A review of the BRA 2024 Conference ‘Curtain Up! The Practice of Archiving Performance’ by Helen Epega
I was delighted to be awarded a free place at this year’s British Records Association (BRA) conference, Curtain Up: The Archives of Theatre and Performance in the UK, held in London on 29 October 2024. As a first-time attendee and a relative newcomer to the BRA, I was intrigued by the theme, given my deep interest in the preservation and accessibility of cultural records. I wanted to attend to learn more about cultural representation in archiving, why some things are archived, who chooses what to archive and why, the process of archiving and whether I should explore archiving items from the ground-breaking opera I wrote and composed, Song Queen: A Pidgin Opera. The conference provided an excellent opportunity to explore archives of the performing arts, broaden my understanding of their scope, and connect with professionals and enthusiasts in the field.
Widening Access to Collections
The day began with a warm welcome from the BRA and the Association of Performing Arts Collections (APAC), followed by an engaging session on widening access to theatre and performance archives. Erin Lee’s presentation on active archiving at the National Theatre was the first highlight of the morning. She highlighted how collaboration between the National Theatre and the Royal Central School of Speech and Drama has enriched their collections and made them more dynamic. Erin’s emphasis on creating a “collection collaboratively” resonated strongly, showcasing how partnerships can breathe new life into archival work.
Robyn Greenwood and Rachel Sharpe from the Royal Shakespeare Company (RSC) followed with an inspiring session showcasing their innovative approach to co-curating collections. Their projects emphasized collaboration with artists, communities, and local organisations to create transformational experiences. It was inspiring to see how archives can become living entities, bridging the past and present in creative ways.
Georgina Donohue continued with a fascinating account of a heritage mural commissioned for the Theatre Royal and Royal Concert Hall Nottingham. The collaboration with Handmade Theatre captured local stories and histories, highlighting how performance archives can enrich community identity. This was a particularly poignant reminder of the power of archives to connect people to their heritage.
The morning concluded with an engaging presentation by Maggie Gray and Caoimhe Mader McGuinness, who revisited Cartoon Theatre. Their focus on engaging archives within academic and community contexts provided new perspectives on making historical material relevant for diverse audiences.
Records at Risk Panel
After a short break, we delved into the pressing issue of records at risk. Philip Gale and James Hodgson from The National Archives (TNA) discussed efforts to rescue performance arts archives, providing insight into the challenges posed by underfunding, shifting priorities, and the fragility of digital records. Dr Toni Sant’s reflections on the Malta Music Memory Project underscored the importance of questioning permanence in digital archives and ensuring that cultural heritage is preserved in ways that future generations can access.
The panel discussion that followed was lively and thought-provoking. Panellists debated strategies for safeguarding archives while balancing the pressures of funding, technology, and access. It was clear that collaboration between institutions, archivists, and communities is vital for addressing these challenges.
Collaborative Curation
Jane Pritchard’s exploration of dance archives at the Victoria and Albert Museum (V&A) provided a fascinating insight into the unique challenges of curating materials related to movement and performance. From costumes to photographs and films, the V&A’s approach underscored the importance of preserving ephemeral art forms in meaningful ways.
Dr Barry Houlihan’s presentation on the creation of a digital oral history archive of contemporary Irish drama brought a fresh perspective on the intersection of storytelling and archival preservation. His work demonstrated how digital tools can capture the voices and experiences of practitioners, ensuring their contributions to theatre history are not lost.
Beyond the Object Entry Form
The final session of the day featured Sarah C Jane and Julian Warren, who shared their experiences with the Kneehigh Theatre archive and the University of Bristol Theatre Collection, respectively. Sarah’s presentation on the Kneehigh Theatre archive was a heartfelt tribute to the spirit of the company, capturing its legacy through thoughtful preservation and innovative engagement strategies.
Julian and Sian Williams delved into the often-overlooked process of working with record creators. Their insights on building trust and fostering collaboration offered a compelling reminder that archives are as much about people as they are about objects and records.
Final Thoughts
The conference closed with reflections on the day’s themes and challenges. It highlighted the importance of addressing issues such as funding, inclusivity, and accessibility in the preservation of theatre and performance records. The speakers’ passion and expertise in their respective fields shone through, offering valuable insights into the dynamic and collaborative nature of archival work.
Overall, Curtain Up! was an inspiring and enlightening experience. The friendly and collaborative atmosphere fostered meaningful exchanges of ideas, leaving me with fresh perspectives and a renewed appreciation for the importance of preserving our cultural heritage. Bravo!
