Fashionable ladies at the races. Photograph by Horace Nicholls © IWM
Guest post by Colin Harding
17 February, 2017 marked the 150th anniversary of the birth of an important and yet comparatively little-known British photographer. Perhaps more than any other photographer, Horace Nicholls has shaped our perception of Britain during the first decades of the twentieth century. Even though his name is probably unfamiliar, you will almost certainly recognise his iconic images of fashionable upper class ladies at Ascot or, in stark contrast, women munitions workers during the First World War.
During the early twentieth century, Horace Nicholls was one of Britain’s best known photographers. As one of the first photojournalists, Nicholls’s work shaped that of succeeding generations. Nicholls photographed the 2nd Anglo-Boer War in South Africa. He clarified legal copyright in photographs in a landmark court case in 1901. He photographed Edwardian social and sporting events and documented the impact of total war on the British people. As Britain’s first official photographer on the Home Front, he had unique access, particularly to women war workers. After the war, at the invitation of the Women’s War Work Sub Committee, Nicholls became the first head of the new Imperial War Museum’s photographic studio where he worked to secure and develop the museum’s photographic collections.
John Siblon, ‘Between Hierarchy and Memory: Commemoration of African and Caribbean Servicemen after the First World War’. Photo: ©IWM
I was invited to speak at a workshop on 15 October at the Imperial War Museum, London, on black people’s involvement in the First World War. I was honoured to be part of a panel where the work of each speaker complemented one another. I was asked to present my findings on research into the commemoration of African and Caribbean servicemen after the war ended. I was also asked to give my thoughts, along with the panellist Anna Maguire, one of IWM’s PhD students, on photos from the IWM’s collection on soldiers from the British West Indies Regiment, the South African Native Labour Corps, and the Nigeria Regiment, and finally a session with questions to the panel.
Over the weekend of 18-20 March an international conference took place in Leeds, focusing on resistance to the First World War. The conference, which I helped to organise, brought together academics, community groups, poets and storytellers from across the globe, including delegates who had travelled from Australia and the USA. The conference was envisaged following the suggestion that the prominent narratives during the First World War Centenary were limited to stories of those who had actively participated in the war effort. Stories of resistance to the war were missing from dominant narratives of remembrance and the conference sought to question what war resistance was, how acts of resistance were undertaken, and the significance of war resistance today. The presence of both academic and community focused research on resistance worked particularly well in addressing the many different facets of resistance; including the theoretical underpinnings of pacifism, international and transnational movements for peace, individual acts of conscious and unconscious resistance as well as national and local networks of resistance.
In a frame from the film THE TRUE GLORY, a British Army Film and Photographic Unit cameraman and photographer, Sgt Mike Lewis, is caught on camera as he films the burial of the dead following the liberation of the concentration camp at Bergen-Belsen. (c) IWM FLM 1232
In the late 1960s and early 1970s, staff at IWM engaged with popular forms of history in order to publicise its collections, exhibitions and research facilities. In particular, the use of film in understanding history was increasingly significant in attracting public audiences, and as a subject for debate in universities.
A song sheet in the form of a scarf: “It’s a long way to Tipperary” © IWM (Q 70101)
Alexander MacGregor, a British officer who served with the Indian army, wrote about an interesting musical performance in his diary:
27 January 1915: Some time ago there was a big sing song at Fort Tanskyne, and one of the men brought down the house completely by getting up and singing in a regular shrill native chant “Tipperary” in Hindustani. But I am afraid “Bwa-kutcha Tipperary ko-hai” will not catch on at home as much as one might wish.
A humorous aside, but the anecdote reveals the cultural encounters brought about by empire’s mobilisation in the war. Why were colonial troops singing the British standard ‘It’s a Long Way to Tipperary’?
A cartoon from the First World War period by Frank Holland “An Object Lesson: This Little Pig stayed at Home” depicting a lazy conscientious objector who stayed at home while the rest of his family contributes to the war effort. Holland, an artist, worked as a cartoonist for Lord Harmsworth from the 1890s until the First World War. His work appeared in various magazines and newspapers, including the Daily Mail. © IWM (Q 103334).
Men took the stance of Conscientious Objector (CO) and refused to participate in the First World War for a myriad of reasons. Indeed, the highly personal nature of an individual’s ‘conscience’ meant that there were almost as many reasons for objecting as there were objectors. Many COs belonged to religious groups such as the Quakers who held a traditional commitment to peace whilst others objected on political grounds, primarily on the basis of socialist beliefs. Yet, the distinction between religious and political objectors was not necessarily clear cut as many COs based their objection on a combination of religious and political reasons whilst others objected for reasons that bore little relation to religion or politics, making the study of COs as a homogenous group problematic.
Men of the Australian and New Zealand Division on a transport ship to Gallipoli, 1915. © IWM Q 13798
In his memoir, Over There with the Australians (1918), R. Hugh Knyvett, an Australian officer, pondered on the preoccupation with the Anzac experience at Gallipoli:
Australia and New Zealand’s part does not, in actual accomplishment or in personal daring and endurance, outclass the doings of these others, the larger half of the army. But there is a romance and a glow about the Anzac exploits that (rail at the injustice of it as you may) makes a human interest story that will elbow out of the mind of the ‘man in the street’ what other troops did. In fact, every second man one meets has the idea that the Australians and New Zealanders were the only men there.
The Anzac troops weren’t the only men who fought during the Gallipoli campaign though the landing has become synonymous with the exploits of the dominion men. Alongside them were troops from India, Ireland, France, Britain and other empire and Allied forces, with whom they interacted both in the battlefield and at camp.
This white poppy (or ‘peace poppy’) was issued pre-1939 by the Peace Pledge Union and belonged to Ms A E Wood who was a conscientious objector. Her Conscientious Objector’s tribunal statement and registration card are held in the Department of Documents.© IWM (EPH 2284)
Sabine Grimshaw, a Collaborative Doctoral Award Student at IWM and the University of Leeds, discusses her research into female war resisters during the First World War.
Recently I had the opportunity to take part in a conference organised for International Women’s Day at Liverpool Hope University on the topic, ‘Women in Peace and Conflict.’ Embracing the theme ‘Make it Happen’, the conference offered a fascinating insight into the myriad ways women have participated in warfare, peace activism, conflict resolution and post-war state building in twentieth century conflicts.
New Zealand troops, led by an army band, marching through a London street after the First World War.© Alexander Turnbull Library
Anna Maguire reflects on the activities of New Zealand troops in the capital and the London and the First World War Conference, organised by IWM and the Centre for Metropolitan History (IHR).
London, the imperial metropolis and ‘mother country’, had great significance for the visiting colonial troops during the war. The capital had much to offer the visiting soldier and official guidebooks aimed to direct their tourist gaze and help them do proper justice to the opportunity, quite possibly the only visit to the capital they would ever make.
CRW Nevinson’s, Making Aircraft; Acetylene Welding, 1917. © IWM (Art.IWM ART 693).
Kathryn Butler, a CDP student at the IWM and Open University, discusses her reactions to the ‘Sensory War 1914-2014’ exhibition.
During a recent trip to the Manchester City Art Gallery, I was intrigued to see the results of several great individuals and institutions working together as part of this year’s First World War Centenary commemorations. Sensory War 1914-2014 was co-curated by Dr Ana Carden Coyne, a director at the Centre of the Cultural History of War at the University of Manchester, where I studied for my MA. The centre works closely with IWM North in Salford, and many works on display were from the IWM collections.