In this first of a two-part blog, we hear from commemorative projects that have submitted listings for our digital portal, 'Mapping the Centenary'. We invited each contributor to reveal greater detail about the topics of their respective project activities, what they sought to achieve, as well as to share a few ‘best practice’ tips based on their experiences.
SSN Member and freelance curator Claire Mead explores the looting of Japanese swords in 1945, and their symbolic value.
Suzanne Bardgett, IWM Head of Research and Academic Partnerships, gives an insight into the research process for her book, Wartime London in Paintings.
SSN Member and author Andrew Hemmings tells us about the chance discovery of a Second World War grave, and his research into the man's story.
On the 80th anniversary of the Dunkirk evacuations, SSN Member and researcher Katherine Quinlan-Flatter writes about events from the German perspective, based on her research on German newspapers from the time.
In August 1945, Allied forces dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki. In this post, we share the testimonies of three women who were directly affected by the dropping of the bombs, as interviewed by artist Lee Karen Stow.
Artist Lee Karen Stow creates shared spaces for female voices of war. Despite the stand-still induced by Covid-19, her work to photograph and tell the stories of the women and the natural landscape of Hiroshima and Nagasaki after the bombings continued.
An overview of IWM's new Digital Portal for the First World War Centenary.
Sir Philip Hesketh-Smithers went to the folk-dancing department; Mr Pauling went to woodcuts and weaving; Mr Digby-Smith was given the Arctic circle; Mr Bentley himself, after a dizzy period in which, for a day, he directed a film about postmen, for another day filed press-cuttings from Istanbul, and for the rest of the week supervised the staff catering, found himself at length back beside his busts in charge of the men of letters.
On 4 November 1943, just over a month after the first Allied troops entered war-torn Naples, Lt. Peter Francis of the Royal Artillery made his first acquaintance with the ruins of the Real Teatro di San Carlo, one of the oldest and most prestigious opera houses in the world. The theatre had been closed in 1942 and it was now in a terrible state: bomb damage had blasted the foyer, debris and layers of dust covered the internal surfaces, there was no electricity or water and a German machine gun nest was still installed on its roof. The British requisitioned the building and, under Peter Francis’s authority, on 15 November 1943, with the frontline just 30 miles away, the theatre officially re-opened its doors to soldiers and civilians. The news that the theatre was about to reopen and in need of workers quickly spread around the city causing excitement among the Neapolitans. The first production of the theatre’s new course was an improvised Italian revue significantly titled So this is Naples.