‘Archives and Power: Democratising DMU Special Collections’
By Archivist Dr Natalie Hayton and Special Collections Manager Katharine Short
IMAGE: Poster for an emergency public meeting. From D/083 Papers of Oronto Douglas, c 1995.
When discussing power relations and historical primary sources in Special Collections with those new to archives, we are often met with, ‘but they are the records of the past, surely, they tell us the real facts’ (DMU student 2019). However, as with all sources, it’s not that simple. Reflecting the white supremacist, heteronormative, patriarchal world in which records are created, archives and the processes surrounding keeping archives have historically upheld elitist ideologies, contributing to the othering and silencing of marginalised groups.
As archive theorist Terry Cook suggests, ‘we are what we keep’ (2011) and until recently this meant archival institutions un/consciously retaining and celebrating the collections of dominant groups while failing to recognise and represent the whole of society and diversity of experience. From the types of collections acquired and promoted, to only framing records about “minorities” in relation to dominant groups, the archive sector is culpable for and susceptible to systemic bias.
IMAGE: ‘Veronica’s Veil’ artwork, menstrual blood on gauze, 2005. From A/017 Papers of Traci Kelly, 2005
IMAGE: ‘Sleight of Hand Bureau for Emancipated Touch’ in collaboration with Richard Hancock. rom A/017 Papers of Traci Kelly, 1975.
IMAGES: Display of programmes and papers from D/023 Papers of Bryony Lavery, c 1975-2011.
Recent debates in the field are now attempting to redress that imbalance and in DMU Special Collections we have made it our mission to take an activist approach, adopting change in our processes and infrastructure. Based in the Kimberlin Library, our role is to collect and preserve the history of DMU (1870-) as well as material that relates to the university’s subject strengths and research specialisms. Actively assessing our collections means we can understand the ways in which our acquisitions can be seen to contribute to the aim of representing the whole of society while also exposing the gaps. Records explicitly celebrating diversity include the papers of donors, such as Oronto Douglas, environmental rights activist and lawyer; Traci Kelly, feminist, interdisciplinary artist; Bryony Lavery, queer and feminist playwright and Andrew Logan, artist, impresario and founder of the Alternative Miss World Contest.
Significantly, at an institutional level there is much relating to the governance of the university, while there is very little documenting staff and student experience. The dominant group is represented while the majority of those who experience DMU is not. To address this, we have set up various archives appeals and are continually working with departments and student groups to extend our networks.
In Special Collections we believe that a democratising approach also begins at a granular level, in the way we perform our tasks, from listing to outreach programmes and the way we collaborate with our donors so that they feel in control of what happens to their collections. One such example includes when in partnership with the Stephen Lawrence Research Centre we assisted Leicester‘s African Caribbean Centre with the organising and listing of their archives. Other methods include rethinking our catalogue descriptions in terms of not unwittingly repeating and continuing the use of oppressive and offensive terminology and language while providing content warnings for records with racist/misogynistic/classist/ableist etc. content. Alongside this, and most importantly, we want to encourage diversity in the workforce while making all users feel welcome when visiting the archive.
IMAGE: Poster for theatre company, Monstrous Regiment. From D/023 Papers of Bryony Lavery, c 1978.
We want to create an inclusive space where everyone can feel confident accessing archives without fear of impediment, judgement or unexpectedly encountering upsetting content. Access to community history and knowledge through archives is a part of our human rights and in DMU Special Collections we want to make sure everyone is represented and everyone is welcome.
If you would like to find out more about any of the issues discussed here or make an appointment to view our collections, please contact archives@dmu.ac.uk, Twitter: @DMUSpecialColls, Instagram: @dmuspecialcollection
IMAGE: Photograph of Miss Holland Park (actor Eric Roberts, top left), Alternative Miss World winner 1973 celebrating with 1975 winner, Miss Crepe Suzette (film maker Derek Jarman, top right) Logan pictured bottom right. 1975. From A/09 Papers of Andrew Logan.
Comments