+44 (0)113 218 1010

[javascript protected email address]

Blog

Learning Outside the Classroom

The Learning Team here at Harewood are thrilled to announce that we have been awarded a quality badge by the Council for Learning Outside the Classroom.

This year our team has launched a brand-new learning programme filled with exciting workshops and tours for educational groups. We are so pleased by the positive reaction to the new programme, which has been rated consistently ‘Oustanding’ by teachers, and look forward to what the next few months will bring.

 

What is the Council for Learning Outside the Classroom?

As a registered charity the Council are champions of learning outside the classroom.

They believe in equal opportunities for all children to experience life outside of the classroom. They wish to ensure that more young people have access to life changing educational experiences.

Find out more about the council for Learning Outside the Classroom at https://www.lotc.org.uk/

 

Sandford Award

Harewood is also recipient of the prestigious Sandford Award, which celebrates high quality heritage education and provides independent quality assurance to sites that run formal education programmes in the UK and Ireland.

Find out more about the Sandford Award at https://www.heritageeducationtrust.org/about-the-sandford-award 

If you would like to speak to a member of the Learning Team about our current programme they can be reached at learn@harewood.org.

 

References

Learning Outside the Classroom Website – https://www.lotc.org.uk/

An Outstanding October at Harewood

Primley Wood Primary

It’s certainly been an exciting start to the new school year, as well as launching several brand-new workshops we’ve also been busy delivering some old favourites too!

October saw us teach the first of our Harewood & the Transatlantic Slave Trade workshops. This session has been designed to highlight Harewood’s historic links to the horrific practice, as well as discussing the trade and its wider legacies. Harewood is dedicated to an Open History and acknowledges the importance of addressing these important topics with all ages.

We have been so pleased to have been rated outstanding by all of the schools who have taken part in our new workshops so far. All of the positive and lovely feedback has been greatly appreciated.

”The workshop was fantastic as not only did it explore the slave trade, it also had strong links to Harewood House and its own challenging history. The children were able to look at replica sources and documents during the session which we would not have had access to if teaching the lesson at school. The workshop was also cross-curricular as we did some map work based on the location of different plantations, some investigative source work and had lots of discussion. We then had a tour of the house by the staff members whose expertise shone through.”

-Teacher, Primley Wood Primary, October 2022

If you would like to find out more about available workshops, our friendly Learning Team can be reached via email at learn@harewood.org.

Primley Wood Primary

The Ferry at Harewood

Why isn’t the Ferry running?

Harewood’s Ferry made its maiden voyage in June 2018 and has carried thousands of Harewood visitors every week between the Bird Garden, Bothy and Walled Garden.
In May 2022, the water level in the Lake started to decrease due to low rainfall throughout winter and spring. In June the water level reached a point where the Ferry ran aground and could no longer run. The mud banking you can see around the Lake has not been seen since the Lake was last drained many decades ago.

When will it be operating again?

Unless the weather for the remaining half of the year features a consistent and heavy amount of rain, it is unlikely that the water level will reach a point where we can operate the Ferry again until 2023.
Harewood House Trust, the charity that looks after this site, and the Harewood Estate are working with the Environment Agency and Leeds City Council to ensure the health and wellbeing of Harewood’s wildlife that rely on the Lake. The Trust and Estate are also looking at the Lake’s infrastructure to help plan and mitigate against the impact of climate change, including prolonged periods of dry weather.

We apologise for any inconvenience this may cause.

 

Harewood House Trust Appoints Darren Pih as Chief Curator and Artistic Director

Pih joins the Harewood House Trust executive team from Tate Liverpool. In this new role, he will lead the charity’s award-winning exhibition programme, and care for the museum’s outstanding collection of painting, decorative interiors, furniture and porcelain. His work will further Harewood’s purpose to make heritage relevant, using the collections and landscape to help shape a more sustainable world, unlock people’s creativity and enrich lives.

Over the past five years, Harewood has received universal recognition for its innovative programming including the Harewood Biennial alongside its new Craft Spotlight and Open History series addressing the urgent issues of our time from equality, diversity and inclusion, and social and environmental issues prevalent in society today. Darren has worked across exhibitions that have featured many of today’s leading artists, has toured major exhibitions for Tate Liverpool around the world, and has commissioned several new works. Most recently, his Radical Landscapes exhibition explores climate emergency, trespass and social and cultural change through a century of landscape art – an exhibition which shares Harewood’s values entirely.

With a history of collections care and producing exhibitions closely linked to Harewood’s programming ambitions, trustee of Harewood House Trust Iwona Blazwick OBE commented:

‘Pih’s deep engagement with modern and contemporary art will bring a dynamic new perspective to Harewood, connecting its distinguished history of arts patronage with the present. I can’t wait to see what his curatorial vision will contribute – not only to Harewood’s great legacy but the wider Yorkshire art scene’.

Since 2017, Harewood – which reached a record-breaking 250,000 visitors in 2021 – has been pushing the boundaries of its programming under the leadership of Jane Marriott, building on the Trust’s and the Lascelles’ commitment to acknowledging the estate’s colonial past for over 30 years, and exploring and provoking conversation around societal issues that affect us all. This commitment remains stronger than ever and is central to the Trust’s programming aims, the work of its staff and volunteers, and working with the communities in and around Leeds.

Trust Director Jane Marriott comments of Darren’s appointment:

‘I am delighted to welcome Darren as Harewood’s first Chief Curator and Artistic Director. This role epitomises our ambitions to reimagine the country house for the 21st century with bold, exciting and innovative programming. Darren brings a thoughtful approach and excellent track record, in combining the care of historic collections with the work of contemporary artists, in order to develop our ambitions as a charity and museum.’

Darren Pih’s first major exhibition under his curatorial lead will be Harewood’s second Craft Spotlight, to be announced later this year, and a Harewood ‘year of play’ to coincide with Leeds 2023 celebrations. On his appointment, he said:

‘I am delighted to be joining Harewood and contributing to its ambitions by leading its exhibitions programme. Harewood and its history make it a unique site for presenting art and ideas that engage with many of the most urgent issues of our time, including environmental responsibility, colonialism and social inclusion. It’s a fantastic opportunity to create new knowledge around its collections, by bringing contemporary and modern art into dialogue with the heritage and history of Harewood.’

Download the full press release including editor’s notes >> 

Recovering Identity in Harewood’s West Indian Archive

inventory

Inventory of enslaved people belonging to Castle plantation, Barbados, 1777.

In this article, Olivia Wyatt – Harewood’s volunteer researcher and an expert on the Lascelles family’s West Indian archive held at the Borthwick Institute – discusses the importance of surviving plantation inventories and how they can be used to recover the identities of enslaved African Caribbeans.

Deep within the Lascelles family’s West Indian archive lies the collection’s best preserved inventory of enslaved African Caribbeans – that of Castle plantation, Barbados, dated to 1777. 

“It was created to enable plantation managers to calculate the value of their enslaved population and reinforce their subhuman status.”

This inventory (or list) records over 200 individuals by name as well as their ‘country’ of origin, occupation, computed age and condition. It was created to enable plantation managers to calculate the value of their enslaved population and reinforce their subhuman status. Ironically, however, historians can use this and other similar inventories, to ascertain lost names and reconstruct the lives of the marginalised, in turn helping us to return power to enslaved African Caribbeans. By using inventories to understand the ways in which experiences of disability, Blackness and naming practices operated on Lascelles-managed sugar plantations, we can diminish the attempts of slave masters who sought to eradicate the legacy of those they enslaved. 

Some of the entries in the Castle Plantation inventory claim that the value of certain individuals was “nothing” because they had a “broken back” or were “very infirm”. At first glance, old age appears to be a key factor in this assessment, as the estimated age of ‘Great Joe’ and ‘Old Bridget’ was 80; Great Joe was only worth £10 despite being a “clarifier” and in “good health”. 

However, a thirty-year-old man was also deemed valueless because he too was “infirm”. This implies that any injuries enslaved individuals acquired – most likely through work on the plantations – rendered them worthless, unable to emulate the labour of their counterparts. Even ‘Robin Almond’, at the age of just 10, is listed as valueless because he was also “infirm”. ‘Goany’, however, despite being only one month-old and “not fit for work”, was worth £5 because she was considered to have labour potential. These entries show that not only were enslaved African Caribbeans dehumanised by the brutal ways in which they were treated, but Black disabled people were considered worthless because they could not fulfill their assigned purpose, which reinforced the idea that Africans were only fit for servitude.

In an attempt to strip enslaved African Caribbeans of their identity, it became common practice to rename newly-arriving Africans as objects, or to give them European names. Two examples are ‘Black Silver’, a 45 year-old enslaved woman, and ‘Yellow Silver’, a Barbadian enslaved washer. The dehumanisation that naturally occurs when one’s heritage and name is replaced with that of a commodity reveals how slave owners intended to use naming practices to further oppress the enslaved population. These two names also represent the different shades of Blackness found on Caribbean plantations, which usually emerged as a result of the (typically coercive) sexual relations between enslaved women and their masters. ‘Black’ and ‘Yellow’ likely refer to the shades of the women’s skin, given that ‘Black Wallis’ and ‘Molatto William’ are other names on the plantation. ‘Yellow Silver’, like ‘Molatto William’, may have acquired her light complexion due to a mixed heritage. We do not know enough about the lives of the individuals listed in this inventory, though a growing amount of research has revealed that light-skinned African Caribbeans sometimes received preferential treatment due to their proximity to Whiteness. This could explain why ‘Molatto William’ was accorded one of the most valuable roles on the plantation. 

Nonetheless, research has also revealed that enslaved African Caribbeans often had multiple names because they did not always adhere to the names that slave owners gave them. They also often played a role in the naming of their children and grandchildren. The names ‘Phibah’ and ‘Quashy’ appear frequently in the Castle plantation inventory, which have been identified as West-African “day names”, as ‘Phibah’ translates as Friday and ‘Quashy’ as Sunday. Historians agree that it was unlikely that slave owners selected these West-African names; therefore, these African naming practices are indicative of the ways in which the enslaved population retained their culture and humanity in the face of the brutality of slavery. 

 

But what about Castle plantation itself and why this inventory was created? 

The Lascelles family initially avoided owning plantations and instead operated as one of the biggest financiers of the Caribbean plantocracy and the sugar trade. Nonetheless, from 1773 they amassed many properties in Barbados, Jamaica, Grenada, and they sold their last plantation in 1975. Alongside managing their own plantations, the Lascelles provided loans for other planters and controlled some plantations as mortgagees in possession. The Castle plantation in the parish of St Lucy in Barbados was one such plantation. The Sober family owned it in name, but the management of the estate was overseen by representatives of the Lascelles family, and its produce was consigned to the Lascelles’ commission house in London until the mortgage was repaid. To determine the specifics of this mortgage, surveyors composed a full inventory of the Castle plantation’s enslaved population, cattle and horses in 1777. This document was originally drafted therefore to reaffirm the assigned status of enslaved African Caribbeans as property, but this blog has demonstrated how it can today be used to recover their humanity and ensure that they are never forgotten. 

Olivia Wyatt
HHT Volunteer Researcher