) Battalion, the Middlesex Regiment. Deeves received the Military Cross with bar (basically: two military crosses!) for his gallantry on two separate occasions on the 20th and 30th of November 1917. On the 30th he was so badly injured by airplane machine gun fire that he was left for dead in a farmhouse; two days later, as he was taken away to be buried, someone checked his pulse and found he was still - barely - alive. After several days on a No Hope Ward in a military hospital, doctors began to treat him. Two and a half years later, after over 30 operations, he requested to have his left arm amputated. The red triangles on his uniform sleeves are wound stripes, showing that he had previously been injured. Walter would have worn a similar jacket as he was on active service in the 17th and 23rd Middlesex Regiments. Walter took part in a football tournament between the Sportsmen’s and Public Schools’ Battalions whilst training in July 1915. Deeves was also training in the same camps as Walter. They were at Perham Down in summer and autumn 1915. Deeves left Folkestone for Boulogne on 17 November 1915 and Walter on 18, the day after. They were also in the same Battalion at the same time: Walter was in the 5th Battalion between 30 May and 4 August 1917 and Deeves joins the 5th Battalion (a reserve officer’s Battalion before being posted to the Front) on 27 June 1917 after recuperating from a shrapnel wound.
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.
Our collections and displays tell stories of the Princess of Wales’s Royal Regiment and Queen’s Regiment from their beginnings right up to today. Find us in The Keep Yard of Dover Castle.
Sent from the Front by Walter Tull, included in his letter to his brother Edward Tull-Warnock 10th August, 1917.
The letter from the Front is dated 10th August 1917, and was sent to his brother Edward Tull-Warnock. The Mark note and the Ammunition box top were included in the letter, and were picked up during Walter's foray into No-Man's-Land, as described in the letter. The title of Phil Vasili's biography of Walter, All the guns in France couldn't wake me, comes from a section in the letter where Walter is describing just how exhausted he is, after his days at the Front.
Walter Tull won the Charity Winner's Medal early (September 1909) in his first season with Tottenham Hotspur. He signed for Spurs on 20th July, and then seemed to have played preseason cricket for the team. His signing on fee was £10, and he was then paid £4 a week as a player.
For a Spandau machine gun, sent from Walter Tull to his brother Edward Tull-Warnock in a letter from the Front 10th August, 1917.
PWRR Queens Museum - Walter Tull Exhibition
Gorilla skull from the Bell Pettigrew Natural History Museum - Teaching Collection, University of St Andrews, Scotland.
From collection at Timespan Museum. “Rich Preserved Cream, From The Wigtownshre Creamery Co. Stranraer Boracsed”.
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
The main Police Force of Barbados was established in 1835. The Royal Barbados Police Force (RBPF), as established under the Police Act, of 1961, and the Constitution of Barbados is a part of the government responsible for local law enforcement. The RBPF is divided into three territorial divisions, the Operations Support Division, the Administrative Support Division and the Criminal Investigations Division. The organisation structure of the RBPF is modeled after London’s Metropolitan Police Service. The prefix “Royal” was added to the title of the Police Force in February 1966 due to a visit by the Queen. Since that time, “Royal” has remained as part of the name and identity of the force.
The peregrine falcon (Falco peregrinus), also known as the peregrine,[2] and historically as the duck hawk in North America, is a widespread bird of prey (raptor) in the family Falconidae. A large, crow-sized falcon, it has a blue-grey back, barred white underparts, and a black head. The peregrine is renowned for its speed, reaching over 320 km/h (200 mph) during its characteristic hunting stoop (high-speed dive),making it the fastest bird in the world and the fastest member of the animal kingdom. According to a National Geographic TV program, the highest measured speed of a peregrine falcon is 389 km/h (242 mph). As is typical of bird-eating raptors, peregrine falcons are sexually dimorphic, with females being considerably larger than males.
Chimpanzee skull from Bell Pettigrew Natural History Museum handling collection for mammology studies
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
Scrapers made from a variety of materials were popular tools for Amerindian communities. Scrapers are typically formed by chipping the end of a flake of stone in order to create one sharp side and to keep the rest of the sides dull to facilitate grasping it. Most scrapers are either circle or blade-like in shape. The working edges of scrapers tend to be convex, and many have trimmed and dulled lateral edges to facilitate hafting. In Barbados, as the island is made of limestone and not volcanic rock, scrapers were usually made of conch shell. So it is likely that this stone scraper originated from another Caribbean country. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
The iron ball was part of punishment for enslaved people in Barbados. The ball would be fastened to a short chain that was shackled to an enslaved person’s legs. The enslaved person would have to continue labour whilst shackled to the ball, which could weigh from 8 – 10 lbs. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
The tailor's goose iron was a long and thin iron, compared to its household counterpart, with handles that resemble that of a goose's neck. It was traditionally used by tailors for smoothing fabric and pressing seams. There were usually multiple irons in rotation: one in use and at least one other being heated over coals or stove. Early flat irons needed to be gripped with some sort of rag to avoid burns to the user's hand. Later designs incorporated methods of having cooler handles for example: a wooden handle.
Black Bear Skull - The Bell Pettigrew Museum Teaching Collection
Porpoise Skull - Bell Pettigrew Museum Teaching Collection
Polar bear skull - The Bell Pettigrew Natural History Museum - Teaching Collection, University of St Andrews, Scotland.
This Amerindian artefact is most recognisable as a face that adorned the Barbados Museum and Historical Society’s logo
A lamp used in the rooms of the first students (it belonged to an alumna who matriculated in 1949, the second year of the university). Part of the collection of the University of the West Indies Museum. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
The monkey jar is a pottery jug used for holding drinking water and keeping it cool. This is because clay is a poor conductor of heat and since the jar is unglazed, water is able to evaporate from its surface to cool the jar. It is known for keeping the water cool. The Monkey jar shows similarity with similar vessels from Africa in its shape and function, giving evidence to support that the design and skill of making this vessel was passed down from enslaved people.
Escorpión deidad cerámica - Scorpion deity ceramic
Cerámica Blackware que representa una deidad escorpión. Blackware ceramic depicting a scorpion deity.
The Dan live mostly in the western part of the Côte d’Ivoire and into Liberia. All Dan masks are sacred; they do not represent spirits of the wilderness, they are these spirits. Dan masks are characterized by a concave face, a protruding mouth, high-domed forehead and are often covered in a rich brown patina. There are a variety of Dan face masks, each of which has a different function. They may be the intermediaries, who acts between the village and the forest initiation camp, may act against bush fires during the dry season, used in pre-war ceremonies, for peace-making ceremonies, for entertainment. Over time, many among them have lost their original function and have been recycled into contexts related to entertainment, emerging only for festivals or events organized for visitors. Sources: Zyama Tribal African Art
It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Baule peoples and their neighbors to the West, the Guro, are famous as weavers, and are known for their fine indigo-and-white cotton fabrics. Scholars have suggested that the prominent display of pulleys, hanging over the weaver’s loom in the public place, afforded artists their best opportunity to showcase their carving skills, in the hope to attract commissions for figures and masks. This figurative pulley with carved a head demonstrates the efforts put by Baule and Guro artists into beautifying the simplest functional object. Sources: Smithsonian National Museum of African Art
Bull's horn, part of the collection of the Charles Town Maroons Museum. The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are led by an elected leader – the Colonel.
Una vasija Balckware usada para ceremonias con agua. A Blackware vessel used for ceremonies with water.
Pez raya de cerámica - Ray fish ceramic
Una cerámica Blackware en forma de pez raya. A Blackware ceramic in the shape of a ray fish.
This anthropomorphic figurine possibly depicts a carving of a bound ‘prisoner’. The artifact is made of conch shell and was discovered at Fresh Water Bay in St. Michael on the island’s West Coast.
Humpback Whale vertebral plate. The shore whaling in Barbados started in 1867, primarily hunting humpback whales, which were known to frequent Barbados’ waters in the early part of each year as they migrate from the colder Northern waters of the Atlantic to warmer, Southern climates to mate and calve. The vertebral plate here is from a humpback whale captured in the early 1900s.
Vaso réplica con escena mitológica - Replica beaker with mythological scene
Réplica de un vaso de plata de doble pared con escena mitológica. Original se encuentra en el Museo de Arte de Denver. Las imágenes, que cubren las paredes y el fondo de la copa, incluyen una serpiente gigante llena de peces que pueden representar un río. Compuestos arquitectónicos, jardines, botes, cazadores de venados y seres sobrenaturales están incluidos en lo que pueden ser los episodios de una historia mitológica. Replica of a silver double-walled beaker with mythological scene. Original is located at the Denver Art Museum. The imagery, which covers the cup’s walls and bottom, includes a giant serpent filled with fish that may represent a river. Architectural compounds, gardens, boats, deer hunters, and supernatural beings are all included in what may be the episodes of a mythological story.
Vasija con forma de cabeza humana utilizada para ceremonias con agua. Blackware. Human head shaped vessel used for ceremonies with water. Blackware.
Vasija de cerámica conectada - Connected ceramic vessel
Vasija de cerámica conectada utilizada para ceremonias. Connected ceramic vessel used for ceremonies.
Vasija de cerámica de cangrejo negro en forma de estribo. Blackware crab ceramic vessel in stirrup shape.
Pájaro conectado de cerámica - Connected bird ceramic
Vasija de cerámica conectada con figura del aves. Ceramic vessel connected with bird figure.
Vasija perfilado de dos cabezas - Two-headed profile vessel
Vasija de cerámica de perfil de dos cabezas, rota en trozos y conservada. Two-headed profile ceramic vessel, broken in pieces and conserved.
Cerámica Huaco Blackware - Blackware Huaco ceramic
Vasija de cerámica Blackware Huaco con dos pequeñas criaturas a los lados. Blackware Huaco ceramic vessel with two small creatures on the sides.
Vasija pintada para perros - Painted dog vessel
Gran recipiente de cerámica pintada para perro. El perro es gordo, lo que indica que los perros fueron comidos. Large painted dog ceramic vessel. The dog is fat indicating dogs were eaten.
Figura en tocado de plumas de entierro en las pirámides de Túcume. Figure in headdress made from feathers from burial in Túcume pyramids.
Mujer con niño ceramica - Woman with child ceramic
Blackware de cerámica que representa a la mujer que detiene a un niño. Blackware ceramic depicting woman holding a child.
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.
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
A Dentist tool from the 1800s, used to extract teeth. The claw would be fixed between the tooth and gum, and ideally then it would take one turn to remove the tooth.
Part of the collection of the National Archaeology Museum of Lisbon. The National Archaeology Museum of Lisbon, founded in 1893 by notable archaeologist José Leite de Vasconcelos, is one of the most important Portuguese museums dedicated to Archaeology.
Figura de bronze da carruagem romana - Bronze Roman chariot figure
Peça formada por uma quadriga estacionária de cavalos ligados pelas rédeas. Assenta numa plataforma quadrangular com abas com rebordo em três dos lados. Esta está sobre uma base de forma cúbica, oca. Os cavalos têm corpo alongado, pernas hirtas, afastadas umas das outras, e a cauda é bastante espessa, curta e levantada. Mantêm a cabeça inclinada para o centro, parecendo controlados pelo auriga que puxa as rédeas para os suster. Apresentam uma alta crina, que avança para a testa, e duas orelhas arrebitadas. Os olhos são salientes e a boca não está marcada mas encoberta pelas rédeas. A face do cubo voltada para a frente é preenchida, quase na sua totalidade, por uma cabeça de leão que se prolonga pela aba da plataforma. O leão tem uma farta juba, olhos bem assinalados, pequenas orelhas, nariz achatado e uma boca aberta com dois orifícios laterais, donde podia pender uma argola. As arestas são decoradas por incisões em semicírculos irregulares, com um sulco diametralmente colocado, com intenção provável de esquematizar a folhagem. A mesma ornamentação, um pouco ampliada, é utilizada na aba pendente da plataforma; o rebordo desta é recortado por pequenos sulcos paralelos e verticais. De ambos os lados da caixa de inserção, na zona posterior superior dois orifícios, para cravejar a peça à haste de madeira que a suportava. Piece formed by a stationary quadriga of horses connected by the reins. It rests on a quadrangular platform with flaps with flange on three sides. This is on a hollow cubic base. The horses have an elongated body, straight legs, apart from each other, and the tail is quite thick, short and raised. They keep their heads tilted towards the center, seeming to be controlled by the charioteer who pulls the reins to sustain them. They have a high mane, which advances to the forehead, and two protruding ears. The eyes are prominent and the mouth is not marked but covered by the reins. The face of the cube facing forward is filled, almost in its entirety, by a lion's head that extends over the flap of the platform. The lion has a large mane, well-marked eyes, small ears, a flat nose and an open mouth with two side holes, from which a ring could hang. The edges are decorated by incisions in irregular semicircles, with a groove diametrically placed, with the probable intention of schematizing the foliage. The same ornamentation, slightly enlarged, is used on the platform's pendant flap; its edge is cut by small parallel and vertical grooves. On both sides of the insertion box, in the upper rear area, two holes, to secure the piece to the wooden rod that supported it.
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.
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.
Communication sped up throughout the twentieth century, but news wasn’t that new by the time it got to Shetland by sea. The wireless meant islanders were up-to-the minute by the 1930s. Radios ran on batteries that were periodically re-charged. Most people went to a firm with a generator, although some homes had a wind-generator. On the Move gallery IMP 1997.16
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
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
Corncrake birds lived in Shetland for thousands of years, nesting in cornfields. However, they have nearly disappered from the islands for over thirty years. People had come to use imported food and animal fodder, so farmers stopped growing oats and barley, and the corncrake’s habitat vanished. Trade & Industry gallery NAT 2007.22
Around 1900 hundreds of Shetlanders left their native home. It was a time of hardship but also opportunity. People settled elsewhere in Britain, or further afield in the world. This doll belonged to a girl in a seaport where islanders settled as mariners and domestic servants. On the Move gallery SPO 1990.427
Traditional fishing gear had two main parts – a baited hook to catch the fish, and a weight to sink the line into the sea. This is a specialised sinker that people used where there was a very strong tide, where big fish could be caught. The pointed shape and concave face allowed it to be pulled through the current, but sometimes stones were lost if the line broke. Harvest from the Sea gallery FIS 7479
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.
Jarro de cerâmica - Pottery pitcher
Arremessador de louça comum romana (século III), produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) e usado para servir líquidos à mesa. O objeto está completo. Está decorado com linhas cruzadas polidas. Roman common ware pitcher (3rd century), produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) and used for serving liquids at the table. The object is complete. It is decorated with burnished crossed lines.
Pote pequeno de louça comum produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (segunda metade do século IV e início do século V) para consumo de líquidos à mesa. O aro é virado para o exterior. O corpo tende a um perfil ovóide, com uma base ligeiramente côncava. Duas alças verticais que começam no aro e terminam no meio do corpo. Common ware small pot produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (second half 4th century and beginnings of the 5th century) for consumption of liquids at the table. The rim is turned outwards. The body tends to a ovoid profile, with a slightly concave base. Two vertical handles that start on the rim and end in the middle of body.
Estatueta de terracota de touro romano - Roman bull statuette
Escultura zoomórfica em terracota representando um animal da família bovidae, produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal). A estatueta está quase completa, sem apenas um dos chifres. Sob um corpo paralelepipédico, existem quatro pernas cilíndricas. Nas extremidades do corpo também existem duas protuberâncias que podem representar a cauda e a cabeça. Zoomorphic sculpture in terracotta representing an animal of the bovidae family, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal). The figurine is almost complete lacking only one of the horns. Under a parallelepipedic body there are four cylindrical legs. At the extremities of the body are also two bulges that could represent the tail and head.
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.
Lâmpada de cerâmica - Pottery lamp
Candeeiro romano completo, feito de barro caulinítico, usado para iluminação na época romana, produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (entre a segunda metade do século IV e o início do século 5). A lâmpada tem uma forma elíptica e um tanque fechado. Complete roman lamp made on kaolinitic clay, used for lighting in roman times, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (between the second half of the 4th century and the beginning of the 5th century). The lamp has an elliptical shape and closed tank.
Tigela de louça comum com excesso de queima, produzida na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (finais do século II e III) para consumo de alimentos à mesa. O fragmento restante corresponde a aproximadamente metade do objeto. Exibe um aro virado para dentro, a parede é vertical com uma carinação baixa e pouco pronunciada, a superfície externa é finalizada na forma de polimento. Complete over-fired common ware bowl, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (late 2nd century and 3rd century) for food consumption at the table. The remaining fragment corresponds to approximately half of the object. Displays a rim turned inwards, the wall is vertical with a low and little pronounced carination, external surface is finished in the form of burnishing.
Estátua de bronze de mercúrio - Mercury bronze statue
Escultura antropomórfica encontrada na vila romana da Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), utilizada nas práticas culticais do período romano (entre os séculos III e IV). Fundido em bronze, foi posteriormente modificado pela aplicação de uma haste de latão soldada ao braço direito, parcialmente amputado. Mercúrio está de pé e é considerado um jovem nu, coberto apenas com um manto sobre o tronco. Vestindo um chapéu com duas asas pequenas e segurando na mão esquerda o caduceu, pau onde entrelaçam duas cobras. O fim dos membros inferiores está quebrado. Um dos atributos mais comuns está faltando, a bolsa de moedas tradicional realizada pela mão direita, substituída pela haste de latão. A superfície achatada disto na extremidade inferior sugere que pode representar um remo, talvez pedindo proteção divina para a navegação e o comércio fluvial e marítimo que na época já caracterizavam o estuário do rio Tejo. Anthropomorphic sculpture found in the roman villa at Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), used in cultic practices in the Roman Period (between 3rd and 4th centuries). Casted in bronze, was further modified by application of a brass rod welded to the, partially amputated, right arm. Mercury is standing and figured as a young naked man, covered only with a mantle over his torso. Wearing a hat with two small wings and holding in the left hand the caduceus, stick where interlace two snakes. The end of the lower limbs is broken. One of the most common attributes is missing, the traditional coin purse held by the right hand, replaced by brass rod. The flattened surface of this at the lower end suggests that may represent an oar, perhaps calling for divine protection for navigation and the fluvial and maritime trade which at the time already characterized the estuary of the Tagus river.
Tradional Shetland farmsteads had outbuildings connected to the house, so people could go through to the byre to tend to the cattle, even in the strongest winter gale. For centuries light came from fish-oil lamps. Once imported glass became common around 1800, people used candle lanterns because they protected the flame from draughts. Home & the Land gallery FPL 65678
Whales are common in the North Atlantic, and since ancient times people have used their meat and oil. In regions with no trees, bones were fashioned into household items that would usully be made from timber; this handled cup is made from a backbone. It is unfinished, and you can see the inside isn’t fully hollowed-out. Early People gallery ARC 85130
Contenedor de pollo - Chicken feed container
Ceramic container of cylindrical form manufactured by Wheel used to drink the hens. Recipiente cerámico de forma cilíndrica fabricado por Wheel para beber las gallinas.
Forma de zapato de madera - Wooden shoe form
Par de formas inglesas del número 34, con suelo de hierro. El tercio superior de la forma se corta para facilitar su extracción una vez que se termina el zapato. La forma se emplea como una superficie de trabajo para la preparación de zapatos, así como un modelo, que se distingue por la puntera y el corte superior. Pair of English shapes of the number 34, with soil of iron. The upper third of the shape is sawed to facilitate his extraction once the shoe is finished. The shape is employed like a surface of work for the preparation of shoes, as well as a model, distinguised by the toe and the upper cut.
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.
Barbados has long been an important stop over site for migrating birds on their southbound migration to South America where they pass the non-breeding (southern summer) season. Ospreys are migratory birds that eat fish. The Osprey (Pandion haliaetus) seen here, is almost as old as the Barbados Museum itself, entering the collection in 1935.
Caja de madera con muela para afilar cuchillos y hachas. Wooden box with grindstone for sharpening knives and axes.
Se usa para mantener agua fria en el hogar. It is used to keep cold water in the home.
Taza de madera de Boruca. Wooden cup from Boruca.
Réplica del buque trípode indígena con pico animal. Replica of indigenous tripod vessel with animal spout.
Su uso era para llevar agua a trabajar. Its usage is for carrying water to work (due to the ability of preserving freshness and temperature of water).
Vasija trípode precolombino - Pre-Columbian tripod vessel
El trípode precolombino no tiene patas. Pre-columbian tripod vessel missing its legs.
Cuchillo de sacrificio - Sacrificial knife
Cuchillo utilizado en personas sacrificadas encontradas en entierros en pirámides de Túcume. Knife used on sacrificed people found in burial in Túcume pyramids.
Figura antropomórfica de entierro - Burial anthropomorphic figure
Figura antropomórfica de entierro en miniatura del entierro en pirámides de Túcume. Miniature burial anthropomorphic figure from burial in Túcume pyramids.
It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Sources: Smithsonian National Museum of African Art
Ferramenta usada por carpinteiros navais para puxar o cinzel de calafetagem durante a operação de calafetagem, que enche e calafeta as articulações ou bloqueia rachaduras em vasos de madeira. A calafetagem permite que barcos e embarcações de madeira flutuem. O martelo para calafetagem de madeira tem a forma de um martelo com uma cabeça cilíndrica grande com bordas de metal e uma alça. Tool used by naval carpenters to draw down the caulking chisel during the caulking operation which fill up and caulk the joints or block up cracks in wood vessels. Caulking allows wood boats and vessels to float. Wood caulking-mallet has the shape of a hammer with a large cylindrical shape head with metal edges and a handle.
El señuelo del pato de madera solía practicar tiro. Marcas de bala en la madera. Wooden duck decoy used to practice shooting. Bullet marks on the wood.
Candil pássaro islâmico - Islamic bird oil lamp
Lâmpada a óleo de metal zoomórfica. Tem a forma de um pássaro em pé com uma cauda aberta. O bico do canal nasce na área do peito. Na cauda e na crista tem orifícios circulares para suspensão. As patas de três dedos e "esporão" estão aparafusadas. Essa lucerna representa uma pomba que, para o mundo islâmico, não possui um valor iconoclasta ou religioso como na arte copta ou bizantina, mas foi usada por seu valor estético em todos os tipos de objetos. Apesar das diferenças em relação a outras lâmpadas metálicas islâmicas, este espécime mostra algumas características formais, decorativas e técnicas que o vinculam a produções do Oriente Médio dos séculos 10 a 13; a representação de um pássaro também é conhecida em vasos e queimadores de incenso de bronze da Anatólia, Irã, Afeganistão, Síria ou Egito dos séculos 11 a 12. Zoomorphic metal oil lamp. It has the shape of a standing bird with an open tail. The channel spout is born in the chest area. On the tail and crest it has circular holes for suspension. The three-toed and "spur" paws are screw-on. This lucerne represents a dove that, for the Islamic world, does not have an iconoclastic or religious value as in Coptic or Byzantine art, but was used for its aesthetic value in all types of objects. Despite the differences regarding other Islamic metallic lamps, this specimen shows us certain formal, decorative and technical characteristics that link it to near-eastern productions from the 10th to the 13th centuries; the representation of a bird is also known in bronze incense burners and vases from Anatolia, Iran, Afghanistan, Syria or Egypt from the 11th - 12th centuries.
Cuenco decorativo hecho de calabaza. Decorative bowl made from a gourd.
Un método tradicional para llamar a la comunidad en caso de trabajo. A traditional method to call the community in case of work.
[ES] [EN]For carrying out different articles
Figura antropomórfica de entierro 2 - Burial anthropomorphic figure 2
Una réplica de incensario utilizado en rituales indígenas. A replica incense burner was used in indigenous rituals.
Metal flat iron, part of the collection of the Charles Town Maroons Museum. The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are led by an elected leader – the Colonel.
The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are lead by an elected leader – the Colonel.
Metal military helmet, part of the collection of the University of the West Indies Museum. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
The tale is told that Taylor Hall was first occupied by 101 students, including 8 freshmen who moved from the old building of Gibraltar Hall on Gibraltar Camp Road to Blocks A and B, formally called Hall 111. These two blocks, the only two on Taylor Hall at the time, were soon joined by Block C in 1952, the same year the hall was officially opened. In this year, The Empire was granted the honour of being named after Sir Thomas Weston Johns Taylor, the first principal of the University College of the West Indies. The late Sir Sydney Martin would be named as the first warden of this great empire. By 1954, Block D had been constructed and fully occupied. From their chapel, the vanguards from Gibraltar had brought the bell – a continuous source of contention between the Empire of Tayloria and Chancellor Hall. In rivalry, Taylor Hall lost the bell, but this was soon replaced by another emblem – the cast iron ball. Taylor Hall since then has made the transition from the cast iron ball to the Pelican – still the insignia of The Empire to date. Blocks E, F and G, affectionately called ‘New Block’ were added to the Taylor Hall fraternity in 1962. Initially occupied by male residents, The Empire was graced with feminine elegance as ‘New Block’ became Excellencia , Falconia and Galaxia in 1965 as females, for the first time, lived on Taylor Hall . Erected were also the television room and the sub warden’s flat in 1963. The new university was completely residential for several years, and students developed strong connections within their halls of residence. Each hall, during the 1950s and 1960s, was fully stocked to cater for students’ room and board; including having their own marked crockery, cutlery etc which was used for meals which students took together.
Early University of West Indies seal stamp
An early university seal stamp. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
Dr Owen Minott was one of the pioneering 33 medical students of the UCWI in 1948 and subsequently a noted amateur photographer. He was one of the early (perhaps the earliest) chroniclers of the UCWI, producing hundreds of 2.25” black and white negatives and prints and subsequently 33mm images of the campus and its population. This was his second camera, according to his widow Margaret.
University of London medical medal won by UCWI graduate Owen Barrow in 1964. Owen Barrow was a consultant physician who graduated from the UCWI in 1964 – one of the last couple of batches of UCWI/UWI medical students to earn a University of London degree. A reluctant med student, he swept most of the distinction medals awarded in 1964, including the University of London medal – a significant mark of distinction even beyond the confines of the UCWI.
Jamaica's Heroes Wedgwood mug, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Female bust, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Calabash purse, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Comb case, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Decorative pipe, 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.
Bust from Trinidad, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Sea turtle, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Wood figurine, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Drum, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Mortar, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Oil stone, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Mounted human cranium, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Small bowl, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Decorative Temple elephant, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Human femur, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
The Giant Land Snail, Megalobulimus oblongus. A species of air-breathing land snail, a terrestrial pulmonate gastropod mollusk in the family Strophocheilidae. Native to a large part of the neotropical world including Argentina, Brazil, Columbia and Uruguay. They have spread however to various parts of the Caribbean including Jamaica, Martinique, Barbados and the Lesser Antilles and can live up to 14 years. Part of the collection of the Barbados Museum and Historical Society. The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. The Barbados Museum and Historical Society is housed in historic buildings which were originally used as the military prison at St. Ann’s Garrison.
Shetlanders wore knitted hats when off fishing, and the the multicoloured patterns contrasted with the brown oilskins and boots they wore. Visitors to the islands two hundred years ago were much taken with these vivid caps, and bartered them from the fishermen – hence why they survive. Harvest from the Sea gallery TEX 7738
Digitisation of Animal with Baby ceramic
Interview with Curator Allison Thompson for the Barbadian programme "Eye on the Arts", which aired on February 9th 2019.
The Wardlaw Museum - Prerenovation Photosphere 2
The Wardlaw Museum - Prerenovation Photosphere 1
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.
Charles Town Maroons Cultural Center and Museum Photosphere 6
Charles Town Maroons Cultural Center and Museum Photosphere 5
Charles Town Maroons Cultural Center and Museum Photosphere 4
Charles Town Maroons Cultural Center and Museum Photosphere 3
Charles Town Maroons Cultural Center and Museum Photosphere 2
Charles Town Maroons Cultural Center and Museum Photosphere 1
Charles Town Maroons Cultural Center and Museum Tour
The Maroon’s Cultural Center, nestled in rural Charles Town along a lazy rolling white water river coming down from the Blue Mountains. The Maroon’s autonomy from the island’s government dates back to centuries old treaties and remains to this day. The “Colonel “of the local Maroons has created a rustic cultural museum of artifacts, tools, instruments and documents that date back to the time of pirates and the slave trade. His main goal in creating this museum was to teach the locals their culture and restore them to their Maroon identity.
3D digitisation workshop in Museo Despierta Hermano in Malalhue, Chile.
Used by Capt. Peter H. Delmare of the 3rd West India Regiment during an expedition between 1866-1867 in the British Honduras against indigenous Indian chiefs.
The Society for the Resettlement of Caribbean Nationals. Migration story of the Larrier / Lashley family From: Rev. Buddy A. Larrier Thank you for allowing me to share part of my family migration story with you as part of the project. Further to the interview of Wednesday, April 17, 2019 this is a brief written account of part of our story with some photos and two documentaries as evidence of that experience. Politics of Madness https://www.youtube.com/watch?v=lb-QMLJD5vQ&feature=em-upload_owner Pride & Unity https://www.youtube.com/watch?v=H7lsBPb-ElY&feature=em-upload_owner Migration & the Impact on my Family Unit Part of the legacy of chattel enslavement was the emergence of dysfunctional families. The early part of the 1900s saw many Barbadians emigrating, including my three uncles who went to the USA, they were among the estimated 40 to 50 thousand Barbadians, (1/3 of the population), that went to Panama and the USA during the building of the Panama Canal. Emigration of such large numbers of men, in particular, would have put pressure on the family unit. The Panama Canal was officially opened in 1914. During the latter half of the 1900s, even with dysfunctional families and high unemployment, resulting from slavery and colonialism the process of rebuilding the culture and value system of African family was taking root. Families were being rebuilt with the strong African qualities which existed prior to slavery. Before the experience of our enslavement Africa had no old peoples’ homes, relatives took care of their elders, neither were there any children orphanages, the community took care of the children and there were no cases of incest in families or same-sex relationships, neither were violence and crime part of the village community life. We were beginning to reconstruct our families on these principles. However, the process was severely disrupted by Hurricane Janet of 1955 that devastated Barbados, causing the deaths of some 38 persons including my father Darnell Larrier. By 1955 my mother Minnie who was a community midwife had given birth to four other children; she was now a widow with 11 children. Our grandmother Matilda Linton, who was 80 years old at the time of Hurricane Janet and who had experienced the effects of the 1898 great hurricane that also devastated Barbados, was a source of inspiration and helped our immediate family and also the extended family unit. Our family received much assistance, not only from the community but as a blessing from the Highest God, which came through the government’s intervention. Fortunately for the family, a new political party had been recently formed, the Democratic Labour Party (DLP), that had broken away from the Barbados Labour Party (BLP) in power. The political climate allowed the government, with support from the DLP to pledge support to the victims of the hurricane. Migration of Barbadians Immediately following Hurricane Janet, which also impacted significantly on other Caribbean islands, many Barbadians estimated at approximately 30,000 emigrated to the USA, Canada, and to England where the majority went. This mass exodus from Barbados between 1955 and the 1970s severely impacted on the restructuring process of dysfunctional family units as fathers and other senior male figures in particular emigrated, putting much pressure on the females, similar to what occurred during the building of the Panama Canal between 1904 -14. In addition to the practical assistance our family received from the community and the government, Pearline, who was my father eldest child from our mother (he had two other children from previous relationships) also received a special gift. She was granted a free passage to England by a businessman after making a pledge of commitment that she would work and help her siblings. Pearline at age 19 years old was given a pioneering role usually reserved for males, which she carried out confidently, securing accommodation and work opportunities for siblings and other family members who follow her to England. Over the years, all of my mother children have had the opportunity to travel and all but one have lived outside of Barbados for extended periods. Our mother lived to witnessed all 11 of her children being married, and most of the children from 10 brothers and sister were born abroad. Pearline is the only one that has had no children of her own but was blessed with being considered mother of many. Before making her transition on October 11, 1999 age 88 years old, our mother was privileged to have traveled to the USA, Canada, England, Guyana and Trinidad on vacation or to visit relatives. When Hurricane Janet hit Barbados in 1955 six of my siblings were under the age of 16 years old. The government established a social fund and programmes to provide assistance to impoverish families that had suffered great loss from Hurricane Janet, each of my siblings that were under the age of 16 years old benefit from the programme. Our family was not the only one that was given help by the government and Pearline was not the only person to be given a free passage to England. However, to the best of my knowledge, our family is the only one that returned and thanked the government and people of Barbados for the assistance we received. A Visionary is Born I made my entrance into the world on Friday, July 2, 1943 – the same day of the week and the same date of the month as my grandmother, and we both share the same date of birth with my mother. I am the seventh of the eleven children of Darnell and Minnie Larrier. I received my education at the Christ Church Boys Primary School. I left school at the age of 15 years old and took up tailoring. Through the government’s programme of assistance to the family, I was given an apprenticeship grant for training in tailoring, which was my first choice. The brother before me Doreston accepted plumbing as his choice and the brother after me Euclime chose painting. Both later became professionals in their disciplines in Canada and the USA respectively. As a self-employed tailor working from home I was very popular with my peers and with the women who would seek my help with making clothes for their children. It was, therefore, a challenge for me to immigrate to England at age 20, on November 5, 1963, to work with the London Transport Board as a Bus Conductor, a job I would not have done in Barbados. At the time us conducting was one of the best available jobs on offer to immigrants going to England. Barbados was the only country from which workers were recruited, mainly bus conductors and train guards to work for the London Transport Board. Applicants had to attend evening classes for three months with exams and an interview before being accepted. Young women were recruited for the hospitals to be train as nurses and also general workers were recruited for Lyons Company and other local business. I left Barbados by plane on November 5, 1963, just two months after my first child Andrew was born on October 26, 1963; it was heart-wrenching to leave him and his mother. My arrival in England was a shock to my system as this was the first time I had experience continuous cold weather and a very hostile environment fuelled by racial prejudice. Nevertheless, one year later in 1964, I send for the mother of my son to join me in England as my wife, leaving our son to be cared for by my mother. Like most Barbadians who immigrated to England during this period I had hopes of returning home with lots of money within five years as we were led to believe that the street of London was paved with gold. Very few, if any of us had long term plans for living in England. Because of the relationship my mother and I had I promised her that if I did not return home in five years I would send for her for a holiday, which I did in June 1968 so that we could spend our birthday together. By 1968 two other children both girls were added to the family. My mother who would have been one of the very few working-class Barbadians who went to England in the 1960s on holiday was so concerned about the social conditions she saw that she insisted on taking the two girls age 3 years and I year old back to Barbados with her. By the time I got married to my first wife, Benadine in 1968 there were six of our siblings in England, all of whom at the wedding:- I made my first visit back to Barbados for a holiday in December 1969. From 1967 I was a Bus driver but my yearning for home and the struggle against racism was still with me. Therefore, in 1972 I resigned from the London Transport Board and returned to Barbados with the intention of resettling as I was very unhappy with the high incidences of racism in England. However, my eldest sister Pauline who had lived in England from 1955 and also worked as a bus conductor before relocating to the USA was on vacation, and she persuaded me to join her in New York. Within one week of my arrival in the ‘Big Apple the city that never sleeps’, in December 1972, I was held at gunpoint. That experience convinced me that the USA was not for me. Pauline tried to console me by sharing some family history and to assure me that I have a special work to do. She informed me that my birth date being the same as our mother and grandmother is not coincidental that our grandmother was a very spiritual woman and that she had a vision in 1941 about my birth. I was encouraged by her words of comfort but in 1974 after one year in the USA, I returned to Britain via Barbados and rejoined London Transport Board as a Bus driver. Three years later, in 1977 I had an epiphany as one chosen as a medium for a message to the community that needed to be communicated from the spirit realm, with implications for the people of the world. I was lifted up with a similar experience to that which Pauline had informed me that our grandmother Matilda had in 1941. It took me some 13 years until 1990 before I had gained the confidence to penned my proposal of a better world the world leaders. On reflection, I have accepted that I was inspired with insights into the future and of the role Barbados and our family would play in that future, which is summarised: • I was shown ‘a vivid picture of a New Political and Economic Order for the 21st century based on truth, justice, and peace; • That there will be a new political awakening for Barbadian and other people of the Caribbean region, as leaders in world affairs; • I was commissioned to unite our family as a single unit and that by doing so it would lead towards African family unity; • I was informed of the acquisition of economic power by ‘black people and; • The end of Apartheid in South Africa and of the global oppression of ‘White Supremacy’ (Racism)”. My epiphany and spiritual insights occurred while recovering in hospital from a tendon graft operation on the little finger of my right hand. In 1976 while at a friend’s birthday party, I was cutting ice with a knife and accentually severed the tendon of the little finger. The cut healed but there was pain in the pam of my hand, where all the tendons meet. My doctor referred me to Lewisham hospital and I was persuaded by the consultant to allow him to perform a tendon graft to fix the problem, little did I know that the surgery was experimental in nature; it was later deemed to have been ill-advised, unnecessary and was unsuccessful. It caused me much discomfort. Two weeks after the surgery I visited my siblings in North London and while there I was in great pain and they suggested that I return to the hospital outpatient department. I was accompanied by my sister Pearline who was back in England on vacation from Canada and a brother and a friend. After being examined by the doctor, and while waiting on my brother and the friend to return from the shop where they went for a snack, Pearline and I had a quarrel, which was misunderstood by others. The Police were called, and I was arrested and taken back into the hospital, I was sedated by injection and transferred to Bexley mental hospital. I had no previous history of mental illness but was detained unjustly under section 25 of the 1959 Mental Health Act for 28 days, which could have been extended for up to one year under section 26. The 1959 Mental Health Act was used disproportionately against black people. However, within three weeks I achieved what is to this day considered most extraordinary. Realising what was planned for me by the doctors that would have damaged my brain permanently (electric treatment) I demanded to be released and was released on demand. I took the action because a family friend had visited me and a few days earlier and told me he did not like how I had look. Also within a week of my detention, my mother had arrived in England to assure me that nothing was wrong with me. My challenge to the consultant was the first time such a demand was made in the history of the United Kingdom. I have since challenged the authorities for violation of my human rights, which ended my bus driving career with London Transport. I started litigations against the Health Authority in 1978. My case is still lodged in the High Courts. The first two television documentaries on Mental Health human rights violations to have been aired in Britain: Patients or Prisoners (1979) and Skin Racism & Mental Health (1981) were made, due to my experience. The senior consultant at the mental hospital in a letter to the Divisional Medical Officer of London Transport dated July 12, 1977, included the following: “He responded to Phenothiazine medication but retained his conviction that he was being influenced by spiritual forces, and some of his plans for his family were rather grandiose. The diagnosis remains uncertain in this case but he appears to have had an effective psychotic experience”. The ‘rather grandiose’ plans for my family that the consultant referred to were my intention to unite my family. To the consultant, this was a symptom of madness. That experience not only cost me my job and P.S.V class I driving license but I also loosed the affection of my loved ones and the respect of friends and colleagues. Within one year of my consciousness awakening, I organised a family reunion of July 2, 1978, to celebrate Mum’s birthday. Some family members had not seen each other in 23 years - since Hurricane Janet of 1955. The reunion was a great experience; it also set a precedent for family reunions in Barbados. However, it was not the success that I saw in my vision and was commissioned to achieve, as two brothers were not present. Being committed to my mission I was determined that there must be a reunion at which all of my siblings would be present. Therefore, I embarked on a process of traveling and conversing with family members about another reunion. All but one brother Winfield was for it. He was seen as the one that would hinder the process. He did not attend the 1978 reunion and bets were out that he would not attend the one being planned. I had different plans and assure all that he will be present. He had not visited Barbados since he left in 1957 and Mum was on my case to ensure that he came back before she dies, I gave her my word that I will get him back home. When the date was set for the next reunion I got his passport renewed, booked his passage and presented him with the ticket, and warned him of the consequences of not attending the reunion. After eight years from 1978 and much planning the second reunion was held again on July 2, 1986, this time all living siblings were present. It took me many years to rebuild my life but my commitment remains to de-stigmatize mental illness. I was a founder member of the first Afro-Caribbean Mental Health Organisation in England. I also established or was co-founder of a number of other organisations. I was Chairman of the local mental health organisation in the London borough of Lewisham and a council member of the National Association for Mental Health (MIND). I represented MIND at the mental health world conference held in Cairo Egypt in 1987. I also established a trust to raise funds to take my case to court in an effort to prove that the 1959 Mental Health Act was had violated my human rights. Links between the mental institution and the Prison My activism against the system finally led to my imprisonment in 1994 as a combination of my challenges to the mental health act and my activism for economic liberation. In January 1990 I penned a proposal which was sent to over 170 world leaders including International Non-governmental Organisations recommending that October 12 be designated a Universal Day of Hope for truth, justice, peace, healing and reconciliation. There were a number of positive responses to the proposal and taking inspiration from some of the replies a second edition was produced. It was then made public to the people of the world in a booklet. It took me many years to rebuild my life but my commitment remains to de-stigmatize mental illness. I was a founder member of the first Afro-Caribbean Mental Health Organisation in England. I also established or was a co-founder of and a number of other organisations. I was Chairman of the local mental health organisation in the London borough of Lewisham and a council member of the National Association for Mental Health (MIND). I represented MIND at the mental health world conference held in Cairo Egypt in 1987. I also established a trust to raise funds to take my case to court in an effort to prove that the 1959 Mental Health Act was had violated my human rights. Economic Freedom The proposal put forward for truth, justice, peace, healing and reconciliation included an economic programme, which was fully support by Barbadians and other Caribbean national living in England. Following these publications and my activism, in 1991 my wife who was a staff midwife at Greenwich District Hospital was arrested on SUS (Suspected person Act) to gain entrance to my home, which was also my office. Fortunately for us, I was at home when four (4) police officers with a search warrant arrived with my wife in handcuff, nothing illegal was found and they left with my wife still handcuff. In 1992 an individual gave me a third party cheque as an investment in the programme and after six days the bank cleared the cheque. Months later I used some of the money for travel to both the USA and Barbados to promote my work and the programme. On my return to London, I was arrested on the basis that the cheque was stolen. I was charged and there were two trials, the first was a split jury and at the second the judge misdirected the jury and I was found guilty. He then ordered a psychiatric assessment on me before imposing a nine-month jail sentence, which I spent in Belmarsh Top Security Prison. In prison, my civil rights were violated on 11 counts. There was an investigation and it was proven that my claims were factual. It was after these complaints that an inmate servicing a life sentence warned me that my life was in danger and that I should leave England if I did get out of prison alive. Within one month of my release, I left the UK and relocated back to Barbados. I intend on taking my case for human rights violation to the highest court.
Chimpanzee skull from the collections in the Bell Pettigrew Natural History, part of the Museums of the University of St Andrews.
Santa Rosa First People’s Community Museum
The Santa Rosa First Peoples Community is the only organized area of the Amerindian Survival in Trinidad and Tobago. The Community was formally recognized as representative of the Indigenous Amerindians of the twin-island state by the National Government in 1990. The community’s historical continuity is remarkable. The Santa Rosa First Peoples existed as a community since the early Spanish period, and before that, archaeological and proto-historical data indicate almost 5000 years of settlement in the island. This extraordinary continuity despite the extraordinary rupture of Spanish Conquest and Colonisation is the fundamental factor in the Community’s continuing and powerful indigenous self-identification. Our mission is to facilitate the unity and development of the First Peoples of Trinidad and Tobago (social, economic, cultural) through programmes of education, research and action, and collaboration with other sectors of the population, promoting a world view of harmony with the environment. La Comunidad de los Primeros Pueblos de Santa Rosa es la única área organizada de la Supervivencia Amerindia en Trinidad y Tobago. El gobierno nacional reconoció formalmente a la comunidad como representante de los amerindios indígenas del estado conformado por dos islas en 1990. La continuidad histórica de la comunidad es notable. Los Primeros Pueblos de Santa Rosa existían como una comunidad desde principios del período español, y antes de eso, los datos arqueológicos y protohistóricos indican casi 5000 años de asentamiento en la isla. Esta extraordinaria continuidad, a pesar de la extraordinaria ruptura de la conquista y colonización española, es el factor fundamental en la continua y poderosa autoidentificación indígena de la comunidad. Nuestra misión es facilitar la unidad y el desarrollo de los Primeros Pueblos de Trinidad y Tobago (social, económico, cultural) a través de programas de educación, investigación y acción, y colaboración con otros sectores de la población, promoviendo una visión del mundo en armonía con el medio ambiente.
National Archives of Trinidad and Tobago
Chaguaramas Military History and Aerospace Museum
Just a quick intro as to why we migrated to Barbados due to post economic conditions in Guyana. again I was very young so I could only go off of what my mother told me as a child. All I know for sure is that she wouldn't have left Guyana unless it was essential to our well being and growth as individuals. She her self goes back from time to time but U have never been back since but I've already had plans to go back whenever I am able to because I heard its very beautiful indeed!
Eric Lynch speaks about his family history with ties from the Caribbean to Liverpool in the Claude Graham series "Unshackled". Footage courtesy the Caribbean Broadcasting Corporation.