The Great Flood of November 1771 – guest post by Emily Needle

My name is Emily Needle. I am a 3rd year History student at Newcastle University on a work placement at the Great North Museum Hancock: Library.  I am fortunate to be able to look at and read some wonderful old and rare books every time I come in for my placement. This week I came across some fascinating material that discusses the Great Flood on the Rivers Tyne, Tees, Wear and Eden, on the 16th and 17th November 1771, which is of course 244 years ago to date, and seems relevant with the amount of rain we’ve been having this past week in 2015!

It is hard to imagine such a disastrous natural calamity happening today where I live and study, but of course it can happen anywhere at any time, and unfortunate inhabitants of Newcastle in the eighteenth-century experienced first-hand what was described by contemporaries as ‘the most dreadful inundation that ever befell that part of the country.’ Incessant rainfall from Saturday morning until early Sunday morning that year in November, particularly heavy in the western parts of the County and County Durham, led to many lives being lost in the flood, as well as some miraculous stories of humanity, community spirit and courage.

Perhaps most catastrophic to many people was the collapse of the Tyne Bridge, a symbol of Newcastle-Upon-Tyne as notable in the 1770s as it is today. The middle arch and two of the arches near the south side of the bank collapsed at around 3am on the morning on the 17th November with the rapid swell of the water.

Image of the ruined bridge from John Brand's "History of Newcastle"

Image of the ruined bridge from John Brand’s “History of Newcastle”

 

Mr Fiddas who lived at the north end of the bridge managed to escape his house with his wife and maidservant; but the maid begged him to go back with her to get a bundle she had forgotten. He agreed to return, so they turned back and moved along the bridge to get her possessions. Mrs Fiddas tragically watched as the arch gave way beneath her husband and servant. They were swept away by the river and never seen again. Six people died that night in Newcastle alone, and the flood was not limited to the one city. A description of the morning of the flood tells of the vast scope of the damage:

‘The first dawn of day discovered a scene of horror and devastation, too dreadful for words to express, or humanity to behold, without shuddering; all the cellars, warehouses, shops and lower apartments of the dwelling-houses, from the West end of the close to near Ouseburn, were totally under water.’

The walls of Black Church in Bywell were ruined, and the parish records destroyed. A copy of “The Account of the Great Flood in the Rivers Tyne, Tees, Wear and Edenis available  in the Society of Antiquaries of Newcastle Upon Tyne’s collection which is located in the Library.

Title Page of "An account of the Great Floods in the Rivers Tyne, Tees, Wear, Eden etc"

Title Page of “An account of the Great Floods in the Rivers Tyne, Tees, Wear, Eden etc”

 

 

This vividly recounts how ‘dead bodies and coffins were torn out of churchyards and the living and the dead promiscuously clashed in the torrent.’ Mr Fenwick of Bywell kindly gave relief in the aid of money to those who had suffered and lost property. Indeed several touching stories emerged from the awfulness of the flood.

Many people did lose their lives, but many more were saved. Near Shields a cradle was found floating in the water with a baby inside, still alive. And people were not the only lucky escapees: a mercer, Mr Patton, discovered his house had been carried away nearly eight miles by the river. All of his possessions were gone, but his cat and a dog were still inside miraculously unharmed.

Peter Weatherly, a shoemaker and family survived because of the courage and help of a Gateshead bricklayer. Awakened at 3am from the noise of the flood, Peter Weatherly opened a window and saw Mr and Mrs Fiddas, two children and a maid passing along the bridge; he was perhaps the last person ever to see Mr Fiddas and his maid alive. Peter managed to get his children, wife and servant girl to safely leave the house, at great risk to all their lives after one of the arches of the bridge against the house collapsed. However, they were then stranded on the roof in the cold November morning for six hours by two arches that had fallen in around them. Several people had seen them stuck there but had not dared rescue them, until a bricklayer bravely made his way along adjoining shop roofs to get them all to safety at 10 o’clock the next morning.

On December 19th 1771, gentlemen of Northumberland met at Hexham in a committee which agreed to pay those who had suffered and lost the most. The Great North Museum: Hancock library currently  has the original River Tyne Flood Papers containing the handwritten outcome of the meeting, lists of wealthy subscribers who had agreed to send money, and of the claims sent in by the people of Northumberland, all which tell a fascinating story.

flood book final

Sample page from the “River Tyne Flood Papers 1771”

 

The Society of Antiquaries of Newcastle Upon Tyne are in the process of transcribing the flood papers, a wonderful and enlightening project. The contents page can be found on their website at http://www.newcastle-antiquaries.org.uk/Flood/contents.php

After the flood it took many years to recover the buildings, land, and the area to what it had been before; there was of course no replacement for those who had lost loved ones in the raging waters. But reading the accounts of this terrible night, there is a great feeling of humanity and a community spirit from these stories that enabled many who might have perished to have lived to tell the story.

The Great North Museum: Hancock Library is located on the second floor of the Museum. It has a wonderful collection of books on the history, heritage, archaeology and natural history of the northern region and it is free to use and open to everyone.

 

Guest post – Tim Shaw

Transmit / Receive

The First World War accelerated technological innovation. Many of the devices developed were used to generate or listen to sound for communication purposes. From radio broadcasts to early underwater microphones, listening was a key strategy in the war effort. Many accounts of the war recollect sound as a major sensory experience yet, as far as we’re aware, no sound recordings of battle actually exist. There is an interesting space here for creatively imagining what these technologies might have sounded like.

The Transmit / Receive project explores these sonic communication technologies using contemporary knowledge and materials. The idea of the project is to engage with some of the themes, sounds and technological advancements of the period through a practical programme of work including two workshops and some informal performance events.

In collaboration with Ben Freeth, Tom Schofield and John Bowers, I planned some public workshops which would engage participants in the building of a variety of World War One technologies. The activities, which took place in the basement of Discovery museum, involved DIY electronics, making and lots of curious sound generation.

Over the two workshops we built a range of devices including hydrophones (underwater microphones), Morse code synthesisers, Carbon Granule Microphones and (very!) short range AM radios.
HYDROPHONEIMAGE

 

The hydrophones, designed by Ben Freeth, were constructed using piezo discs, acrylic, bolts and speaker wire.

 

MORSECODEIMAGE

The Morse code machines were built using CMOS Chips and Morse keys, adapted from a tutorial from DIY musical mastermind Nicolas Collins: (http://www.nicolascollins.com/hackingtutorials.htm).

 

TRANSMITTERIMAGE

 

The short range radio transmitter consisted of only two components, available from most hardware stores. This small device allowed participants to broadcast any sound to battery powered radios placed around the space.

CARBONGRANULEIMAGE

 

Finally, the carbon granule microphones involved distilling a microphone to it minimum parts. Using graphite powder (available in most art shops), paper and wires we created a very lo-fi audio device.

We were lucky enough to have a great group of open-minded people who immediately got stuck in with the making and experimented with the devices we made. After building we explored performing with devices. In the following video we have a Morse code synthesiser playing through a hydrophone into a tank full of water. This is then being picked up by another hydrophone in the tank and amplified through a mini amp.

https://www.youtube.com/watch?v=admW0uJjAPo&feature=youtu.be

This weekend we are going to Tynemouth and the Fulwell Acoustic Mirror to explore these technologies in WW1 relevant sites which will include broadcasting Morse code into the North Sea! Feel free to join us in person or listen in online from our Internet broadcast.

More Information here:

http://transmit-receive.tumblr.com/

https://www.facebook.com/events/758163757646642/

Memories of the Hancock museum (part 3)

The development associated with Capital of Culture led to the development of the idea for the Great North Museum, the linking together of the development and management of the Hancock Museum, Museum of Antiquities, Hatton Gallery and Shefton  Museum.

Following a major Lottery Grant and generous support from Newcastle University, Newcastle City Council and a range of other funders a plan was developed for bringing the three museums together within the redeveloped Hancock building.  I was privileged to be the author of the successful bid which unlocked £9 million of Lottery funding.

Working from a small office in the University’s administration, then located in Kensington Terrace, and working closely with colleagues from Tyne & Wear Archives & Museums, Newcastle University, Newcastle City Council, The Natural History Society of Northumbria and The Society of Antiquities  of Newcastle upon Tyne we crafted a bid which had to be delivered to the Heritage Lottery Fund offices in London by 12 noon on 30 June 2004.  Of course, we booked a courier to deliver them to London the previous day, however, the reality was there was still those last minute tweaks that we wished to make, the i’s to be dotted and t’s to be crossed.  The only way to do it was for me to put the bid in a bag and take it direct to London.  However, for three copies of a bid that included 40 appendices we needed a pretty big bag.  Fortunately the project assistant had a colossal wheeled suitcase, more of a trunk actually, and this was commandeered into action. Inevitably a series of events – possibly amusing, perhaps more terrifying – intervened.

Firstly power lines on the East Coast mainline came down near Peterborough.  It was unclear whether the train would get through.  The matter was resolved and I got to London.  There was a tube strike and queues for taxis snaked round and through the whole of Euston Station, but eventually a taxi was secured and I began a journey around London to amass the additional appendices required from architects and designers.

We arrived at the offices with a good half an hour to spare at the same time as the bid for the Cutty Sark arrived, very cleverly I thought, in a set of tea chests.  We didn’t have a themed delivery mechanism, only the project assistant’s suitcases, but the quality of the bid shone through and the first stage pass for £9 million, followed by the second stage pass and other funding allowed the creation of the Great North Museum which, since it opened in May 2009, has attracted well in excess of 3 million visitors.

The life size elephant arriving at the new museum

The life size elephant arriving at the new museum

 

People queue up to visit the Great North Museum: Hancock on its opening day

People queue up to visit the Great North Museum: Hancock on its opening day

The importance of ‘Invitations to Play’

Today I read with interest of Toddlers’ Choice at the Whitworth: a project in which toddlers were invited to vote for their favourite artwork from a selection. They were also presented with sensory play themed around the favourite artworks they’d voted for, many of which featured bold colours and pattern.

Toddlers' Choice at the Whitworth

Toddlers’ Choice at the Whitworth

It got me thinking about the Reggio Emilia-inspired philosophy and the importance it places on creating ‘invitations to play’. This is the creation of an open-ended play opportunities – for example, presenting creative materials in enticing ways, or setting up a small role-play area at home. The items used needn’t be new to the child; the idea is that by simply presenting them in an inviting or different way, the child’s imagination is sparked. It can be fascinating to see how children respond, and there’s no right or wrong way to do it. Setting up ‘invitations’ like this may challenge you to play in new ways, or to offer less instruction or supervision than usual. If you’re interested in setting up your own ‘invitation to play’ you may like to have a read of The Imagination Tree which has some good tips for setting up such play opportunities.

I’ve been setting up lots of different ‘invitations to play’ lately, all of which are designed to offer creative ways to engage with the exhibitions. For example, I’ve been working with the Matov Children’s Centre to engage families from the local Orthodox Jewish community in the gallery. We had a look around the exhibitions and then played with various creative materials, inspired by artworks we’d seen. All of the playthings were carefully chosen so none offered only one way to engage – rather they should offer multiple, open-ended ways of interacting, to be determined by the individual. Below you can see a shiny sculpture on display at the Shipley, with a big pool of scrunchy reflective foil in the foreground. This ‘invitation to play’ was used in many different ways; some children enjoyed the sounds; others were fascinated by layering it; and many dived into it or hid amongst its layers. By engaging the children in looking at the sculpture, discussing its qualities, and then inviting them to play amongst a similar material, their imaginations were fired and they were able to really connect with the artwork in ways that simply looking didn’t offer.

A sculpture-inspired 'invitation to play'

A sculpture-inspired ‘invitation to play’

Open-ended play with assorted items

Open-ended play with assorted items

 

 

 

 

 

 

 

 

Play dough with various items such as straws, feathers and lollipop sticks also offered an enticing play invitation; some children were concerned with marking patterns in the dough; others experimented with how many items they could stand up in it; and a few were more interested in the items themselves and how they could be fitted together (for example, putting straws together to make one giant straw). By deliberately avoiding presenting an activity where everyone made a recognisable ‘something’, we created an environment where the children could do anything: an empowering creative lesson.

It’s often a requirement of the art gallery that artworks aren’t touched, making tactile play opportunities even more important for (otherwise frustrated) little fingers. This chance to ’embody the artwork’ can be hugely interesting for the child. Below is a video of a research project by The Carousel Project and the University of Exeter, which explored creative input into Early Years development. You’ll see here (at about 3 minutes, 40 seconds in) a really fun and memorable way of engaging young children in printmaking, using the whole body to aid their understanding of the artwork.

In a few days, I’ll be running ‘Creative Baby!’ session 3, which I’m sure will present many invitations to play for both adults and children. I look forward to seeing how these young creatives engage with the invitations presented to them, and how they will surprise us!

 

Feeding the imagination: a food themed ‘Creative Baby!’

I’m in the midst of planning the third session of ‘Creative Baby!’ and thought it’d be interesting to do a forward-looking, rather than retrospective blog post on this.

The next session will focus on the exhibition ‘Eat, Drink and Make Merry!’ which features paintings from the Shipley Art Gallery collection that depict food, drink and celebration. There’s lots of material there for ‘Creative Baby!’ as it’s a really accessible and feel-good exhibition to engage people of all ages.

I’ve decided to focus on food as inspiration for this session, so have been having lots of fun preparing surprises for the sensory play space. I can’t wait to see the babies’ and parents’ faces when they begin exploring! I don’t want to give too much away, but I am extremely excited to share these giant cupcakes I’ve made… I really enjoyed creating these with just a beanbag, fabric, cellophane, pompoms, a bucket, and a bit of imagination, although they did make me feel rather hungry!

Giant cupcakes for Creative Baby!

Giant cupcakes for Creative Baby!

 

I’ve also been doing some reading about how other galleries and museums are engaging babies and young children. There’s a really exciting project going on between Starcatchers and National Galleries of Scotland – the brilliantly inspiring (and entertaining) Wee Wanders blog is worth a read. I’ve been planning some dressing up in the gallery inspired by the costume in the portraits, so Wee Wanders’ photos of how nursery children responded to Bailey’s ‘Stardust’ exhibition have been particularly timely. As well as making me smile, they’ve confirmed that this ‘playing’ is actually really valuable in developing new audiences and gallery practice.

Wee Wanders at National Gallery of Scotland

Wee Wanders at National Gallery of Scotland

Wee Wanders at National Gallery of Scotland

Wee Wanders at National Gallery of Scotland

 

 

 

 

 

 

 

 

 

I’ve also met  with Undergraduate students of Childhood Studies and Early Years at Northumbria University. They’re really keen to dedicate some of their dissertation research to ‘Creative Baby!’ At the moment they’re interested in sensory development and early interaction between babies and children, although their focus may change after they attend the next ‘Creative Baby!’ session. I’m sure their research will make a valuable contribution to this project and help me to think about new ways of structuring and planning it, to support early childhood development.

Until the next session I’ll be doing lots of research, planning and playing in preparation for ‘Creative Baby! session 3’. I’ve found some fascinating reading – for example, Sussex Baby Lab at Sussex University, which is investigating how babies see, think and learn. Its findings will certainly impact on the opportunities I choose to present at ‘Creative Baby!’ And this Museums Association blog post ‘Can babies enjoy museums?’ by Esme Ward, Head of Learning at The Whitworth, which outlines how babies sense and perceive, respond to beauty, recognise things, reason about objects, and learn and remember – making them the ideal gallery audiences!

I’m finding ‘Creative Baby!’ learning comes from all sorts of other places too: my job brings opportunities to work with a huge range of people in creative ways, and often what I learn from one project will impact on another. This week, I’ve been facilitating a project with families from the local Orthodox Jewish community, incorporating music, movement and gallery-based activities. Having set up an enticing selection of crayons, glue, tissue paper and toys, I observed two surprising responses: one was a boy studiously taking all of the scissors out of the container and slotting them back in repeatedly in different configurations; the other was a girl who – observing the craft on display in the gallery – carefully curated her own display of toy crockery on a plinth, rather than engaging in the teddy bears’ picnic roleplay her peers favoured. Both these observations show me that children often respond to creative play activities in surprising ways, demonstrating a level of creative thinking that I find fascinating and delightful.

Curating a tea set

Curating a tea set

Finding creativity in the scissors

Finding creativity in the scissors