East India Company at Home Mid-Project Conference, 31st May – 1st June 2013.

Since the East India Company at Home Project started in September 2011, there has been a buzz surrounding its methodological framework, its research findings and range of subject matter. I last covered this project here after they released their first case study.

The project (EICaH for short) began at the University of Warwick but has since been transferred to University College London (UCL) for a variety of reasons, but mainly due to funding opportunities and departmental interests.* The premise of the project is to examine the British country house in an imperial and global context through material culture and the families linked with these houses on the one hand and the connections they may have had with the East India Company on the other.

EICaH wallpapers[2]

Helen Clifford and Emile de Bruijn presenting their paper on Chinese wallpapers in National Trust properties ‘every good country house has its Chinese wallpaper’!

What makes the EICaH project so unique and perhaps even dynamic, is its attempt to pull together knowledge from a spectrum of sources and people. By putting this bluntly, the project’s diverse pool of thought comes from academics, museum professionals, archivists and librarians, students, local and family historians and independent scholars. The core team consists of Professor Margot Finn, Helen Clifford, and Kate Smith. Then there is an Advisory Board consisting of those affiliated with institutions like the V&A, the British Library or local authorities to mention a few. Project associates make up the next segment of those involved and are a healthy mix of those with interests in the British country house, the East India Company, trade and consumption and all the bits in the middle. I’m a project associate simply because I clearly adore country houses and the mixture of histories which can be applied to them.

I don’t want to talk at length about the details of the project as this is fully accessible through the links already given. What I do want to do is address the topics discussed at the mid-project conference which took place at the end of last week.

The conference was split over two days and roughly by content and methodology. The link to the programme is here. On Friday some fascinating papers concerning particular people and places associated with the East India Company were presented to the cosy audience of about 70 avid listeners.

EICaH John McAleer

John McAleer and the architecture of the East India Company’s Offices (image courtesy of Rachael Barnwell)

My favourites were Georgina Green’s research into supercargoes and the roles of East India Company captains; John McAleer’s look at the architecture of the Company’s offices; Stephen McDowall’s extensive and thoughtful examination of material culture and the meanings placed upon specific objects; and Janice Sibthorpe’s Sezincote’s case study. In the evening a keynote lecture by Giorgio Riello about the trade and consumption of cotton textiles finished the day on a high.

Saturday was the day of debate with the focus on how collaboration between academic institutions and those outside the ‘academy’ work effectively or otherwise. Here it was necessary to understand the structure of the project – its framework, but also the questions it was hoping to ask as well as answer. There was  lot to cover.

The most anticipated part of the Saturday sessions was undoubtedly the trip to Osterley Park (which I was unable to attend) but for me in particular it was the discussion concerning the methodology of the project since I was taking part. Upon the very kind invitation of Margot Finn, Helen Clifford and Kate Smith, also participating were Margaret Makepeace (Lead Curator of East India Company Collections at the British Library), Cliff Pereira (Public Engagement Consultant), and Keith Sweetmore (Development Manager at the North Yorkshire Country Record Office) That’s the four of us pictured below.

EICaH me

In the words of Margot Finn, the project is fairly ‘experimental’ in terms of previous attempts by historians to collaborate. I’ve found other projects to be rather formulaic and incredibly constrained by academic protocol (for want of a better word) and so I was eager to see some part of the discussion aimed at how the EICaH project had been able to challenge this. My belief is that for something of this scale to thrive, individual academics must be willing to show motivation and share their professional development both within their respective departments but also elsewhere.

I, for one, despise the Research Excellence Framework (replacing the Research Assessment Exercise) since it encourages exclusivity through peer review whilst exposing a neat way to keep academic research knotted tightly to the academy. In more simple terms, any research undertaken by an academic institution, regardless of wider collaboration eventually becomes the possession of that institution and the doors close to those without academic affiliation.

So where does the EICaH project fit in? I understand there to be two distinct parts to its methodology and its collaborative efforts represent the major part; the role of the country houuse as means of posing and answering questions, the lesser part. Margot Finn and Helen Clifford are the highly motivated academics who initiated the project and discussed its possibilities long before it began. They also have a desire to promote greater dissemination of their own findings to wider audiences. Inevitably, they are bound by academic protocol because funding for projects like this comes with certain criteria to which any published material or outcome must adhere.

However, it should be noted that the EICaH project is perhaps transitional. Finn declared it to be experimental, indeed there is still more to be said about exactly how the country house community and household may be placed within an imperial and global context, but the project can provide a working model for future historians.

At the end of the conference though, I came away satisfied that history can be made more accessible both to bigger audiences and to those wishing to undertake historical research. The academic can put something into context, and the museum professional can provide layers of interpretation, but a historian is not limited to fancy apparatus like the scientist, or material compounds like the chemist in order to test a theory; history is about thinking. Many of Britain’s archives, libraries and collections are freely accessible to everyone, working collaboratively can enrich the pools of thought and maintain a flow of intellect whether someone has an academic tenure or not.

*******

* Warwick University links are still accessible and currently functional. I have left the original post on countryhousereader (dated March 2012) with these links in tact. The same case studies are also available on the UCL blog which has transferred everything over to this new site. The links in this post are for the UCL blog.

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5 Comments

Filed under Building the Country House, Men and the Country House, Women and the Country House

5 responses to “East India Company at Home Mid-Project Conference, 31st May – 1st June 2013.

  1. Julie, I am just working with Keith Sweetmore fromNorth Yorkshire County Record Office on our joint paper for the 4th September Conference in Birmingham called ‘Enhancing Impact’ which looks at how archives and universities can work together. Your comments on the Mid-Porject Conference are really helpful for this. Thank you!

  2. Nora P

    Hello,
    I followed a photo link from pinterest to your blog on my favourite subjects of country house style and Chinese painted anything. As I started to read your post and seen the researched links at the bottom, I thought what a treasure trove! I do read Emilje De Bruin’s blog also and keep waiting for the publishing date of the findings on Chinese export textiles and papers. The gist of your article suggests, at least to me, that I can keep waiting as this may never happen? How terrible that would be. I live in Austria and unfortunately there is not much here to be seen or researched. The only thing left to do is to visit each house and take photos, but even that is prohibited in the National Trust Properties. These objects and designs have long passed into the public domain keeping them exclusive is just grossly unfair.

    Nora

    • I have just forwarded this to Emile, and he will give you more details of the publication which is scheduled for launch in February next year. Lovely to be in touch with you again. We are racing to get as many Case Studies ready for the website  before the end of project conference in July!

      ________________________________

  3. Nora, it is great to hear you are so keen to see our catalogue:) As Helen writes above we are on course to publish it in February next year – it is in the design and proof stage at the moment.

    Interestingly, we mention two wallpapers which are in Austrian collections in the catalogue which are related to examples in our houses, one at Schloss Schönbrunn and another at the Museum für Angewandte Kunst (MAK). Empress Maria Theresia seems to have been very keen on Chinese wallpaper! It is fascinating to see how similar Chinese wallpapers ended up in different parts of Europe – we still don’t know enough about exactly how that happened.

    I will also publish an update on my blog about progress with the catalogue.

  4. And to respond to the interesting points posed by Julie in the post itself: I suppose our Chinese wallpaper catalogue is a good example of research and collaboration that has somehow managed not to be too constrained by academic or institutional protocol. Luckily the National Trust’s publishing department could find a tiny budget to get this small catalogue published; luckily my colleague Andrew Bush was willing to share his paper conservation expertise and files; luckily Helen Clifford was willing contribute her academic nous and knowledge of material culture and East India Company history; and luckily an informal network of experts and professionals sprung up around the project, contributing further bits of the jigsaw. The project has somehow thrived ‘in between’ various institutions and people. And we hope to keep the momentum going by following it up with an international conference about Chinese wallpaper, and also to include Chinese scholars and experts in the discussion. We couldn’t have done it without the institutions, but we have somehow managed to weave our way in and out of them.

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