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
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.
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.
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.
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.
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.
Title Ecomusee CreoleArt Description This museum was begun in 1989 by Jocelyn Roumbo and made collaboratively to preserve and show the nature, history, culture & traditions of Guadeloupe. The visit is self-guided and begins with the Jardin Creole, a walkway with herbal, medicinal or edible plants. The panels provide basic information and recipes, myths or anecdotes, making nature a part of culture by discussing customs, traditions and beliefs. Then there are 32 cabinets, each with different objects and texts to represent the communes of Guadeloupe. Each is made by the respective commune. Throughout, there are ateliers where local initiatives are demonstrated (live or on video), combining natural and cultural heritage to work towards environmental and cultural sustainability. The final aspect of the ecomuseum is the history section of period rooms and houses like life-size dioramas from Columbus to local convenience store.
Ecomuseo de la Cerámica Chorotega, San Vicente de Nicoya
This project is a response to the need of the people of San Vicente to manage their natural and cultural resources. It is an instrument for the education, preservation and diffusion of the Cultural and Natural Heritage of San Vicente. Este museo es una iniciativa comunitaria, en la cual se ha desarrollado una exhibición que se basa en las tradiciones orales, el pasado precolombino, la vida cotidiana y la fabricación de alfarería tradicional como su base narrativa. Se combina además con visitas a los lugares tradicionales de la comunidad, y a los talleres de los alfareros del lugar.
This project is a response to the need of the people of San Vicente to manage their natural and cultural resources. It is an instrument for the education, preservation and diffusion of the Cultural and Natural Heritage of San Vicente.
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 .
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. 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.
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 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 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.
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”.
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.
O Ecomuseu Municipal do Seixal (EMS) tem por missão investigar, conservar, documentar, interpretar, valorizar e difundir testemunhos do Homem e do meio, reportados ao território e à população do concelho, com vista a contribuir para a construção e a transmissão das memórias sociais e para um desenvolvimento local sustentável. Funcionalmente, baseia-se na gestão integrada de serviços, por que se reparte uma equipa permanente de cerca de 45 pessoas, abrangendo a investigação, a documentação, a conservação, a exposição, a difusão e a educação, centradas num vasto acervo museológico e num património muito diversificado. Territorialmente, o EMS integra oito sítios (cinco núcleos museológicos e três extensões) e gere três embarcações tradicionais de recreio. Os núcleos são sítios ou espaços de propriedade e tutela municipais, musealizados ou com aproveitamento museológico atual ou programado. As extensões são sítios ou patrimónios integrados em espaços de tutelas mistas, com parcial aproveitamento museológico. O acervo do Ecomuseu Municipal do Seixal é constituído por património cultural imóvel, por património flutuante e por bens móveis, incluindo coleções arqueológicas, técnicas e industriais, artísticas e etnográficas e fundos documentais, na sua maioria provenientes do território do concelho. Destacam-se: - as coleções arqueológicas, nomeadamente da Olaria Romana da Quinta do Rouxinol; - as coleções industriais, nomeadamente da fábrica de cortiça da Mundet & C.ª, Lda. (Seixal); - as coleções etnográficas e de cultura flúvio-marítima, nomeadamente de estaleiros navais tradicionais do estuário do Tejo; - as coleções de azulejaria (séculos XVI a XX); - as coleções e fundos documentais (imprensa local, fotografia, bibliografia e documentos variados, incluindo fundo antigo da Câmara). Para além do património material incorporado no seu acervo, o Ecomuseu Municipal do Seixal (EMS) integra e dinamiza um importante património cultural imaterial, nomeadamente através da preservação e da transmissão de técnicas e saber-fazer ligados à tipografia, à moagem, à construção naval tradicional em madeira, à navegação à vela tradicional no estuário do Tejo e à produção de energia mecânica a vapor, que no contexto do trabalho museológico estão associados respetivamente à oficina tradicional de artes gráficas no Espaço Memória –Tipografia Popular do Seixal, ao Moinho de Maré de Corroios, à oficina de modelismo naval no Núcleo Naval, às embarcações tradicionais, e ao circuito da pólvora negra, na Fábrica de Pólvora de Vale de Milhaços.
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.
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
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.
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
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.
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.
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.
Escorpión deidad cerámica - Scorpion deity ceramic
Cerámica Blackware que representa una deidad escorpión. Blackware ceramic depicting a scorpion deity.
Caja de madera con muela para afilar cuchillos y hachas. Wooden box with grindstone for sharpening knives and axes.
Espaço Memoria e Fronteira em Melgaço-Porto Canal
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
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.
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.
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.
Interview with Curator Allison Thompson for the Barbadian programme "Eye on the Arts", which aired on February 9th 2019.
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.
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.
Figura antropomórfica de entierro 2 - Burial anthropomorphic figure 2
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.
Figura en tocado de plumas de entierro en las pirámides de Túcume. Figure in headdress made from feathers from burial in Túcume pyramids.
Figura sosteniendo un animal Blackware - Figure holding an animal Blackware
Botella escultórica con representación antropomorfa. Presenta labio adelgazado, gollete de paredes convergentes rectas, cuerpo escultórico, y base plana. Tiene evidencias de una asa cintada, ubicada en la cara posterior, que une el extremo inferior del gollete con el diámetro máximo del cuerpo escultórico. La superficie externa ha sido bruñida. El color no es uniforme debido a manchas de cocción. Sculptural bottle with anthropomorphic representation. It has a neck of straight converging sides with a thin lip. It has a sculptural body and a plane base. It has a belted handle located on the back face which joins the lower extremity of the neck with the maximum diameter of the sculptural body. The outer surface has been burnished. The colour is not uniform across the surface and this is due to cooking and baking stains.
Elaborado en la época Sican (750-1350 AD)
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
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
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.
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
PWRR Queens Museum - Walter Tull Exhibition
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.
Fort Charles was built between 1650 and 1660, the first fort constructed in Port Royal, Jamaica.
Fotografias Pedro Pacheco e Marie Clement, Museu da Luz
Fundação Serrão Martins (c)
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.
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.
George Washington House in Barbados is a historic house where the future first U.S. President George Washington visited, in 1751. He was 19 years old at the time, and with his ailing half-brother, Lawrence Washington.
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.
This Amerindian artefact is most recognisable as a face that adorned the Barbados Museum and Historical Society’s logo
Gorilla skull from the Bell Pettigrew Natural History Museum - Teaching Collection, University of St Andrews, Scotland.
The Grenada National Museum is a museum in St. George's, Grenada. It is housed in a building which served as the French barracks from 1704, built on the foundations of the Fort George.
In Guadeloupe Islands, Carnival is a major cultural event, which is celebrated over three months: January , February and March. If you are in Guadeloupe Islands during this period, you cannot miss out on this spectacular and colorful event. You will attend parades floats, and many contests! Like for costumes, lyrics and also for choreographies. Count also on the multiple Dance marathons all across the cities to delve into the hypnotic rhythm of Guadeloupe!
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.
Haitian Carnival is a celebration held over several weeks each year leading up to Mardi Gras.
User:Doron, CC BY-SA 3.0 <http://creativecommons.org/licenses/by-sa/3.0/>, via Wikimedia Commons
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.
Havana's Carnival provides a spectacular display of music, dancing, conga lines, fanciful outfits, fireworks and rum. Carnival comes with some traditions, like effigies of well known people being paraded along the coastal road, Parades run the length of the Malecon and rich traditional music competes with more contemporary sounds. Thousands of Cubans look forward to the traditional carnival festivities, a colorful and explosive show of allegoric floats and dancers. As a complement, dishes from Cuban cuisine and beverages, Cuban cold beer and Cuban rum offered by the Malecon.