City of Vancouver Archives (CVA) has recently begun a project to digitize thousands of negatives created by commercial Vancouver photographer Don Coltman who worked at Williams Brothers Photographers, and whose images were created in the years 1941-55.
Coltman’s images cover such subjects as
This is exciting news and will add much to the photo collection of Vancouver images that are available online.
Researchers will be happy to know that all Coltman’s photographs are in the public domain and will be freely available for use once the project is finished.
The negatives are made of rapidly deteriorating cellulose acetate and are stored frozen to keep them from deteriorating further.
Because cellulose acetate is toxic, the CVA had to develop a way to digitize the negatives that would still be safe for staff and figure out a way to manage preservation of the negatives while also reducing the amount of time they are out of the freezer.
See the link at the top for more about the chemistry and preservation of cellulose acetate photos and about the CVA’s preservation work with the Coltman collection.
Have you ever wondered how Christabel Pankhurst sounded when rousing women to fight for the right to vote? Or Aga Khan III speaking to Muslim people? Or the Queen mom as a young woman exhorting the women of England to be brave during war? How about Robert Baden Powell, speaking to young boyscouts in the early 20th century?
We can easily find material to read about these people and what they stood for. But it is rare to actually hear their voices and hear their passion and personality come through in speech.
The British Library Sound archive holds recordings of various public figures including these and many more, most of them recorded before the advent of long-playing records and tapes.
They are recordings of speeches and messages addressed to the British parliament or the public at various events.
The library warns users to be aware that the recordings are historical documents and that language, tone and content could be offensive to present-day listeners
Another interesting collection within the British library’s sound archive are recordings of childrens’ games and songs made by Iona Opie and her husband Peter between 1969 and 1983, the Opie collection.
The Opie’s dedicated their working lives to the documentation of children’s play, folklore, language and literature.
They also published several influential works, most notably The Lore and Language of Schoolchildren (1959).
Recordings are searchable by British county using an alphabetical drop-down menu, or by the name of the interviewer or interviewee.
Under the BBC Voices project, you can listen to speakers from all the counties of Britain to hear how they pronounce words in the early 21st century – and what words are in their current lexicon.
I took a quick listen to the people from Cornwall – because I’ve heard that people from that region have a strong accent that is difficult for outsiders to understand (though I didn’t find that from what I listened to – local accents are becoming less distinct with the movement of people from different regions). I also listened to speakers from West Yorkshire because that’s where the protagonist of my historical novel comes from.
Two of the recordings from the West Yorkshire area (Leeds) feature speakers from the Jamaican and Punjabi communities there which adds another flavour to the evolution of the English language
Between 2004 and 2005 group conversations were recorded in 303 locations involving a total of 1,293 people across the UK, Channel Islands and the Isle of Man. The vast majority of conversations were conducted in English, but the collection also includes 31 interviews in Scots, 9 in Welsh, 5 in Scots Gaelic, 3 in Irish, 3 in Ulster Scots, and 1 each in Manx and Guernsey French. The selection available here represents the entire set of conversations conducted in English and Scots.
There are further recordings of accents and dialects on Sounds Familiar, which is an interactive, educational website with 78 extracts from recordings of speakers from across the UK and over 600 audio clips that illustrate changes and variations in contemporary British English.
While researching the specifics of early audio recordings for a short story I wrote a few months ago, I came across the Vernadsky library’s collection of sound archives in Kiev and it made me think of this different format of documents that – to a music lover and aurally-focused person such as myself – opens up a whole new world of fascinating historical materials.
It’s got one of the biggest collections of recorded sound in the world and includes music, spoken word, and ambient recordings as far back as 1905, mostly on metal cylinders.
A digitizing project began in the 1990s, allowing much of the collection to now be electronically accessible.
The British Library sound archive’s collection of six million recordings come from BBC radio broadcasts and privately made recordings . They include first hand accounts of Holocaust survivors and of WW I vets held in German prisoner-of-war camps, soundscapes of street scenes including open markets from the Victorian era, the sound of a sail being hoisted on its mast on an early sailing ship, recordings of early folk and opera singing, writers – including an interview with Leo Tolstoy and other noteworthy writers – bird calls and wildlife recordings from many parts of the world, and UK dialects.
In a nutshell – here are the classifications of different recordings available. I’ll delve into these more in the weeks to come.
Drama and literature
Popular music and jazz
Spoken language and dialects
Wildlife and other nature sounds
World and traditional music
It makes me think of all the amazing ways these recordings could be used – in art and theatre projects to help set a scene. In academic investigations comparing the predominant sounds of yesteryear to those we hear today. And to hear – perhaps for the first time for contemporary audiences – the sound of birds and animals that have become extinct.
Many of these archival clips and recordings are available online to the public and some can be imbedded into various kinds of documents, but there are others that are restricted to use by students and faculty of British universities that have subscribed to its collection. However – if you are in London – and go into the reading room, you can listen to almost anything in the collection.
More in the coming weeks on use of this collection, restrictions, and a selection of recordings.
The library holds one of the largest collections of phonographic recordings of Jewish musical folklore in the world – including Jewish synagogue singing – on more than 1000 wax cylinders.
Before I worked in an archives I remembered hearing news-stories about things being discovered in different archival repositories and I couldn’t understand – why didn’t they know what was in their collection?
But now that I understand better how many unique items are housed in archives, I see that not everything can be added to a searchable list.
Not to mention the political restrictions that can make archival materials unavailable and even subject to destruction.
In January 1949 the Soviet government confiscated the entire archival collection of the Institute of Jewish Culture and arrested almost all of its employees including Moishe Beregovski who I wrote about last week and about whom I fictionalized a story called Pale Shadow*.
After the break-up of the USSR (Union of Soviet Socialist Republics) in the early 1990s, the Vernadsky collection of wax cylinder recordings became publicly available and researchers have been going through them ever since – a veritable renaissance.
The collection includes music collected by several generations of cultural researchers who gathered material from as early as 1908 out of Belarus where there was a large Jewish diaspora as well as a plethora of traditional religious centres.
A huge project to re-recording the collection was carried out between 1996 and 1999, from which a CD was produced, “Treasures of Jewish Culture in Ukraine”, in 1997.
*I entered Pale Shadow into a story contest that the magazine Prairie Fire ran so don’t want to jeopardize my entry by posting it here yet.
I’ve been working on a short story for a contest this week that’s been percolating in my mind for more than 10 years – that’s the way it goes sometimes – but I was happy to have the chance to finally write it.
The story would probably never seen the light of day if it hadn’t been for the break-up of the USSR (Union of Soviet Socialist Republics) in 1991 when archival records that had been restricted and virtually inaccessible, were released
The idea for the story I wrote all started at a concert at the Chutzpah festival in Vancouver when the band leader, Alicia Sviegels told the story of an ethnomusicologist, Moishe Beregovski, who travelled through the Ukraine in the 1930s and collected Klezmer folk music in one of the world’s most comprehensive studies.
Beregovski was sent to prison in the 1940’s and his research was confiscated from the Ukrainian Academy of Science. He never knew what had happened to it by the time he died in the 1960s’s, but probably assumed they had been destroyed by the Communist government.
However, after the break-up of the Soviet Union – a whole slew of archival records were released, providing a glimpse into the USSR that academics and geneaologists have been gobbling up ever since.
It was at that time that Beregovski’s early recordings on wax cylinders and his extensive documentation of the music – more than 100 questions for each piece of music – were unearthed and are now available for researchers at at library in Kiev, the Vernadsky National Library of the Ukraine.
I’ll write some more about this in the weeks to come and also will post parts of my story, which is called Pale Shadow.