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Posted -  17/05/2004  :  12:03
ORAL HISTORY JOURNAL
Volume 8, No. 2. Autumn 1980. pp48/52


THE LANCASHIRE TEXTILE PROJECT:
a description of the work and some of the techniques involved by Stanley Graham



The Lancashire Textile Project which is funded by the Department of the Environment and based at Pendle Heritage Centre, Nelson, Lancashire, is engaged in gathering base research material on the technology of the Lancashire Cotton Industry using a combination of sound recording and photography. A secondary objective is to record the social history of the workers and to establish the links between work experience and the life of the community. This paper will describe some of the practical problems involved in starting such a project and give the solutions which were adopted in order to overcome them. We stress that what we describe is not definitive but is a scheme that works; the results the project has shown to date amply vindicate the methodology used. It is our hope that sharing our experience will encourage others to do the same. The first problem with any exercise of this sort is to decide what field to work in and what objects to pursue.



The fastest wasting historical resource in this country is the knowledge and experience of the old people who die every day. This is particularly true of the old technologies which in many cases have existed almost unchanged for the last 150 years but are now dying out. A few examples are riveting, chain-making, tinsmithing and iron-puddling. Awareness of this problem led us to consider what our priorities should be in this field. It seemed that perhaps too much effort had gone into collecting the artefacts and not enough into gathering technological data as to how these artefacts were used. Our prime local example was steam-driven weaving. In 1974 there were five such mills in the Pendle- Skipton area, at the time of writing there is one left. Having thus identified a need and an industry, we then had to ask ourselves what would be he best way of carrying out our project's aims, to make a record of what was important for the future. We had no previous experience of oral history and at this stage were particularly helped by the advice and criticism given to us by Dr. John Marshall, and also by Dr. Elizabeth Roberts, who allowed us to make use of the excellent schedule of social history questions which she had developed for her own researches in Barrow, Lancaster and Preston.



Our basic purpose was thus to seek to convey a body of highly technical information to people separated in time and place from the location where the information was generated. The first phase of the project was concerned with Bancroft Shed, Barnoldswick, which is now derelict; all the machinery has been scrapped, the building is in course of demolition and the workforce dispersed. The ideal solution would be to take future researchers to the mill and show the workforce operating the processes as a commercial operation as in the past but this is now clearly impossible. What can be done in such cases? Sadly the answer is usually, very little. However at Bancroft there was an alternative. Before the mill closed the Lancashire Textile Project did a thorough job of recording the processes and environment of the mill, using the techniques we will detail in this paper. The result is an excellent picture of the actual technology of the various processes and machines and also valuable evidence as to social links and impact on the local community. What we now seek to do is to interest other people in this approach and share the benefits of the experience we have gained in doing this work. The project carries on, and at the time of writing we are conducting a similar investigation into the hard waste condenser spinning industry. (The conversion of cotton thread waste into fibre and re-spinning into new yard using mule frames. By summer 1980 only two small firms will be left in operation.) What of the practical problems? What were they and how were they solved?



The first decision to be made was what form of presentation was going to be the most effective, both from the point of view of the actual recording and of the future researcher. The main channels by which we receive information are touch, sound and sight. How best can we use these channels to convey the body of knowledge to the researcher? We should pause here and realise that there are two very different contexts in which the material could be used. One is in the area of pure research, where a scholar needs to get everything he can out of an archive. Another is in the museum situation, where we wish to give a simplified version of the material to people to enable them to understand more about the exhibit they are looking at. Let us take this area first. Sense of texture and perhaps more important, scale, is best gained from the ability to see the artefacts themselves either in the museum context or on site. It is an advantage if they can be displayed in conditions as near as possible to the original environment. A loom, for instance, needs to be seen in a North light shed with whitewashed walls and a Rossendale flag floor to get an accurate idea of the conditions. If a recording of the roar of a weaving shed in full song could be played at the same time we would get another dimension. Having persuaded people what it looked like and sounded like we could introduce either a static exhibition of pictures or an audio visual display which put the worker into the picture and showed him or her actually working on the machine. This could be accompanied by excerpts from the tapes giving appropriate comments about the process and the work environment. I am sure that in these ways we could give a very accurate idea of what actually was going on in that shed. A pale imitation of the real thing admittedly, but far better than the usual sad display of static artefacts on polished floors or in showcases. But there remains the more difficult problem of the serious seeker after truth.



The researcher of the future will be looking for clear, factual, reliable and objective material presented in an accessible manner. A tall order indeed. Perhaps the quality which is most stressed in this context is objectivity. We believe that this is often over-stressed in the context of the individual whilst being important in the body as a whole. Can we then have lack of objectivity in the individual and retain it in the whole? We think so. Informants are human, and as such are going to be subjective whether we like it or not. This is a fact of life which we must learn to live with. We believe that this can be overcome by selectivity in the choice of informants. Individually, they must be articulate and technically knowledgeable, but also the overall aim should be a balanced view. There are two ways of approaching this problem. One is by horizontal spread of informants, that is, for example, to interview more than one weaver. The other is by vertical spread, in which we would interview the weaver and then the different executives in the chain of command. In the case of the weaver this would be the loom overlooker or tackler, the weaving manager, and then the top level management. These views would be followed by those of the observer, of which more in a moment. This is the pattern we have followed and in this way we feel we have achieved a balanced view of the subject we record.



Subjectivity is a sign of individuality, the people we interview are individuals first and workers second. Their individuality is part of the social pattern of the process and in this way we preserve it. The primary objective of the Project is the collection of technological information, but we value the connection between the work experience and the community at large. For this reason full social history interviews are done with the workers starting from earliest memories up to the present day. A structured interview is the aim, using a set list of questions which cover all aspects of experience. Some idea of the depth of this interview can be gained from the fact that it takes eight to ten ¾ hour interviews to complete the questions. The finished sound picture is a balanced, thorough investigation of the worker, his or her social life and task in industry. A vital part of this coverage is the manner in which we link the aural with the visual material.



The ideal way to learn about the process would be to stand at the worker's shoulder, watch the operations involved and ask questions at the same time. For various reasons this is impracticable and also intrusive but in effect this is exactly what we do using the 35mm. camera. The observer must study the process and define what he or she considers to be the definitive moments in this task. Then a series of monochrome pictures is made of these moments and presented to the informant as a folio of large, detailed prints which are clearly laid out and numbered in order. An interview is then conducted in which the informant is asked to describe exactly the process recorded on the pictures and can be questioned closely by the observer if anything of interest has not been mentioned.



The question always asked at this point is: 'Why use still pictures and not movie?'. The answer is two fold. First the fact that monochrome stills are the cheapest method, and second, movie would be useless because an informant will often want to spend perhaps ten or fifteen minutes describing one picture. (It is amazing how much information can be called from one image, and there are often interesting digressions which can cast valuable light on other matters.) If movie film is stopped the quality falls off dramatically, because it relies on shifting grain pattern for definition. Modern methods just being developed of high-definition video would be ideal, but expense rules this out at the moment.



It will be seen then that the end result is a series of tapes which describe the social life and technological aspects in very fine detail. If the same techniques are followed with all informants the net result is a consistent form of presentation which helps to give the researcher confidence in the source material. It soon becomes evident that even if there are faults, they are consistent, and comparisons between informants will be valid. One point which must be stressed here is that no editing is allowed for archival use. The evidence must be presented warts and all. The worst mistake we could make would be to pre-empt the judgement of the researcher and decide what is going to be of future interest We have no way of knowing this. What may seem to us to be a





useless digression may be a fascinating insight to a researcher in a hundred years. Remember that if we make tapes of good enough quality, they will not only be of interest to researchers into textile history but to linguists, sociologists, anthropologists and others.



An interesting point here is that it could well be worthwhile to include a series of tapes into the archive describing the rationale of the original researchers, how they were funded and what their aims were. One thing which I am sure will be interesting in a hundred years is how we actually got access to the mills in the first place. Surprisingly enough the question of access to the workplaces has never been a serious problem. Once one has convinced management that you are responsible and will not be disrupting his work force there is no problem.



It should however be mentioned here that the camera can be a most useful ally. The first stage is to acquaint oneself thoroughly with the stages of the process which is to be recorded. Many pictures can be done at this stage, which while not being part of the particular coverage of the process can be of great interest and very informative in setting the scene. Overall shots of departments, amenities, offices and exterior views all have their part to play. At the same time people are getting used to the sight of a person with a camera and act naturally. A judicious distribution of complimentary prints is the finest lubricant we have found. Pictures can be put up on the wall in the canteen or another suitable area and will create great interest. When the time comes to shoot the vital coverage of the process, which must be done during the course of the cycle of the operation in order to preserve continuity, (changes of dress etc are fatal), the observer is so unobtrusive as to be rendered almost invisible. It is courteous and very productive to give the management a set of prints which show different aspects of the factory, word soon gets round and if one wants access to another factory near by, a satisfied executive can be a very useful passport.



One word here about the use of flash or artificial lighting. This is undoubtedly a mistake. Available light only should be used for two reasons; one must not be intrusive, and the use of flash cuts off background detail and gives a false impression of the environment.



Such questions of technique also of course apply when recording sound. Open reel recording using the UHER has been the rule throughout. All tapes have been done at 3 ¾ IPS in stereo on tape approved by the Imperial War Museum. Tie pin microphones are preferred in static situations and quality has generally been of a very high order. No problems of any sort have been encountered with these methods. One word on the use of stereo. If care is used in spacing during interviews, good separation of tracks can be obtained, and this is invaluable during transcription when one track can be cut out during over talking, that is, when two people speak together. It is difficult to conceive of any major improvement that could be made in these methods without putting the cost up sharply.



Considerations of quality naturally lead us on to that most vexed of subjects, durability. When we started the project, we proposed an end date of a hundred years for the material as an ideal to be aimed at. This is relatively simple with the photographic materials, as we know by experience that properly processed and stored monochrome negative stock will last this length of time. The position is not so clear with recording tape. In truth nobody knows the answer to these questions, and 1 would submit that in the light of present knowledge the best way to preserve the material is to transcribe it onto good old fashioned paper and do three copies to be stored in separate locations. I would not care to enter the minefield of discussions about tape storage, except to state my personal opinion that it is a moot point whether tape should be rewound every year. There are very strong arguments for doing this every ten years, say in the case of masters. I have tape which has been left for over ten years, and is on the worst quality one could possibly use, but which shows no noticeable decline in quality. Perhaps the advance of technology will relieve us of this worry before long.



One of the main criteria of course is where the tape is stored and under what atmospheric conditions. Ideally the master tapes and transcripts should be stored in libraries or other similar public places in conditions of controlled temperature and humidity. These should be regarded as masters, and should not be used. The actual work of research should be done with copies. We are fortunate with the Lancashire Textile Project in that we have been offered a home for the material in the library of the University of Lancaster. This is we consider an ideal arrangement and one which augurs well for the uses it will be put to in the future.



However, before this can take place much work needs to be done in order to make the archive usable. The finest body of research work in the world is useless unless the information contained on it is readily accessible to the researcher. Whilst this statement is patently obvious, we would submit that this is the area which needs most attention in the field of Oral History today. The reasons for this is of course that the necessary processes, transcription and indexing are so expensive and time consuming. Transcription is essential both to safeguard the information by giving a permanent record and also to make the material easily accessible. It is far easier to find a page in a transcript than a two minute segment on a tape and any sound archivist will confirm the sad fact that tapes just will. not be used unless they are transcribed. We feel also that transcripts should be plainly marked at intervals with running time (5 minutes intervals) and digital count (units of 50). We recognise that all machines are different, but if the same type of machine is always used for transcription the count will be constant and can be transformed by simple formula for any other machine, by experiment.



Indexing is a formidable obstacle but one in which there may be a useful alternative. The accepted cross linked subject index can be a daunting task if one is faced with an archive of perhaps one million or two million words. There is however an alternative which although not as precise, can be of great value to researchers. In order to describe this method we must give a brief resume of how we deal with tapes once they are made. The master is copied immediately it is made on to reel to reel mono at 3 ¾ IPS. While this process is being carried out, the observer listens to the tape and notes down all proper names, technical terms and anything which may be helpful to the Transcriptionist. At the same time a note is made of sub headings in the tape, so that we finish up with an 'aid sheet' which is in effect a précis of much of the interesting information on the tape. This is invaluable to the Transcriptionist and can also be much more easily indexed than the complete transcript. The result would be an imperfect but fairly precise index, which could certainly lead researchers to areas of interest in the archive. The view has been expressed that this method could also be used in expanded form instead of the full transcript but we feel this would be dangerous. If funds allow, always transcribe as this means the archive is safe. However we are forced to admit that the 'aid sheet' method is preferable to no transcript at all.



Mention of funds brings us to another thorny problem. Who pays the money? The tailor must cut his coat to suit the cloth the old adage tells us, and projects like this are no exception to the rule. So often we must modify what would be the ideal in order to stay within the budget. There are two ways of looking at this. The methods we have set out are compatible with high quality at very low cost, once the initial capital equipment has been laid out. When compared with any other research effort, these methods are remarkably cost-effective in terms of the amount of information stored per unit of cost. They are also well suited to use by unskilled operators. The amateur historian, with a minimum of training, could well undertake a small project of this kind. One person can easily handle at surprising amount of taping and photography in the evenings. This in fact was how the Lancashire Textile Project started, we speak from experience. One can well envisage a project of this sort being regarded as an ideal educational exercise. Funding from educational sources could be a possibility. This is very much an area where local initiative could be used. Perhaps the most likely person to contribute would be the owner of the factory himself. Approach them and ask, surprising results can be obtained in this way. When the Lancashire Textile Project was in its infancy it was rescued twice in this way by local firms, Silentnight and Lontex Ltd. Without them the work would have stopped. Once again we speak from experience. 'Unto them that ask shall be given'. The field is wide open.



We are at a watershed in the industrial history of Britain, a critical moment when many of the old technologies which have unbroken links with the very roots of the industrial revolution are dying. As they die the artefacts vanish and the workers are dispersed to quietly fade away into the mists of history. We have the chance to record some of this experience before it fades away for ever, but that chance is fast fading as old workers die off. We may forgive posterity for the paucity of information left to us, but we ourselves shall not be judged so lightly by posterity. The time has come for the self-imposed boundaries between the social historian, the economic historian, the industrial archaeologist and the oral historian to be swept away, and for each to recognise the vital contribution that can be made by sensible recording techniques conscientiously applied. Given a minimum of direction and advice this is a field where the locally based enthusiast can do meaningful and essential work to the benefit of all disciplines, indeed in many cases is the only one who can help, as local knowledge is usually the key factor in recognising an opportunity and grasping it. There has never been an opportunity like the one we are faced with at the present in this country. Now is the time for action. The buck stops here.









NOTE: The Lancashire Textile Project was founded in 1974 by Stanley Graham, who from June 1973 to December 1978 was Mill Engineer at Bancroft Shed. He is at present reading History and Economic History at the University of Lancaster and is a founder member and trustee of the Bancroft Mill Engine Trust. The Lancashire Textile Project's staff consist of Stanley Graham (interviews and photography), Mary Hunter (interviews, indexing and general liaison) and Adrianne O'Brien (transcription). With the exception of Mrs. O'Brien and one year's full-time work by Stanley Graham, all work has been on a part-time basis. The Project's total cost to date has been approximately £14,000. Overall assessment and guidance has been provided by a Steering Committee (chaired by Dr. John Marshall) drawn from the Centre for North West Regional Studies, the sponsors, the researchers and Pendle Heritage Centre.



Stanley Graham will be one of the lecturers at a series of day schools on the practical techniques of gathering research material in local history which are planned for 1980-81 at Pendle Heritage Centre: for further information, contact The Director, Pendle Heritage Centre, Park Hill, Barrowford, Nelson, Lancashire.

SCG/23 February 2003


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