Been troubled by these three this week. They are part of a commemorative window in the church at Beetham, Cumbria, (the village near the mill where I am resident artist). The church is now named St Michael’s and All Angels, but the church might have taken any one of these women’s names had history telling been different following the conqueror’s 11th century invasion when naming Norman became important. Continue reading “The Lady Trinity”
Spent two days at Heron Corn Mill pursuing hunches. The Matilda Betham research has steered me into reading about women and insanity. As mentioned in a previous post, Elaine Bailey has written about this in Insanity and the Lunatic Asylum in the Nineteenth Century ed. by Thomas Knowles and Serena Trowbridge in respect of (Mary) Matilda Betham, (the poet, diarist and miniature portrait painter and early feminist), I managed to get the book and found an interesting link about about a conference where she presented her work here: Silence in the Archives which I wish I could have attended but it came during preparation and presentation of The House another work about a silent archive.
Gladly, to take this further, I was given Elaine Showalter’s The Female Malady: Women Madness and English Culture 1830-1980 for Christmas and have just finished reading it. It post dates Betham’s incarceration but is an interesting interweaving for me with regard to the research I had pursued to date on my own female ancestors’ history in connection with this theme and this new project for Heron Corn Mill in Beetham, Cumbria. So I think I will be digging deeper here. Continue reading “In search of hidden herstories”
I wrote something new on The House working diary pages about books. It’s a bit of a meandering around the word approaching its uses in that piece of work which I have just performed for the Gendered Citizenship and Performance Conference at the University of Warwick (that is actually in Coventry) – old tramping ground (Note: I use tramping in relation to temporary accommodation/temporary homes for artistic practice relied upon by artistic groups as part of the in-kind system of support to creativity. I know it should be stamping….)
Jenny Hughes and I gave a keynote speech:
Sing for your supper: pauperism, performance and survival
and I presented The House and sat on a panel of artists. Then I came back to the North, worked on a contract for a performance of the same show, finished the blog piece on books and began to think myself back into the Heron Corn Mill Residency which starts full on next Thursday 14 January more about which will appear here soon.