KING: in Concert – A review


This year marks 50 years since Martin Luther King  Jr was assassinated. Late composer and actor Martin Smith debuted his musical, King, in the Prince Edward Theatre, 1988.


Here I am featured with my copy of the show’s program.

The show highlighted the life of Martin Luther King and was performed for one night only. An independent theatre in Hackney, Hackney Empire, and director, Susie McKenna, brought this shelved show to life in a special two-day showing – June 30th and July 1st.

The show was advertised all over social media. As soon as I saw the above banner I was intrigued. I called my mum and asked if she would come with me. She was excited as I was. Initially, when booking the show, I did not realise it would be solely music (silly, I know, it does say concert in the title). When the conductor introduced the performance and announced there would be no props or acting, just a musical performance, my eyes shot up. I wondered how long it would be before I drifted to sleep. Nonetheless, once the music began, my eyes did not leave the stage. As the convert went on I started to get chills from the music – or at least I thought it was that, it also could have the cold Magners in my hand.

The performance featured a live orchestra (London Musical Theatre Orchestra), led by Freddie Tapner, a choir, individual singers, and a remarkable use of lighting; together they conveyed the story of Civil Rights activist, Martin Luther King, Jr. Alongside King’s accomplishments and story, the issues African Americans suffered in the 20th century was illustrated ardently with the use of still images and real footage, such as the Selma to Montgomery March 1965, as well as clips of the Ku Klux Klan. Combined IMG_1750with harmonies, solo-performances, and instrumentals, the show told this exceptional man’s story in an exceptional way.

The cast consisted of main players in the Civil Rights Movement: MLK, Coretta King, Alberta King (Martin’s mother), Ed Nixon, Freedom Riders, Rosa Parks, President Kennedy, President Hoover, President Kennedy, and Stokeley Carmicheal. Alongside these positively noticeable names, were lesser favourable characters, for example, Bull Connor,  the Commissioner of Public Safety for the city of Birmingham, Alabama – this man opposed all Civil Rights activities taking place in his state and the rest of America.

The events featured in the show looked at exasperating parts of African American history.  Within the first act, the audience saw photographs of lynched men, an act that saw more than 300 men victim to in the state of Alabama from 1877 to 1943. Issues such as sexual harassment and assault of African American women by white men was addressed, alongside racial subjection, and the bombing of King’s home, with his wife and daughter inside, in 1956. Every song carried such emotion and it was impossible to not feel the pain carried by those who suffered through this awful period in time.


Here the cast performed Shine On

This unique, captivating show left the audience enticed from beginning to end, inducing heart-rending emotions and lengthy applause. It is mind-boggling that this is not a West End show currently, as it more than deserves to be. To find out  more about this extraordinary concert visit Hackney Empire’s YouTube channel.



Is a 10,000-word Dissertation My Only Option?

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Not anymore! This year our final year History students were able to approach their History Research Project in a creative way. As the History Research Project makes up one-eighth of your overall mark, it’s really good to have greater control over how you would like to present your research. Researching a topic of your own interest and displaying it in a way that you feel best illustrates your work means you can actually enjoy writing your most significant piece of independent work here at Essex.

What is the Public History Output Project?

Instead of a 10,000 word dissertation, the Public History Output Project allows you to produce a 5,000- 6,000 -word report and a public history output. This side of your project must be the equivalent of 5,000-words. The report should consist of an introduction of your area of research, the main response to your research question, and a review on your public output choice; this would include why you have chosen the style it is presented in, how effective this style is at educating the public on your chosen topic, and why it is appropriate for your topic. Your public output can be anything that displays your work sufficiently and can reach an audience, whether that is a podcast, a short film, museum exhibition board, a teaching pack for schools; a web page… the list is endless. Students are advised to check with their supervisors that the public output piece of their project is substantial enough to equivalent to 5,000-words.

I spoke to two students that completed the Public History Output Project option this year. Jesse and Rowena both produced a 5,000-word essay, alongside a podcast. Here are their interviews:

Jesse Harrison-Lowe


“Be creative! I think I enjoyed my RP more thanks to the creative side of it.”

What was your dissertation topic or question?

My focus was on the American interest of expansion into Cuba throughout the mid-1800s.

What format did you use for you RP? Blog? Podcast? Video?

Podcast! With a 5,000-word write up.

Why did you use that format?

I picked a podcast because I listen to loads myself and felt that I had a grasp on what made a good podcast. I prefer talking to writing as well, which made it an even more interesting option.

If you could do it again what would you change about your project?

I would probably have put more emphasis on making my research fit the podcast in an attempt to create a more streamlined output.

Do you have any advice?

Be creative! I think I enjoyed my RP more thanks to the creative side of it.

Rowena Field-Carter

What was your dissertation topic or question?


“Having enthusiasm for something you have to engage with over a long period of time is beneficial.”

Forward from the Past: A Historical Exploration of Sex Education in Britain from 1985-2008 and the Practical Uses of Public History

What format did you use for you RP? Blog? Podcast? Video?

5000-word essay and podcast

Why did you use that format?

I wanted to create a podcast in order to create a more discussion based format for the audience. As the topic relates to everyone that has grown up and been through the UK education system, it made sense to me to make the public history element of my RP as accessible, understandable and relatable as possible in an easy format.

Also people interpret information they read differently to how they read it; as a public history source it may be more effective if it has a longer lasting impression on the audience.

If you could do it again what would you change about your project?

The scope of the topic I chose to do was very broad, so to streamline in on one particular facet would be what I’d change.

Do you have any advice?

Make sure whatever you choose to do you is committed to the topic; having enthusiasm for something you have to engage with over a long period of time is beneficial. Also, be creative with your idea. It’s more likely to allow your project to stand out, and as long as it is well designed the possibilities are huge.

If you have any further questions please contact:

Alix Green or Alison Rowlands 


16 Houses, 5 Primary Schools, and a New Job

IMG_0204As it goes, I will be writing several blogs for you all over the next eleven weeks. However, is it not important to know who the person on the other side of the screen is? In this article I will tell you a little bit about me.

Originally, I am from Hackney, London. However, I have not spent my entire life there. Since I was a child I have moved from place to place, including to Cornwall, Hertfordshire, Ireland, and now Colchester. These moves mean that I have lived in a whopping 16 different homes throughout my 19 years on this planet! Some of you may be able to relate to this, but for those who cannot, it means you become an expert packer and cardboard box hoarder.

You may be wondering why I moved house so much. Well in simple terms I had indecisive parents, who continuously sought change. Ironically, after 8 or 9 years of this continuous movement, we ended up right back in Hackney, where I have remained until venturing off to university in 2016.

Because of how much I moved around, I attended 5 primary schools. Two of them were based in London, the other three were in Hertfordshire, Cornwall, and Ireland. I was fortunate enough to stay in my secondary school, Edmonton County School, Enfield, for the whole of sixth form. I finished with 1 A*, 4 As, 4 Bs, and a C in French, which I am immensely proud of, although I can no longer speak a full sentence in French!

I am now at the end of my second year, here at the University of Essex. In line with the fluidity I have become used to, I have changed my course from when I first began here. Initially I started studying BA History with English Literature. But by the end of first year I was literatured out… So, I began second year as a straight history student.

Throughout my course I have studied modules from the history department, in addition to modules from other departments. If you have not looked at modules from other departments when making your enrol choices, I would highly recommend you do so. The change in topics and assessment is very enjoyable. In my politics modules I was able to engage in assessed debates, something I have not yet encountered in history modules. It was also an opportunity to meet other lecturers and students, who you can just learn an awful lot from.

I have always been a busy bee. I feel lost without knowing I must be somewhere on a certain day or do something at a certain time. It has become ingrained into me over my teen years to work. Since last year I have juggled jobs alongside each other as it keeps me busy.

Recently I became a trained fencing instructor. This was for a job I took at an Easter camp for children. I can say that being targeted by 4-year olds with foam (but sturdy) foils was not my most enjoyable job experience, nonetheless it was fun.

Now I have taken on the role of Marketing and Student Recruitment Frontrunner for the History department. I chose to apply for this position for a number of reasons. Firstly, I knew it would look good on my CV after I graduate. Secondly, it gave me an opportunity to work within the department I was studying in, meaning I would have greater relationships with everyone in the department, which could only benefit me in the long haul. And lastly, I was not entirely sure what I was going to do with my history degree. Although we have had careers modules, I still did not know if the professions advertised to us would suit me. This Frontrunner position has given me the chance to see if I would enjoy working in an office-based environment, as well as allowing me to explore different writing opportunities, organise events, and give presentations to potential students.

You will be hearing more from me in – you guessed it! – more blogs, regarding events and opportunities in the department. I hope I have captured your interest. I’m excited for the work ahead!


3 Top Tips You Need this Exam Period at the University of Essex

With the variety pool of different people and personalities which come to the University of Essex there is one thing we all have in common. Exam pressure. The time of the year, hated by most students in the university is slowly sneaking up on us. If you are feeling exam pressure, try not to panic, as I am here to help. Now is the time to take the initiative and start preparing. Put away any distractions, keep a positive attitude and follow these revision tips

Plan, Plan and …..Yes, Again…. Plan

You need to make sure you give yourself enough time to cover each of your subjects in detail. The best way to do this is to create a revision timetable as soon as you can. This doesn’t mean that you have to start revising as soon as you begin the academic year, but when you know your exam timetable, or once you feel like you have covered all new information in your lectures and seminars, you should start preparing.

A good way to create a revision timetable is to break your studying into easily manageable 20-30 minute blocks, with five minute breaks in between. If you are revising for the whole day, this can include two 30 minute breaks and one hour lunchtime. Mixing up the order of your subjects can also help, as your mind will be less likely to wander.

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Make sure you have enough time to fit everything in, and balance your time between each of your modules. Even though it’s fine to take longer on key subjects you find tough, don’t neglect the modules you think you have a keen grasp of; you should try to cover everything that might be in the exam.

Revision can be a big commitment, but it is worth it in the long run. If you stick to your plan and give yourself regular breaks, the time should fly by.


Find Past Papers

One of the best revision techniques is to find past exam papers to work from. Once you believe you understand the topic of the exam and have committed to memory what you have learnt, look on Moodle for the link to past papers.

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With the help of previous exams, you will be able to familiarise yourself with the style of questions asked, and can plan and practise the types of answers you will need to give. Use the paper to help generate ideas, analyse the main schools of thoughts and develop different angles of looking at questions.


Ask for help

As well as asking your Professors and Lecturers for help on topics which you aren’t too sure about, one of the best ways to monitor your revision progress is to ask your friends and family to help. If you have decided to make revision notes, ask them to test you on different areas. This is a good way to discover your strengths and weaknesses and offers a nice break from revision.

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Especially for History students, make sure you get different opinions on different topics, through lecturers or through different articles and readings .This can help build a detailed and complex argument!

Women of Aktion!

Women of Aktion!


Women of Aktion is a play about both the ends of the First World War in Germany, and the early life and politics of the radical theatre director, Joan Littlewood, perhaps best-known for her production of Oh! What A Lovely War at Stratford East theatre in the 1960s. The play has been produced by Bent Architect Theatre Company working with Professor Ingrid Sharp, Professor of German and Cultural History at the University of Leeds, and an expert on working women and pacifism in wartime Germany.  Funded by the Arts and Humanities Research Council, and brought to the University of Essex Department of History, the play is sure to be a hit.

Women of Aktion does not just explore untold history, but forces the audience to address questions about how and why we tell our history the way that we do, and the ways that we understand the past from the perspective of the present.  The audience will be provoked to not only consider the events covered in the paly, but the impact of feminism and socialism on our lives today.


When will this be?

At Lakeside Theatre, Monday 15 October. The performance will open a week-long series of events at the University of Essex, organised by the Department of History, around legacies of the First World War, pacifism, feminism, and women’s activism.


What is it?

The project explores and tells the largely unknown story of how working-class German women played a huge part in the 1918 German revolution, helping to bring the war to an end and the monarchy to collapse.  This is a story of the end of the war that is little-known in Britain.

The play revolves around Joan Littlewood’s fascinating time in Manchester and the little told story of the Rusholme Repertory Theatre, and her fraught and furious production of Ernst Toller’s play about the Kiel Uprising of 1918, Draw the Fires.

With a modern style, an all-female cast and live music from an all-female band, the play will appeal to a large audience interested in war, peace, socialism and feminism.  It will appeal to everyone who wants an insight into the untold history of the First World War, its aftermath and into Joan Littlewood’s life.


“Mick Martin’s cracking play… Nothing short of civil war in studs.”

Alfred Hickling, The Guardian (on Broken Time) 



For more information, please contact Nadine Rossol or Lucy Noakes.


Mass Observation and the Centenary of the First World War

Reflections on the Centenary of the First World War in 2014, at the start of a programme of First World War centenary commemorative activities in Britain, the Gateways to the First World War team, working with the four other AHRC Engagement Centres, commissioned a Directive on responses to, and the cultural memory of, the war from the social survey organization, Mass Observation. The Directive proved extremely popular, with 200 people writing about their engagement with commemorative activities, the impact of the war on their own families, their historical knowledge and cultural memory of the war years and its lasting legacies for contemporary Britain. In this blog post, I want to consider some of these responses, and what they mean for the way that the war is viewed in Britain today. First though, I will outline the Mass Observation project of which this Directive is a part.

The poet Charles Madge, the anthropologist Tom Harrisson and the documentarist Humphrey Jennings established Mass Observation (MO) in 1937 as a means of constructing ‘an anthropology of ourselves’. In this first incarnation MO drew on a range of research methodologies: as well as advertising for a ‘national panel’ of writers who would respond to regular, open ended questionnaires or ‘Directives’ and submit regular diaries, they recruited a team of ‘Observers’ who would observe the British public in the manner of ethnographic anthropologists, interacting with the society they were studying whilst making careful notes on behavior and beliefs. In addition they used more traditional methods of data collection such as interviews to build a picture of British life and popular views that more quantitative surveys struggled to access. As Britain entered the Second World War the unique ability of MO to access this material was recognised by the Ministry of Information, which employed MO to collect information on ‘morale’. Following the war, and the rise of consumerism, MO gradually shifted to become a more traditional market research organization, collecting and analysing data on consumption habits for advertising agencies and their clients.

MO was relaunched by the University of Sussex as an active project in 1981, when a new panel of respondents was recruited to write on a range of different topics, varying from responses to the Falklands/Malvinas War (1982) to the Miner’s Strike (1984), holidays, personal hygiene, wedding presents and genealogy. This material, together with documents collected between 1937 and 1955 is housed at The Keep, the new archive housing historical documents from Brighton and Hove and East Sussex. The two sets of material provide the researcher with an unrivalled insight into the personal lives and views of the British people which, although they make no claim to representativeness (being composed as they are of a self-selecting group of people who are largely older, more female, more white and more Southern than the population as a whole) nonetheless give us a rich source for the voices, views and life experiences of a range of people who otherwise often remain unrepresented on the public stage.

So, what do the responses to the Directive indicate about the British people’s understanding of the First World War at its centenary, and their relationship to commemorative events? The first activity that we asked the respondents to do was to quickly note down ten words or phrases that they associated with the war. With the exception of a small number of people, one of whom refused to do this as he considered it ‘a pointless exercise’, the majority of the responses indicate the strength of the cultural memory of the war as a futile tragedy, marked by sacrifice and pointless suffering. The words that conjured up the war for a 55 year old woman – Death, blood, mud, futility, young men, uniforms, nurse, bandages, gas, trenches – were strikingly similar to those given by a 70 year old man: mass slaughter, mud, trenches, horses, the cenotaph, Oh! What a Lovely War, Blackadder Goes Forth, war poets. These are remarkably analogous to those that the second year students at the University of Brighton who take the course on ‘Europe at War, 1914-18’ list when asked to perform the same exercise at the start of the academic year. The cultural memory of the war, described by Dan Todman as being almost entirely negative, remains a powerful descriptor of the war amongst both MO respondents and University students.

However, despite the frequent references to Blackadder Goes Forth, and to the war poets, War Horse and Birdsong amongst the respondents, this memory is not simply or simplistically drawn from popular culture. Instead, many of those who chose to write on the topic for MO movingly described the impact and multiple legacies of the war for their own families. Family history seems to be emerging as one of the key ways in which people are engaging with the centenary of the war. This should not be surprising: the popularity of genealogy, enabled by websites such as and demonstrated through the success of programmes such as Who Do You Think You Are? on BBC One, has been evident for several years. Several respondents enthusiastically explained how they had researched their ancestor’s experiences, and some were editing diaries and letters for publication, or writing articles for local newspapers. Others described pictures of male veterans that sat proudly on their mantelpiece, and the meaning of these photos for their families, one 49 year old man explaining that his Grandfather’s photo, and the knowledge that he was gassed and taken prisoner, meant he collected money for the British Legion and watched the Cenotaph ceremony on television each year. For these respondents, the experiences of their ancestors were directly shaping their actions in the present.

Other respondents touchingly described the more immediate impact on their families: a 90 year old woman opened her response with a simple sentence – ‘my father’s sadness’ –whilst another recounted her mother’s struggles after her first husband died, leaving her a widow with a small child. Several recalled unmarried aunts, neighbours and teachers, whose lovers and fiancées had died in the war, and 53 year old woman reflected on the returned men, explaining that her grandfather returned from the war ‘a totally different person’ as ‘he suffered from shell shock and was broken’.

By this point I would expect many academic historians to be shaking their heads and muttering darkly about ‘the Blackadder effect’ lambasted by the then Education Secretary Michael Gove in 2014 when he complained that the war was a ‘just war’ mistakenly perceived as a ‘misbegotten shambles’. Revisionist histories of the war years, led by but not confined to military historians, have rightly and sometimes provocatively reminded us that more survived the war than died, that the war had some positive and long lasting social and political impacts, and that British military strategists did have some good ideas, and were not all ‘donkeys’ leading ‘lions’. However, to oppose these histories to the enduring cultural memory of the war, and to somehow see each as lessened by the presence of the other is, I would argue, to miss the point about cultural memory. The memory of the war is not a zero sum game, and one does not have to cleave to one position or the other. Instead, the war can be understood as both an eventual military success for Britain (albeit one with a far higher attrition rate than would be acceptable today), a long-term political disaster for Europe, and as a tragedy for many thousands of individual households. The continued emotional resonance of the war for many of the MO respondents, often articulated through a consideration of the impact of the war on their families, demonstrates that historians who seek to dispel this ‘myth’ through academic analysis and argument are unlikely to succeed. Instead, academics and members of the public engaged in commemorative activity, whether it be responding to MO Directives or participating in some of the HLF activities supported by Gateways and the other Engagement Centres, need to be in dialogue with one another, and historians need to pay careful attention to the enduring legacy of the war in many families. Historians would do well to remember that the memory of the war articulated in Blackadder Goes Forth has survived in large part because of its continued resonance and meaning for many of those whose families were profoundly shaped by the war years.

Dr Lucy Noakes is the Rab Butler Chair in Modern History at the University of Essex. She leads the AHRC project ‘Reflections on the Centenary of the First World War’.

For more information please see the ‘Reflections on the Centenary of the First World War’ website.

For all enquiries about the Reflections on the Centenary of the First World War project, please contact the Project PI, Professor Lucy Noakes:


The Essex Girl: Unintelligent, Promiscuous and Materialistic

Nadine Rossol, Senior Lecturer at The University of Essex, previously ran a blog forum on Moodle for her Public History course (HR213). As her course is dedicated to the life and work of women in 20th century Britain, her students were given the task to write a blog which was based on women, their lives and the general issues which women face. In this three part series, the last student, Sarah Ryder, explores the stereotype of Essex women!  Happy International Women’s Day !
Essex Girls have always had a stereotype. Just Google ‘Essex Girls’ and click on the images, and you receive the standard picture you would expect. High heels, big hair, small dresses and fake tan. The Oxford English Dictionary definition isn’t exactly any better, describing Essex girls as variously characterized as unintelligent, promiscuous, and materialistic.
With TV shows such as TOWIE (The Only Way is Essex) perpetuating this image, it’s not hard to see why this is the stereotype that has stuck out in people’s minds. Older TV shows such as ‘Birds of a Feather’ also helped to ingrain the stereotype early on. Recently, the rise of social media has contributed to the outdated stereotype. According to Artefact, a Google search produced 1.7m result, and the most popular term amongst teenagers on Instagram is #EssexGirl and #EssexBabe.


The typical ‘Essex Girl’ stereotype
Towie Girls
However, this stereotype isn’t anything new, and has been around for as long as anyone can remember. My Mother is a born and bred Essex girl, and has dealt with the stereotype and assumptions made that come with it her whole life, answering questions from ‘Where’s your white stilettos?’ to ‘Oh god not an Essex girl’. People are often shocked if you don’t fit into the ‘stereotype’ of what an Essex girl should be. Essex women have had to endure this unfair and ridiculous stereotype for years. No other regional group have had a stereotype placed upon them that has become as synonymous as the term ‘Essex Girl’.
So what is with this ridiculous and untrue stereotype?


Essex Girls Petition
The whole debate around the use of ‘Essex Girls’ and ending the stereotype was the petition started by Julie Thomas and Natasha Sawkins.
They were ultimately unsuccessful, with Oxford Dictionary response being they would ‘never change a definition in response to a petition alone, although the petition was signed by over 9,785 people which indicates to me a change is needed. But whilst the term may have not been removed from the dictionary, what they did is start a conversation about the stereotype and how demeaning the term is.
The women, who moved to London from Essex and became ‘adopted’ Essex girls, explained to Artefact that it’s important ‘that we finally shake the stereotype on behalf of the next generation of girls from Essex. Girls today have enough obstacles to overcome without throwing this into the mix too’.
The idea that future generations of girls from Essex should not have to endure the stereotype is powerful, as why should girls have to constantly prove themselves or fight against a stereotype, just because of a county they were born in? The petition started a conversation and for the first time people across the UK began to wonder why we used the stereotype in the first place.
As with any campaign, there was some opposition to it, as many wondered why two women who weren’t born or raised in Essex, started causing such a fuss and national uproar. One article commented that the definition of ‘Essex Girl’ is hardly a serious stereotype. But whilst the petition may have been started by two women who aren’t born and bred Essex, it gained traction with those who are, and rightly so.
Having a constant stereotype placed on you due to your birthplace (which you have no control over) is wrong. Women are not defined by where they are born, what they wear or the make-up they put on. So Essex girls, remember, you are more than the stereotype placed on
For more information about the course, please look at the course outline here or contact Dr Nadine Rossol here.
1. Artefact ‘What Being an Essex Girl Really Means’ (Accessed 19/11/2017)
2. BBC ‘What is the true meaning of ‘Essex girl’? (Accessed 19/11/2017)
3. Change. Org (Accessed 20/11/2017)
4. Metro (Accessed 21/11/2017)
5. Oxford Dictionary (Accessed 20/11/2017)

The Extraordinary Life of Ordinary Women

Nadine Rossol, Senior Lecturer at The University of Essex ran a blog forum on Moodle for her Public History course (HR213). As her course is dedicated to the life and work of women in 20th century Britain, her students were asked to write a blog based on women, their lives, and the general issues which women face. In this three-part series, Sophia Pinheiro Vergara is seond to talk about the extraordinary life of ordinary women!

Have you ever thought about ordinary women in history? Throughout time, writers and historians have mostly focused on leaders, the elite, royalty, celebrities, influencers. And very often, these people were men. It’s very easy to forget about the wives, sisters and mothers of those significant, illustrious people – because most of the time, that’s all they were portrayed as. That’s why I’d like to shed some light on the extraordinary lives of ordinary women. Women who maybe were not famous, leaders or royalty, but still have amazing stories to tell. I think it’s time they were heard and celebrated, as they should be.

This story is about Marcelle Vergara, Marcelle Guillemot and Suzanne Spaak. Marcelle and her husband Paul Vergara were both part of the resistance, and he led a centre to hide Jewish children during WWII called La Clairiere. Though Marcelle was not the leader of this resistance group, she helped her husband and their associates, Suzanne and Marcelle Guillemot. Marcelle Vergara often welcomed and hid Jewish children in her home, and with her husband, they would procure false identification papers to send them to safer places. One of the people she hid was a half Jewish young girl, Yvonne Van Nierop, who eventually became her daughter-in-law (Needless to say, Yvonne Van Nierop’s story is a remarkable one as well).

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Suzanne found out that there were threats to the children under the protection of a network and contacted Paul and Marcelle Vergara. It was confirmed on the 12th February 1943 that the Jewish children would be deported from the UGIF (Union Générale des Israélites de France) where they had been placed by the Gestapo. The members of La Clairiere asked people loyal to the cause to take out a Jewish child or two from the UGIF for the day – only to never return them. This mission singlehandedly saved 63 children, aged three to eighteen, who were given new identities and taken to safe homes.

On the 16th of February 1943, only days after the miraculous mission, the Gestapo sent agents to La Clairiere community centre, and Marcelle Guillemot was found. She quickly destroyed all compromising information regarding the rescue of the Jewish children and her links to the Resistance. She somehow managed to flee and escape the Gestapo.

Marcelle Vergara, not long after, was arrested by the Gestapo and taken to Fresnes prison, a special location used by Germans to hold and question members of the Resistance. She was released later that same year. Her own son was captured and taken to Buchenwald

Suzanne Spaak had to flee and take her children to Belgium in October 1943, only to be arrested later on the 8th of November. She was tortured and sentenced to death in January 1944. On the 12th of August that same year, two weeks before the liberation of Paris, Suzanne was executed.

Suzanne Spaak, Marcelle Vergara and Marcelle Guillemot were all recognised as “Righteous Among the Nations”. It’s an honorific used by Israel to recognise non-Jewish people who helped Jews during WWII and the Holocaust by risking their lives.


Plaque of honour for Marcelle and Paul Vergara, “Righteous Among the Nations”

These three women, though not particularly famous, had amazing stories to tell. Their bravery and resilience in the face of oppression is a tale to remember and celebrate, as are other countless women’s stories. Though my goal is to share the extraordinary stories of ordinary women, I have to admit this one is special to me because it’s personal, as Marcelle and Paul Vergara are my great-grandparents. Yvonne Van Nierop (now Vergara), the half-Jewish girl they hid, is my grandmother.


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There is so much more to these women’s stories to tell, and other women’s stories – which is why I asked at the very beginning: ‘what about ordinary women in history?’ There are many fantastic voices undiscovered, only left to the memories of their families. Most of history has been a world led by men, so much so that women’s history is often cast aside for grander tales of men’s deeds. But women’s lives and stories are no less grand or extraordinary, simply often left to the shadows – they should be celebrated and remembered. To the readers out there, I highly encourage you to share your untold stories for them to never be forgotten, and to remind others that ordinary women have extraordinary lives.






•AJPN, available at:, [Accessed 30th November 2017].

•AJPN, available at:, [Accessed 30th November 2017].

•AJPN, available at:, [Accessed 30th November 2017].

•AJPN, available at:, [Accessed 30th November 2017].

•Yad Vashem, available at:, [Accessed 30th November 2017].

Is the Subject of History Accessible to Young Women?

Nadine Rossal, Lecturer at The University of Essex, previously ran a blog forum on Moodle for her Public History course (HR213). As her course is dedicated to the life and work of women in 20th century Britain, her students were given the task to write a blog which was based on women, their lives, and the general issues which women face. In this three part series, Olivia Taylor, questions how accessible History is to young women.

Being the daughter of a history teacher I spent most of my childhood in castles, bunkers and museums and I loved every second of it! I have been given a lifelong love affair but, I couldn’t help but feel I was always learning about what the boys did, and for a young girl growing up in a society that isn’t always on her side, you can imagine that’s not the healthiest thing! So, how can we (you and I) change it?

When I first decided that this was a subject that I wished to investigate further the first thing I did was call my eleven-year-old sister. She’s a keen historian (like her Mum and eldest sister – not the middle one she does geography, we don’t talk about it) so, naturally, it made sense to start with her. We ended up talking for over forty minutes about the history she has studied so far, most of it being empirical or military. But not the broad, diverse cultural history of war time, no. Schools seem to focus solely on the battles, the generals and the strategy. Not a single woman was mentioned throughout the conversation. So, feeling sceptical that the lack of female mention was due to the curriculum and not my 11-year old sister’s memory, I took to the internet to check.

A screenshot of the Key Stage 2 National Curriculum

This is a screenshot of part of the Key Stage Two National Curriculum in Britain. I don’t see how it’s possible for a teacher to portray the lives of women in these time periods. We weren’t allowed to fight or invade or lead. No wonder my sister and I couldn’t see ourselves represented in the subject we love!

However, a more experienced and level-headed opinion came in the form of my wonderful, teacher, Mother. Annoyingly well put, she stated there just aren’t enough school hours to teach everything. She argued that there is no “Women’s History” and “Men’s History”. The only way she can teach history is cause and effect because that’s the reality of the scheme of work and the exam. It’s just too vast and intricate to teach everything in its entirety. But, surely egalitarianism should take priority over chronology?

Before we start pointing the finger at the teachers let’s remember, they’re overworked, underpaid and simply doing as they’re told. So maybe we should turn instead to those in government who write the National Curriculum, and tell our teachers what to do. There are six ministers who sit on the board for the Department of Education and only two of them are female with none of them having ever worked in a school. I’m sure they have the qualifications but, are unaware of the reality. What can we do to ensure the best people are writing our Curriculum? Unfortunately, our choices are limited as to what we can do, but don’t lose heart! Lobbying is here to save the day! The “Fawcett Society” (founded by known suffragist Millicent Fawcett) has been campaigning for gender equality for 150 years. While “UK Feminista” is leading a campaign to end sexism in the classroom. One of the first steps should be to eliminate a gender bias in the course content. Join! Protest! Make a difference!

A table displaying the popularity of GCSE options

History is, in my humble, completely biased opinion, one of the most important subjects taught in schools. It teaches us so much about ourselves, where we’ve been and where we’re going. It’s also one of the most popular GCSE options available, making this mission of equality even more crucial. Women’s history is vital in showing young girls how their female ancestors changed the very world around them. It would be an insult to some of the bravest historical figures to undermine their influence in the classroom. Every girl deserves the chance to follow in the footsteps of the Women in the Land Army, the Suffragettes, Nightingale, Brontë, Windsor and so many more because, if they do, we will have a generation of strong women.

For more information about the course, please look at the course outline here or Dr Nadine Rossol contact details can be found here.







Screenshot Key Stage 2 National Curriculum. Accessed: 27/11/2017

Screenshot GCSE Option statistics. Accessed: 30/11/17

The Fawcett Society Official website Accessed: 29/11/2017

UK Feminista Official website Accessed: 28/11/2017

The Great Poppy War of 2016

Lucy Noakes is a social and cultural historian with specific interests in war, memory, gender and national identity. In this blog, she has written a piece about the Great Poppy War of 2016.

On Tuesday 1 November Britain woke to the news that FIFA had ruled that three of the national football teams (England, Scotland and Wales), playing international matches in early November, would not be allowed to wear armbands with red poppies on. FIFA’s ruling, based on an interpretation of the poppy of remembrance as a political symbol, caused an uproar in the public sphere: newspapers, television and radio, social media and the Houses of Parliament all dedicating time and space to discussion, and usually condemnation, of FIFA’s decision. By Thursday 3 November, according to the Daily Mail, Britain was at war – a Poppy War –which the paper claimed, with a lack of irony, it would fight against FIFA ruling.

At Prime Minister’s Questions the previous day Theresa May had described the decision as ‘utterly outrageous’. So it was perhaps unsurprising that by the 3rd November the English and Scottish Football Associations, playing on November 11, had decided that it would defy the ban: footballers from the three nations would wear a red poppy armband, and accept the penalties imposed by FIFA, most likely a deduction of points from the team’s tallies in their World Cup qualifying groups.

The row focused on whether or not the poppy is a political symbol. First sold by the newly created (Royal) British Legion in 1921, to raise money for the many wounded and disabled veterans who had returned from the First World War, the poppy had its origins in the carnage and chaos of the Western Front, where poppies, thriving in the disturbed earth around the battlefields, grew in their thousands. The Canadian military doctor, John McCrae, based close to the front line in Ypres, wrote the famous poem ‘In Flanders Fields’ in 1915, which opened with the lines:

In Flanders Fields the poppies grow

Between the crosses, row on row.

First sold to raise money for wounded troops in the United States, the poppy was bought to Britain by a Frenchwoman, Anna Guerin, where they were swiftly taken up as both a symbol of remembrance and a means of raising money for disabled veterans and their families. So far, it might seem, so non-political. What, after all, could be less political than a widely shared desire to help those who had returned from war and were, because of their injuries, unable to find work or to support their families? However, I want to argue in this short article that not only the red Poppy of Remembrance, but the wider traditions of commemoration that grew out of the bloodshed of the First World War, are and always have been, deeply political, if not always in intent, then in interpretation.

As any good student of cultural history will tell you, the meanings of any ‘text’ or object are not entirely embedded in its material form, but are shaped by the views, beliefs and position of its audience and consumers. This was discovered early on in the aftermath of war by the British government, when what was meant to be a victory ceremony became a ritual of remembrance. The first official remembrance of the war took place on 19 July 1919, designated as Peace Day. This was meant to be a celebration of the military victory, with the returning heroes parading through the streets of London. However, the Empire’s dead were also incorporated into this parade, represented by a temporary version of the Cenotaph made out of plaster, cloth and wood.

This was only meant to be a small part of proceedings and the focus of the day was intended as celebration of military achievement. However, this was upset by public reactions. Crowds flocked to the Cenotaph to pay respect to their dead. There were so many people that the parade had to be rerouted and for weeks after people continued to bring wreaths from around the country. What was meant to be a day of celebration was spontaneously refocused around mourning and commemoration.

While the transformation of Peace Day into Armistice Day, first held on the 11 November 1919, with its focus on commemoration of sacrifice and the war’s dead, rather than victory and the living veterans, can be seen as driven by a cultural politics, and, as Jay Winter has reminded us, the needs of the bereaved to find a means to collectively mourn the dead, the first controversy around remembrance took place in the mid 1920s.

The solemn ceremonies of remembrance that took place on the morning of Armistice Day had been followed by often riotous parties and balls, as veterans came together to both remember their colleagues and to celebrate their own survival. By 1925 however, these celebrations were frowned upon by some, seen as ‘out of step’ with the national mood of solemn remembrance, and the continued presence on the streets (despite the annual poppy appeal) of destitute, unemployed and homeless veterans. The Daily Mail led the campaign against veteran celebrations. Its Leader column for 22 October 1925 asked rhetorically ‘Armistice Day Revels. Should they be held?’, answering that ‘such festivities as have hitherto marked the celebration of Armistice Day are not in keeping with the day’s trued character’. The veteran’s desire to celebrate their survival lost out to the dominant politics of remembrance.

As the optimism of the early 1920s collapsed into economic depression, high unemployment and the lure of fascism in the late 1920s and early 1930s, local newspapers began to report on groups of unemployed veterans demonstrating on Armistice Day, wearing their dole papers in place of their medals, using the ceremonies and symbols of remembrance to draw attention to their plight. By the mid 1930s the poppy and its meanings were firmly at the centre of another political controversy. As a wave of support for pacifism swept across Europe, driven by the rise of a belligerent Nazism, intent on defying the punitive terms of the Versailles Treaty, by the Italian Fascist invasion of Abyssinia, by the Japanese invasion of China and by the Spanish Civil War, all of which demonstrated that any coming war would be fought against civilians at least as much as against combatants, the White Poppy appeared as an alternative symbol of remembrance.

First created in Britain by the Women’s Co-Operative Guild in 1933 and sold to raise money for the Peace Pledge Union, the largest pacifist group of the decade, the White Poppy acted as a powerful if always controversial means of commemorating both civilian and combatant victims of war across national borders while expressing an opposition to the decade’s slide towards a second, even more devastating, conflict. Some mourners at war memorials, seeing the White Poppy as an encroachment on the existing symbol of remembrance, were reported to have stamped on the wreaths, and to have threatened White Poppy sellers on the streets.

All of this however, was nothing compared to the politics that has surrounded the poppy, and ceremonies of remembrance, since the end of the 20th century. The millennial ‘memory boom’ – the desire to look back at the bloody and violent 20th century and try to make some sense of it – was strengthened by the passing of the last military veterans of the First World War in Britain, and by the ‘War on Terror’ which saw Britain go to war again, in Afghanistan and Iraq.

Young veterans, wounded in battle, once again began to appear on British streets, and the heart-broken bereaved once again gathered around war memorials. Armistice Day reclaimed its place on the British collective calendar as cultural, political and commercial institutions chose to mark the 11 November as a moment of commemoration alongside Remembrance Sunday.

Alongside this resurgence of remembrance rituals camea renewed politics of commemoration. Always contentious in the bloody politics of Northern Ireland, where the presence or absence of a poppy in early November functioned as a statement of your political allegiance, poppies became more and more visible in mainland Britain. On television, they became almost omnipresent. The Channel 4 newscaster Jon Snow condemned attacks on public figures who were seen without a poppy as ‘poppy fascism’, and the ITV journalist Charlene White was abused on social media for not wearing a poppy on air, as was the actress Sienna Miller. It was not enough, apparently, to support the charity by giving money; your support had to be visible.

What, exactly, is going on here? I don’t think that anyone has ever claimed that the dead of the battlefields died so that we should all wear poppies, yet those who choose not to do so, or who choose to wear a white poppy, or a purple poppy in remembrance of the animals used, and killed in warfare, stand accused of both a lack of reverence for the dead, and – often implicitly – a lack of patriotism.

Britishness, or at least one form of it, has become entangled with the poppy in a way that was never the intent in the aftermath of war. Much of the reaction to the FIFA poppy ban conflated it with a form of Britishness, newspaper columnists and Twitter users queuing up to tell FIFA that it was not a political symbol whilst, at one and the same time, making it exactly that. Tweets from users with names such as ‘UKIP Poole’, Ex EU Serf’ and ‘Leave.EU’ claimed the poppy for a particular form of Britishness, opposed not only to ‘FIFA scum’ but to both Europe and the left.

This emergent and worrying linkage of the poppy with a particular strand of populist politics has, paradoxically, managed to place the poppy – created as a symbol of remembrance for all British combatants, of all and any political persuasion – at the heart of a deeply felt divide in contemporary British society.

The poppy, as a symbol of war remembrance, has always been politicized, even though this was not the original intent; what is new is the venom with which those who choose not to wear one are attacked. If the poppy is to survive as a widely shared symbol of remembrance, perhaps we need to remember that its power as a symbol of remembrance, like respect, only works if it is voluntary.