We are creating a unified UKRI website that brings together the existing research council, Innovate UK and Research England websites.
If you would like to be involved in its development let us know.

Read, Watch and Listen

The Market at 9.00am

By 9am the market is bustling. Mapusa Market is particularly famous for its bananas, with four varieties available year–round. Many of the local restaurants, catering for Goa’s huge tourist industry source their vegetables, fish and meat in the market. Vegetables are essential commodities and prices fluctuate widely for a variety of reasons. The price of onions reached an unheard of 80 rupees per kilo in 2015 causing serious political alarm.

Polio

4pm. Arjun Pankar begs for a living. Of India’s estimated 4 million beggars, those who are incapacitated through polio are not generally stigmatised. Although others are not so fortunate, there is a generous culture of giving alms in India which is promoted in Hindu culture. Arjun Pankar, who has lived in Mapusa all his life suffered from polio in his childhood when it was endemic across India. More recently, an aggressive eradication campaign resulted in the last reported case being in 2011.

Portraits from the Past

Lead Archaeologist Dr. Rick Knecht holds a carved wooden doll, freshly unearthed from Nunalleq. Dolls are commonly found at Nunalleq, and were used by the pre-contact Yup’ik in ceremony and religion but were also sometimes made as children’s toys. The range of expressions, and abstract and realistic representations of human faces found on dolls from Nunalleq, likely attest to both the different carvers and variable functions of these objects.

© This image is credited to Sven Haakanson, and is made available under Creative Commons BY

Faces from the Past

A Yup’ik boy contemplates anthropomorphic masks excavated from Nunalleq. Masks like these would have been worn during ceremonies, having a spiritual as well as artistic significance for the Yup’ik. Conversations over the artefacts engage young and old, and are an important new venue for trans-generational learning about traditional life-ways and knowledge. 

© This image is credited to Charlotta Hillerdal, and will be made available under Creative Commons BY 

Facing the Future

Yup’ik Elder and carver John Smith, holds a fragment of a wooden mask from Nunalleq to his face. Since the residents of Quinhagak and village corporation Qanirtuuq Inc. invited archaeologists to the village to investigate the Nunalleq site, archaeology has become part of village life and is paving new ways of accessing Yup’ik cultural heritage. With so little previous archaeological work in this area, this is the first time that the Yup’ik people have encountered the tangible remains of their pre-contact past on this scale.

© This image is credited to Sven Haakanson, and is made available under Creative Commons BY

Status and Social Networks

A set of amber beads lying in situ at the site. Amber is not a common find at Nunalleq, and would have been a rare and highly prestigious material in this part of the world. The closest known amber sources are Chirikof Island southwest of Kodiak or Unalaska. This find is not only significant in its rarity and beauty, but because it also demonstrates the long-distance trade and contact networks that operated in pre-contact coastal Alaska.

© This image is credited to Rick Knecht, and is made available under Creative Commons BY

Sherlock Holmes Fan Art

Fan art includes many mediums, including comics, illustrations, and fan art based on film and television adaptations. This piece is '221 Tea' by Jackie Goodrum (2016) based on the set of BBC Sherlock

The Science of the Past

Archaeologist and North-West Pacific specialist Dr. Madonna Moss, analyses fish bones from Nunalleq with children from Quinhagak. The central goal of our project is not only to investigate and understand the effects of past climatic change on pre-contact ecosystems, but to also use this data to inform and empower the present.

© This image is credited to Renee Ronzone, and is made available under Creative Commons BY

Making it right

The project, hosted by HMP Thameside, aimed to help inmates desist from crime.

Prototypes

After the initial designing process, the inmates made prototypes from paper and other fabrics. This encouraged the inmates to follow the manufacturing process from start to finish.

Donated fabrics

Much of the fabric used was either donated by private organisations, or manufactured by Sabarmati Central Prison, India. One of the fabrics donated has a retail price of £900 per meter.

Explanations

Each bag was displayed with a label identifying its designer, and also hinted at a name for the model – much like high-street products (Ikea’s ‘Billy’ bookcase, or Louis Vuitton’s ‘Alma’ handbag).

Theft proof

The labels provided information about the design inspiration and features of the bag, including the ways that the bag was designed against theft.

Fasionistas

The finish products as modelled by visitors to the exhibition: Central St Martin’s Art College are aiming to continue the project by designing and creating sellable products to purchase online.

The Story 3

Vivian de De Sola Pinto  1895-1969. Pinto was Professor of English at the University of Nottingham, 1938-1961. He  also had an interest in languages and other cultures, including Russian. He volunteered for war service. Nothing is certain, but he appears to have been involved in secret and/or diplomatic missions, during which he acquired, or he may have been presented with, his collection of Windows and printed posters. On his death in 1969 Pinto left his collection to the University of Nottingham  along with his library. The Windows were folded and becoming fragile, and their true significance as war art was only gradually realised. 

The Story 4

TASS Window 1211, 'We'll destroy the hydra!', 5 May 1945. Created on the brink of victory, the image shows the destruction of the enemy in the form of a mythical monster, the many-headed hydra. This window formed the poster for the 2008-09 exhibition at the University of Nottingham. It was a turning point for the war posters collection. The Windows were too large and fragile to be publicly shown, so the items which were to be exhibited were conserved and digitised. This decision made the  development of the current, new website possible. Currently 47 posters and prints from a total of 166 are now digitally available

Conservation 2

Specialist repairs have to be done, including the infilling of holes, and replacing glue where the original squares have worked loose. The large size of the posters (some are 2 m x 1.5 m) makes display difficult, and any  handling has to be kept to a minimum to avoid further damage

Digitisation

Image showing photographer at work. Before the digitisation process can begin, a Window has to be photographed, no easy matter with fragile artefacts of this size. Then work is undertaken on a computer to produce the required digitisation. Virtual repairs to the posters can take place at this stage. However, after much discussion it was agreed that the digitisation should reflect the actual present state of the posters, rather than enhance their colours or condition.

Team Work

TASS WINDOW 903, 'Two Faces', 12 February 1944. This project depended on a skilled, interdisciplinary team of web technologists, a conservator, a photographer/ digitiser, archivists, and academic researchers. Sometimes, different members were at odds over strategy towards these marvellous artefacts. However, consensus was always eventually reached. This Window captured Russian feelings towards Finland. Striving to become independent of USSR, Finland joined with the Germans, showing them a conciliatory lamb-like face, and baring her teeth towards Russia.

The team liked the implied humour and  the loggerheaded state in this poster. The image became an ironic metaphor for the immense collaborative work towards this first stage of the windowsonwar resource, launched in March 2013.   Discussion, conservation, digitisation and research go on.....

© University of Nottingham

Dream Time

“The more time you spend in ‘dream time’ living in your head where the story is, imagining how the people involved would feel – then you can lose yourself utterly in the story. That’s what I try to do.” Michael Morpurgo

Image: Seven Stories: National Centre for Children’s Books, photography by Rich Kenworthy.

Kensuke's Kingdom

A young visitor to Seven Stories explores Michael’s notebooks for Kensuke’s Kingdom (1999), one of over 150 books Michael has written for children. Michael wrote the story after he received a letter from a fan asking him to write a story about a boy stranded on a desert island.

Image: Seven Stories: National Centre for Children’s Books, photography by Rich Kenworthy.

Michael and his illustrators

A Storycatcher engages with visitors in the Michael Morpurgo: A Lifetime of Stories gallery. The exhibition has a section dedicated to illustrators of Michael's books, where artwork by Sir Quentin Blake, Michael Foreman and Patrick Benson is on display.

Image: Seven Stories: National Centre for Children's Books, photography by Rich Kenworthy.

Michael Morpurgo

Award-winning children’s author Michael Morpurgo visits the exhibition at Seven Stories, the National Centre for Children’s Books. AHRC Knowledge Transfer Partnership Research Associate Dr Jessica Medhurst has been exploring Michael’s archive and supporting Seven Stories’ curators.

Image: Seven Stories: National Centre for Children’s Books, photography by Rich Kenworthy.

Michael's orange notebooks

Orange school notebooks are an important repository for Michael's first ideas and drafts. On the cover of this Private Peaceful (2003) notebook, Michael notes how many words he's written each day as he develops the story.

Image: Seven Stories: National Centre for Children's Books, photography by Rich Kenworthy.

Original manuscripts

Visitors have the opportunity to view handwritten drafts and typescripts from Listen to the Moon (2014), which tells the story of Lucy, a young girl who is washed up on the Scilly Isles during World War One, unable to speak. The novel explores the power of communication and the threat of silence.

Image: Seven Stories: National Centre for Children's Books, photography by Rich Kenworthy.

War Horse

Michael’s handwritten draft of Chapter 8 of War Horse (1982), on display for the first time in the Michael Morpurgo: A Lifetime in Stories exhibition. The displays show how the story evolved from first draft to publication of the book, to adaptation for the National Theatre and Steven Spielberg film scripts.

Image: Seven Stories: National Centre for Children’s Books, photography by Rich Kenworthy.

Victoria Donovan, University of St Andrews

Victoria Donovan, based at the University of St Andrews, is a cultural historian of Russia whose research explores local identities, heritage politics, and the cultural memory of the Soviet past in twenty-first century Russia. Her new project explores patriotic identity in Putin’s Russia. She is also working on a project that looks at the connections between mining communities in South Wales and Eastern Ukraine.

Collecting the Legacy of Charles Rennie Mackintosh

Charles Rennie Mackintosh left an exceptional body of work across arts, architecture and interior design. He was someone who was very much of his time – but who was also looking to the future through his work, and who has remained enduringly popular.

How women in sport are empowering women in society

The rising popularity of women's football has given the sport the power to tackle gender issues right across society – especially in football mad countries like Brazil – according to the Principal Investigator of a major AHRC-funded project.