While exploring the history of Anti-Racism in Southwark (see our recent post for details), we came across a rich history of marching and protests. Documents and photographs held at Southwark Archives show local people and organisations rising up over the decades to fight for equality and human rights.
Campaigns against racism in the 1960s were established in the borough through the petitioning of Southwark and Bermondsey Trades Councils and Southwark Rotary Club, who led the call to launch what became the Southwark Council for Community Relations. Other early organisations include the West Indian League, set up in 1964 following the suicide of a young West Indian nurse at Lewisham hospital. The League aimed to combat loneliness for West Indians in London, and fight racial discrimination.
In the 1970s the Southwark Campaign Against Racialism and Fascism was set up and took to the streets of Walworth and elsewhere to stand up to the resurgent National Front. Socialist organisations and local branches of the Labour Party also took a prominent part in marching. In 1983 the Southwark Black Consortium was founded to represent the community voice at the new Southwark Race Equality Committee. Later, as Southwark Black Communities Consortium, the organisation ran large protest marches against racism in Peckham and Bermondsey. The Southwark Anti-Apartheid Group took the lead in marching against apartheid in South Africa, something reflected also by the council who declared ‘war on apartheid’ in 1984 and ran yearly Anti-Apartheid programming until the early 1990s.
The following is a selection of images found so far, please get in touch with us if you’d like to contribute further images or information.
This Black History Month at Southwark Archives we have been delving into our collections to try and discover more about the history of anti-racism at the council and in the community. Over the decades countless individuals have fought for equal rights, the removal of the colour bar, and against racism in its many forms, and there are many milestones along the continuing journey.
Pioneering community-led initiatives included: the work of Dr Harold Moody and the League of Coloured Peoples in the 1930s, among whose many achievements was the lifting of the colour bar in the armed forces; the West Indian League started in 1964 by George Croasdaile, who campaigned for racial equality and supported young people for over 30 years; and the Southwark Inter-Racial Council that became Southwark Council For Community Relations in 1966 and oversaw black and minority ethnic communities’ liaison with the borough over the following four decades.
The 1970s saw a rise in activity from the National Front and organisations rose up to protest against them including the Anti-Nazi League, Southwark Campaign Against Racialism and Fascism, and Southwark Black Communities Consortium, supported by Southwark Trades Council and the local Labour parties. In 1979, Southwark residents and organisations marched to the ‘Rock Against Racism’ rally and protests at Brockwell Park, the UK’s largest anti-racism rally. Through the 1980s and 1990s the community organised local marches and rallies to combat racism across the borough, in Peckham, Walworth and Bermondsey.
In 1983 Southwark Council established a Race Equality Committee and Unit, which provided funding and support for a range of community initiatives, as well as embedding anti-racist practices across the council and leading the way in addressing racist hate crimes. In 1994, Southwark Council won the Commission for Racial Equality’s first Local Authority Race Award for its work prosecuting the perpetrators of racial harassment on housing estates.
The shocking killing of George Floyd this year and the Black Lives Matter movement and protests have shown that racism is still widespread and there is still much to do. The ongoing Southwark Stands Together programme gives detail on the council’s current work in this area and how “as a borough we knew that now, more than ever, we had to listen, react and together develop solutions”. The latest progress report for the programme can be read online here.
We hope to turn what we find into an online study resource in the coming months, but in the meantime we present here a selection of some key items from the archives that begin telling this story. If you would like to be involved in the project, please drop us an email on email@example.com
Click through the slideshow below to see a selection of posters and flyers from 1930s to 2000s about anti-racism in Southwark:
Dr. Cecil Belfield Clarke was born in Barbados in 1894 and on winning an island scholarship came to London in 1914 to study medicine. In 1918 he graduated from Cambridge University, became a qualified surgeon and then set up his medical practice at 112 Newington Causeway, Southwark. He worked as a doctor, serving the local community for over 40 years and London for over 50. During that time he served as a doctor and medical professional in Africa, the Caribbean and throughout the UK.
Clarke was one of the founder members of the League of Coloured Peoples (LCP) which began in 1931. The organisation was set up to achieve a number of objectives with a focus on racial equality and civil rights for Black people in Great Britain. Clarke was an active member but was also associated with other Pan-African causes, including as the first chairman of the House Committee of Aggrey House, a hostel for students from Africa and the Caribbean. Clarke was diplomatic and this enabled him to be an effective communicator between the politically left and right of the Pan-African movements of the 1930s and 40s, so much so that he was a mediator during the planning for the Conference on the African Peoples, Democracy, and World Peace held in London in July 1939.
Clarke hosted many LCP events at his home and was a good friend of author and American civil rights activist W.E.B. Du Bois, with whom he continued correspondence right up to the 1960s, supporting many of his civil rights causes. Many of Dr Clarke’s letters to Du Bois can be read at the Special Collections and University Archives, at the University of Massachusetts Amhurst. The letters reveal the great affection and respect Clarke had for Du Bois and the importance of continuing the civil rights message. In one such letter dated 4th July 1929, Dr Clarke encloses his annual subscription to The Crisis magazine which he felt was his “duty” as “one of the few coloured Drs practising in London”. He kept the magazine in his doctor’s surgery waiting room and it proved to be a popular read. The Crisis is the official magazine for the National Association for the Advancement of Colored People (NAACP) co-founded by W.E.B Du Bois and is still operating.
What may be little known about Dr Clarke is that he formulated the early mathematical dosage for paediatric medicine known as ‘Clark’s rule’. He was the first black District Medical Officer for London in 1936 and the Belfield Clark Prize, which first began in 1952 at St Catharine’s College, Oxford is still awarded to students in Biological Natural Sciences Tripos examinations.
Special Collections and University Archives, University of Massachusetts Amherst Libraries
The Keys magazine (Southwark Local History Library and Archive).
Matera, M., Black London: the Imperial Metropolis and Decolonization in the 20th Century, 1st ed., University of California Press, Oakland, California, 2015.
Southwark Archives documents a particularly fascinating set of connections between the borough (or parts of the modern borough) and its twin towns. Town twinning intends to foster inter-cultural understanding, boost business, trade, and tourism, and – in many cases – foster understanding and reconciliation in the aftermath of war. In previous decades, when international travel was expensive and much more difficult to arrange than today, twinning provided an easy and cost-effective way for Southwark locals to experience other countries.
Southwark’s international connections start early with the shipwreck of the East India Company ship Antelope, captained by Rotherhithe local Henry Wilson,in July 1783. Antelope wrecked on Ulong Island in the modern nation of Palau; locals assisted the crew in building a new ship, a process that took three months. When Wilson set sail for home, the High Chief, Ibedul, asked Wilson to take his eldest son, Lee Boo, back to London to acquaint him with European life. The “Black Prince”, living in Rotherhithe with the Wilson family, quickly became well-known for his intelligence, charm, and poise. However, he died of smallpox in in late December 1784, just six months after arriving in London, and was buried in the Wilson family tomb in St Mary’s churchyard. The nation of Palau has never forgotten their prince – athletes competing in the 2012 Olympics made a point of stopping at his gravesite.
Probably the earliest governmental connection came in 1906; as part of the entente cordiale with France, a delegation from the French towns of Dunkirk and Malo-les-Bains visited the metropolitan borough of Bermondsey: a programme and menu from this visit are in the archive’s collections.
After the First World War, the British League of Help tried to support the civilian populations living in the war zone by encouraging British communities to “adopt” Belgian and French counterparts located where local units saw particularly fierce action. For Cambrin, a village in the Pas-de-Calais, 18 miles southwest of Lille, their adoptee was the metropolitan borough of Southwark, whose local TA unit (the 24th battalion of the London Regiment) saw a significant number of casualties saw a significant number of casualties there. Council minutes from 1922 note that Southwark was poor and not able “…to do much financially, but it appears to us that it is not so much the amount or the value of the gift or gifts that matters, but rather the spirit in which they are offered. The real point of an adoption is that sympathy is expressed for France…”; the borough’s sympathy saw £67 (6,000 francs) and seeds worth another £200 donated to help. Southwark’s mayor and town clerk delivered the gift in March 1923. During their stay, they visited a number of battlefields and war cemeteries; the mayor’s report appears in the council minutes in full – which suggests that the trip was made, in part, for all the widows and orphans who couldn’t go themselves.
Just before the Second World War, a suburb of Melbourne, Australia formally cemented links with its namesake: the metropolitan borough of Camberwell. A former resident of south London gave the Australian Camberwell its name in 1857 after noticing that his new pub was at the junction of 6 roads. During and after the Second World War, the Australians sent their cockney cousins 40,000 food parcels, which helped mitigate the effects of ever-tightening rationing (the town of Geelong West did the same for Bermondsey). To say thank you, in 1950 the Londoners gave the Australians the freedom of the British borough – as well as the bell from the blitz-destroyed Scarsdale Road school in Peckham, which was installed in Camberwell Central School in Victoria.
During the Second World War, Bermondsey – whose Labour council was radically progressive – made symbolic links with other embattled communities. In October 1941, local Boy Scouts and Girl Guides sent a message of solidarity to the youth of the Soviet Union – the archive has a copy. In June 1943, on the first anniversary of the total destruction of the Czechoslovak village of Lidice and massacre of its residents by the Nazis, Bermondsey held a memorial service on the site of the blitzed town hall in Spa Road; it featured a speech by Jan Masaryk, Foreign Minister in Exile, and a performance by a choir of Czechoslovak servicemen.
After the Second World War, twinning became a way to facilitate cultural exchange and international travel. Camberwell twinned with Sceaux (pronounced “So”, as contemporary newspapers were keen to point out), a wealthy suburb about 6 miles south of the centre of Paris, in 1954. By the late 1950s, Camberwell Council sponsored an annual “French Week” of cultural events (like film screenings, concerts, exhibitions), civic receptions for French visitors, and special offers in stores. The 1957 French Week, as a brochure in the archive notes, even had a free wine tasting in Dulwich baths and the Scarlet Pimpernel – a man who attended the week’s events and who paid a cash prize to the first person to present him with the brochure using the correct wording. That year, a local newspaper piece also notes that the French ambassador was so engrossed by the paintings in the South London Gallery’s exhibition that he forgot to officially open it! By the 1960s, Camberwell and Sceaux were trading library books, dahlias, and choirs; the choir trip to Camberwell for Whitsun 1963 was marred by the charter plane being unable to land at Heathrow. For modern residents, perhaps the most lasting mark of this twinning is the name of the Sceaux Gardens estate in Camberwell, whose name dates to 1957.
In 1957, the metropolitan borough of Southwark forged an official link with another Parisian suburb, Courbevoie, about 5 miles northwest of the centre of Paris. Like Southwark, Courbevoie started life as a waypoint on a major road into the capital – in its case, the road from Paris to Normandy, whose curve gave the area its name. Unlike Southwark, Courbevoie was a centre for business – La Defense, the Parisian equivalent of Canary Wharf, is in the south of the area. Like Camberwell’s link with Sceaux, the Southwark-Courbevoie link involved cultural exchanges of young people, musicians, and sportspeople. After 1965, the London Borough of Southwark kept up the link.
Camberwell took on another twin in 1960 – Deventer, a Dutch town of about 100,000 people in Overijssel province, near Arnhem – in fact, Deventer’s town centre stood in for Arnhem’s during filming of the classic war movie A Bridge Too Far. The London Borough of Southwark took on this twinning in 1965. As well as exchanging library books, the Deventer link included exchanges of young people from 1960 onward, housewives from 1968 on, and artists, choirs, and sports teams. There was even an older people’s exchange programme – Dutch OAPs spent a week or two at Southwark’s welfare home at Bexhill-on-Sea, while their British counterparts stayed in retirement homes or the homes of local families.
Beginning in the 1970s, the London Borough of Southwark considered forging its own twinning link; it decided on Langenhagen, a town of about 50,000 about 7 miles north of Hannover in the German state of Niedersachsen. Langenhagen is the site of Hannover’s airport, and also saw the arrest of Ulrike Meinhof (in 1972) and the first mass production of CDs (in 1982). It’s also a major centre for horse racing and shooting sports – Brenneke, a major manufacturer of ammunition, is based there. The archives holds two photo albums documenting visits to Langenhangen: many of them show Langenhagen’s Schützenverein, or shooting club, and its annual Schützenfest – a fair that includes shooting contests (nearby Hannover’s Schützenfest is the largest in Germany).
Perhaps the most unusual twinning came in 1984, during the miners’ strike. At the time, Southwark council was controlled by Labour, who decided to twin the borough with three mining villages in Kent: Snowdon, Bettshanger, and Aylesham. This allowed the council to help provide material support to miners’ families by facilitating fundraising and collection of food donations; it also gave residents of the inner city a means to understand rural life better.
London’s Screen Archives has been an indispensable resource for Southwark Local History Library and Archive. It is a fantastic network of organisations including museums, galleries, charities, community groups and public sector bodies who hold heritage film and whose aim is to ‘preserve and share London’s history on film’. They started digitising our film and video holdings in 2011 and now host them on their website and YouTube site for streaming. Over the years they have offered us training and advice on how to catalogue and license our holdings and have welcomed us as a Steering Group partner. This has enabled us to keep on top of developments in this ever changing sector. We are very grateful to them, so it was naturally to LSA that I turned when a can of film was discovered in our archive store by my colleague, Lisa Moss, in 2014.
Some lessons from the Brandon Estate Cine Club collection
Previous to this discovery, the last time I had had the opportunity to look at film held in the archive was in 2009. I bought an 8mm viewer on eBay and tentatively began looking through what was to become the Brandon Estate Cine Club film collection. With no accession paperwork, tracing the provenance of that collection of around 22 films was the first step in a journey that turned out to be one with a few twists and turns.
I knew that there were two film makers as they credited themselves in intertitles made of what looked like magnetic alphabet.
I established via a telephone call with his sister, Dorothy that Richard (‘Dickie’) Morgan was alive but I was unable to get any more information about Brian Waterman. Suffice to say that despite my best efforts, which included holding the first ever screening of the films in one of the estate’s community centres, (which I thought might elicit some memories about the film makers), contacting local tenants’ associations (a member of whom knew Brian but did not know if he was alive), contacting local newspapers, writing letters and making other general enquiries, I had assumed Brian’s demise. So, obviously I was shocked when a few weeks after the film show, I received an email from Brian himself informing me that he was ‘very much alive’! I am well aware of the moral to that story.
So, when my colleague found another can of film in the archive I knew there were two things I needed to do immediately; get the film viewed and assessed and research the provenance thoroughly and that’s exactly what I did.
How I assessed the condition of the film
The can of film was in a flat archival box. There was little information on the outside other than the words ‘film can’ and no accession documentation to be found so we had no idea who deposited the film or under what agreement.
On opening the can, I got a slight whiff of something chemical and I wondered whether the film had vinegar syndrome, (safety film, introduced by Kodak in 1923 is made of cellulose acetate plastic and can degrade if not kept in the right conditions giving off a vinegary smell).
I couldn’t see any warping or buckling of the film however, which is a clear sign of film degradation.
I also wasn’t sure if there was any mould deeper into the reel. Perhaps the smell was just the release of chemicals built up over the years. This is where the possession of AD strips would have been useful. They can detect the severity of acetate deterioration and can therefore also be used on 35mm stills film.
The gauge of the film was 16mm, so I wondered who made it,as this was a format commonly used by municipal organisations, professional businesses and broadcasters between the 1930s and 1970s, though it was still popular with amateur film makers despite the introduction of the smaller Standard 8mm. The Bermondsey Borough Council films for example, were mostly shot on 16mm.
The problem with this film was that there was no leader (a piece of film at the head and tail that helps to thread or ‘lead’ the film into the projector). The head end could sometimes contain written information about the film such as title or filmmaker.
As I carefully unravelled a few inches of film away from its roll I wondered if we had stumbled across a local amateur film. Without a 16mm viewer I couldn’t be certain of the source or content and if the film was not relevant to Southwark, we would have to consider transferring it to another relevant archive. For now, I needed to keep the film as cold (but dry) as possible to prevent further degradation.
Some expert help from the Cinema Museum
As luck would have it the Cinema Museum were having one of their fantastic open days in October 2014 where anyone could bring along their film and have it viewed and assessed by a professional film archivist for free! It was important to view the film before sending it to a professional organisation like LSA or British Film Institute first, since the volume of material they receive (or did at that time) would mean I would be waiting a long time before I received any information about it and I may not have been allowed to view it while they worked on it. So, Home Movie Day was next on my list of things to do.
Volunteer film archivist, Sally, made the following observations
The film was approximately 600ft in length (that’s approximately 25 minutes duration).
It contained mixed film stock from Ilford dated 1965 and Kodak dated 1966. (The date a film was manufactured can be worked out from the symbols on the edge of the film – here’s a handy guide that you can download).
Part of the film was shot at 24 frames per second and part at 18 frames per second. (It was cheaper to shoot at 18fps as fewer frames per second means you could save on film stock.)
The film was spliced in several places. (An edit of two separate films, so they can be shown continuously.)
It was perforated on both sides of the film. (Otherwise known as ‘double perf’ and therefore the film was silent with no separate sound track.)
There is evidence of ‘slight mould’ on the edge of the film in places although it is inactive with ‘slight shrinkage in places.’ (This was perhaps the most important point, and meant that regardless of its overall good condition, film conservation was going to be an important step in this film’s journey.)
Sally’s recommendations were to get the film professionally assessed and digitised.
Once the assessment was completed, I was invited to look at the film via a film projector in another part of the main hall. As the viewing started I immediately realised that I was looking at footage from Clubland.
Clubland: Walworth’s pioneering youth club
Clubland was founded by Reverend Jimmy Butterworth in 1922 and was based in the Walworth Methodist Church on the corner of Camberwell Road and Grosvenor Terrace for over 50 years. It was a Christian youth club which pioneered a new approach to youth work and became one of the most successful in the UK, with royalty and celebrities among its fan base.
The film began in quite grainy black and white, showing the exterior of the Clubland building and went on to show young people from Clubland cleaning a property, presumably for the purposes of club activities. Rev. Butterworth is clearly seen managing the youth with his trademark pipe in mouth. As the film went on, I was aware of more and more people in the hall joining the viewing and would occasionally hear the utterings from film enthusiasts about details of the filming.
The film went from black and white to colour, indicating a different film and showing footage of the club’s outings including one to Wissant in France and sports day in Burgess Park, Camberwell. All of it was in remarkable condition and the local history details were fantastic! Shops no longer on Camberwell Road were revealed, the old factories that lined the perimeter of Burgess Park, and of course the Rev. Butterworth who featured regularly.
I was keen to know who the film maker was but there was no doubting the significance of the film to the borough. But did the film exist in another format elsewhere?
Since the subject matter of the films meant there was significance to the borough of Southwark, I decided that the next steps would be to research the film’s origins.
A few days after the Cinema Museum’s Open Day, I called Mary, daughter of the late Rev. Butterworth. I had spoken to Mary on numerous occasions, the family have close ties to the archive as it holds the majority of Clubland’s records. I told her about the film. Did she know anything about it? Mary said it was filmed by her mother, who she said did most of the filming of the club’s activities and was probably part of a larger donation of items by the family over 20 years previously. Mary and her brother, John were happy to transfer the rights in the film to Southwark Local History Library and Archive, particularly as it had stored it for so long. Documentation would later be drawn up between the archive and the Butterworth family but for now, we had the permission to pursue the film’s preservation and digitisation with London’s Screen Archives.
Digitising the film
Timing is everything and as luck would have it (again) in the late Autumn of 2014 London’s Screen Archives were checking archives with moving image across London to see whether they had any film material they would like to put forward for their Unlocking Film Heritage programme in association with the British Film Institute. I recommended the Clubland film and it would be a couple of months of back and forth emails before I would receive confirmation that it would be accepted into the UFH programme. Hurrah!
It was not until the following year in March 2015 that I finally handed the film over to the LSA in person at their then offices in the Tea Building in Shoreditch. I met with film archivist, Louise Pankhurst, who began the official assessment process. Of course the film had no name and so one was assigned to it – ‘Clubland Activities of the 1950s and 60s‘ since that’s what the film showed (or so I thought).
That was the last time I saw that can of film which is now safely stored courtesy of the LSA.
It would be another 9 months from the handing over the film before I would get a DVD copy of Clubland Activities of the 1950s and 60s. Such was the success of Unlocking Film Heritage that thousands of films were being assessed, preserved and made available to the public. However, it was worth waiting for and our archive is grateful for the opportunity to have our films digitised for free and made available for the public to enjoy. The film is available on both LSA’s website and the BFI Player for free forever. The BFI assigned their own title: Rev. Jimmy Butterworth and the activities of Clubland (1966).
If you have old film, significant to the borough of Southwark, and would like help to get it digitised or would like to deposit a film of any format with the archive, do get in contact with us by email at firstname.lastname@example.org.
With thanks to David Whorlow, Volunteer and Archives Co-ordinator and Jack Reichhold, Information and Media Officer at London’s Screen Archives.
In May 1945, British forces in the northern German port of Kiel captured a German ship, the MV Monte Rosa, as war reparations. She was built in Hamburg, in 1936: after a short pre-war career as a cruise ship with the Kraft durch Freude (“Strength through Joy”) programme, she became a transport, then a hospital ship. Monte Rosa had been converted to a troop transport and assigned to the Ministry of Transport by the beginning of 1947. She also received a new name, one that marked her as a prize of war and highlighted a tributary of the Thames — a name that made history: HMT Empire Windrush.
The government commissioned the New Zealand Shipping Company to operate Windrush; she ferried British service personnel and their families between the UK, the Far East, and points in between for the next year. Windrush arrived at the port of Tilbury from Bombay on 8 April 1948. Her next voyage broke the mould, – rather than returning to the Far East, Windrush made her first – and only – trip to the Caribbean. One source claims that the trip was part of a repositioning cruise to Australia via the Atlantic; most others claim that she was sent to Kingston, Jamaica to pick up British service personnel who were on leave there. The latter seems more likely, since ads appeared in Jamaica’s premier newspaper, the Daily Gleaner, in late April, offering cheap passage to London. Travellers paid £28 for a berth on the open troop deck, or £48 for a cabin: for someone in Jamaica in 1948, that was more than a month’s pay, and would be like paying nearly £1,000 and more than £1,700 respectively today!
Windrush arrived in Trinidad on 20 May 1948, embarking local passengers as well as others who had travelled from other Caribbean islands and British Guiana (now Guyana); she then made scheduled port calls at Kingston, Jamaica, and Bermuda; however, in between she detoured to Tampico, in Mexico – where 66 Polish refugees embarked, all but one to join husbands and fathers who’d fought in the Polish forces-in-exile under the terms of the Polish Resettlement Act 1947.
At Kingston, as passenger Alford Gardner told the Guardian in 2018, there were more would-be travellers than tickets available. The Great Depression wrecked the agricultural export market Jamaica’s economy relied on; the resulting unemployment, poor living conditions, and inequality still lingered. A hurricane in 1944 meant the farm economy was still depressed, and many people took the opportunity to try their luck in the mother country. In fact, about one-third of Windrush’s passengers were either serving members of the RAF or veterans looking to re-enlist.
As Windrush steamed toward the UK, immigration was a hot topic. The mother country faced major labour shortage in many sectors, and needed to repair huge amounts of war damage. Eearlier in 1948, a government working group had ultimately advised against large-scale colonial immigration to fill this gap. Additionally, Parliament was debating the British Nationality Act 1948, which passed just over a month after Windrush arrived; this act created a single citizenship for the United Kingdom and its colonies. Even Creech Jones, the Colonial Secretary, commented on a BBC broadcast that, while Windrush’s Caribbean passengers were British passport holders with the right to settle, there was no reason to worry, because they wouldn’t last one English winter.
HMT Empire Windrush docked at Tilbury on 21 June 1948, with 1,027 listed passengers (and two stowaways) on board. Men outnumbered women by about 3 to 1; more than 800 came from the Caribbean, and nearly half were Jamaican. Pathé News sent a reporter to interview the new arrivals – the first immigration en masse from Britain’s colonies. The transport industry and the fledgling National Health Service were both especially badly hit by labour shortages and welcomed the newcomers. However, their welcome wasn’t universal: the day after Windrush docked, a group of 10 MPs wrote to Prime Minister Clement Atlee in protest; in his response, (held at the National Archives), the PM attempted to placate them, ending the letter by noting that “I doubt whether there is likely to be a similar large influx.”
While many of her passengers had plans, or had already organised housing or a job, just over 200 had neither on arrival. They were temporarily housed in the deep air-raid shelter at Clapham South tube, some 15 storeys underground. More than half had found work within a week or two; the nearest labour exchange (what we now call a Job Centre) to Clapham South was in Coldharbour Lane, Brixton, – planting the seed of one of the largest Afro-Caribbean communities in the country.
Southwark is especially proud of one of the Jamaican veterans on board the Empire Windrush: Samuel Beaver King, MBE. He was born in Priestman’s River, Portland, Jamaica, on 20 February 1926 – one of George and Caroline King’s ten children. Mr King worked with his father on the family’s banana plantation, and intended to take it over, but the Second World War changed those plans. In 1944 he saw a Daily Gleaner advert recruiting for the RAF, and asked his mother for advice; decades later, he remembered her response: “My son, the mother country is at war. Go – and if you survive, you will not regret it.”
Mr King passed the entry exams, completed RAF basic training in Kingston, and set sail for the UK in 1944. His first posting was in Greenock, just outside Glasgow – both the cold and the devastation created by German bombers shocked him. He served at aerodromes around Scotland and England, first as ground crew and then as a skilled aircraft fitter, before being demobbed in 1947.
He returned to Jamaica, but the 1944 hurricane – which destroyed an estimated 90% of Jamaica’s banana trees – had devastated the family plantation, and there was little other work available. Once more, Mr King answered a Daily Gleaner ad, and booked passage on the Empire Windrush to re-enlist: his family sold three cows to raise the funds for a troop deck berth. On board, there was a bit of a holiday atmosphere, and special camaraderie among the RAF veterans. However, he noted in his memoir Forty Years On that there was also enough apprehension about the government turning the ship back that he organised two ex-RAF wireless operators to play dominoes outside the radio room – and monitor incoming messages.
He re-enlisted in the RAF in 1948, serving until 1953. While Black service personnel found they were respected and supported when they were in uniform, civvy street was far too often a different story. Racism restricted job opportunities: Mr King applied unsuccessfully to the Metropolitan Police in 1953 – it took them another 14 years to appoint its first Black officer. Racial discrimination also made it extremely difficult for many Black people to find housing — and thereby start putting down roots. In 1950, Mr King, then an RAF corporal, and his brother Wilton attempted to buy a house in Sears Street, Camberwell, but bank officials responded to a mortgage request with a letter suggesting he return to Jamaica. Mr King took the letter to the owner of the house, who was so disgusted that he gave him mortgage himself; this made the Kings the second Black family in Southwark to own a home. For other Black residents, the only way to own a home was to join a savings club, known as a “partner”: Mr King took an active role in setting up many partners.
His status as a veteran ensured his application to the Post Office was successful; his career there lasted 34 years, beginning as a postal carrier and ending as Postal Executive for the South Eastern postal district. On 26 June 1954, Sam King married Mavis (Mae) Kirlew, a student nurse at Emmanuel Church in Camberwell. They had two children, Michael and Althea, together; Mr King also had a daughter, Daslin, from a previous relationship.
Faith and community were at the centre of Mr King’s life. He was a lay preacher who trained in ministry at Goldsmiths College; in the 1980s he actively championed gospel music, supporting a number of broadcast licence applications for community radio stations and helping organise the 1985 Songs of Praise broadcast from Southwark Cathedral that pioneered gospel music on a BBC national flagship show.
Mr King was also active in the postal union, the local Labour party, and as a community organiser. He helped Claudia Jones launch Britain’s first major Black newspaper, the West Indian Gazette, in March 1958, and served as its circulation manager. In 1959, he helped her organise the first Caribbean-style carnival in St Pancras Town Hall — the precursor to the Notting Hill Carnival. Sam’s ability to communicate with and connect the Camberwell and Peckham local communities and the police also helped avoid violence in the aftermath of the 1958 Notting Hill riots and during National Front agitation in the 1970s and 1980s.
In the 1982 local elections, Mr King was elected councillor for Bellenden ward, and six months later, in 1983, he became Southwark’s first Black mayor (leading to death and arson threats against him from the National Front). Mae died in 1983; he married Myrtle Kirlew in late 1984.
Mr King was also active in the postal union, the local Labour party, and as a community organiser. He helped Claudia Jones launch Britain’s first major Black newspaper, the West Indian Gazette, in March 1958, and served as its circulation manager. In 1959, he helped her organise the first Caribbean-style carnival in St Pancras Town Hall — the precursor to the Notting Hill Carnival. Sam’s ability to communicate with and connect the Camberwell and Peckham local communities and the police also helped avoid violence in the aftermath of the 1958 Notting Hill riots and during National Front agitation in the 1970s and 1980s. In the 1982 local elections, Mr King was elected councillor for Bellenden ward, and six months later, in 1983, he became Southwark’s first Black mayor (leading to death and arson threats against him from the National Front). Mae died in 1983; he married Myrtle Kirlew in late 1984.
After retiring from local politics in the mid 1980s, Mr King focussed on preserving the experiences of his generation. He founded the Windrush Foundation with Arthur Torrington in 1996 to highlight the contributions of Britain’s African and Caribbean communities, safeguard the memories of Britain’s first post-war settlers, and promote good community relations. He was perhaps best known for his campaigning to make the anniversary of the Empire Windrush’s arrival a holiday, and in the process becoming known as “Mr Windrush”. In 1998, Sam King received the MBE as part of the 50th anniversary celebrations for Windrush. He published his autobiography, Climbing Up the Rough Side of the Mountain, the same year. In 2009, a public vote awarded him a Southwark blue plaque which was installed during a ceremony at his long-time home at Warmington Road, Herne Hill, on 31 January 2010, and in May 2016, he received the freedom of the borough of Southwark.
Sam King MBE died on 17 June 2016, less than a week before the 68th anniversary of his arrival on the Empire Windrush: more than 500 people attended his funeral at Southwark Cathedral. Jeremy Corbyn, the Labour leader, paid tribute to Mr King, saying “[h]e educated Londoners with Caribbean food, Caribbean culture, Caribbean music. London is a better place, Britain is a better place, thanks to him and his family.”
On the 72nd anniversary of the arrival of HMT Empire Windrush at Tilbury Dock, the people of Southwark are grateful for Sam King MBE: his love of his community, hard work and spirit of service and the sacrifices made by him and the whole of the Windrush generation.
The National Archives of the UK; Kew, Surrey, England; Board of Trade: Commercial and Statistical Department and successors: Inwards Passenger Lists.; Class: BT26; Piece: 1237
Telegram concerning passengers on the Empire Windrush, 6 July 1948 (Catalogue ref: CO 876/88)
In Part 2 of this article we looked at the local campaigns and developments that made the Park what it is today. Now for some recent developments.
In autumn 2017 Debra Gosling’s ‘The Trees of Southwark Park’ was published; as far as we know, the first full-colour work on the natural glories loved by visitors.
During 2019 several activities were organised by Southwark Park Association 1869 to commemorate the 150th anniversary of the opening of Southwark Park. This time there were no cannons, but words were spoken, sung and written. Free public talks were given by Travis Elborough, Graham Taylor and Mary Gibson. The story of the park was also taken to Blue Anchor and Canada Water libraries, and City Hope Church. Nick Lane led a tree walk in the sunshine, and the Rotherhithe and Bermondsey Choral Society sang on the bandstand.
On 19th July 2019 a civic ceremony was held alongside the new café. The Worshipful Mayor of Southwark, Councillor Sandra Rhule presided over the sinking of a time capsule, to be opened in 2044. Documents and creative work was donated by individuals and local organisations, including Southwark Park Primary School, who entertained a large crowd by singing ‘Bring Me Sunshine’.
The 150th anniversary also inspired the publication of two books. ‘Women and Southwark Park’, a tribute to the part played by over 200 women in the history of the park; and ‘Fun In The Park’, a collection of the writings and art work of children of Riverside, Rotherhithe and Southwark Park Primary Schools.
Now in 2020, during these most unusual of times, on your next visit to the park, please look upwards to see something special that was provided by the Southwark Park Galleries and artist Alec Finlay two years ago. The permanent nest box sculpture, ‘Questions & Answers (after Paul Celan)’ draws on the words of the poet and offers us surprise at every view.
Many of the images used are from my own collection, but I must acknowledge and thank Debra Gosling, Barry Marsh and David Toogood for those they have provided.
Today one of Southwark’s collections, the Crutchley Archive, joins the UK Memory of the World Register. Here we’ll share the story behind it and explain a bit about how we help to preserve the history of the borough.
One of our early blog posts talks about what the archive holds, but it doesn’t necessarily tell you what an archive is. An “archive” can be one of two things: a building that holds historic records, or the historic records themselves.
So what are records? They’re documents someone – a person or organisation – creates over the course of time that put their opinions, decisions, and actions in writing. They’re different than books, magazines and other documents because their main purpose isn’t to communicate something into the future.
One way to think about it is that records are the memory of their creator: telling us not just when and where something happened, but how and why. They give us the information that lets us call people and organisations to account for their actions. This evidence value means we need to keep some records as long as we can – those are the records that archives collect.
Obviously, archival records can get destroyed or damaged – if you think about how easy it is to chuck papers in the bin, or how creased and torn an old, much-read love letter can get, you’ll understand what we mean. If an archive’s importance isn’t obvious, it’s more likely to get damaged or destroyed. And that’s a tragedy, because archives are unique and irreplaceable: once they’re destroyed or unusable, the information in them is gone forever.
You may be familiar with “listed building” status or the United Nations Educational Scientific and Cultural Organisation’s World Heritage Site programme. These programmes aim to protect buildings by highlighting their architectural or historical value. There’s a similar UNESCO programme for archives – the Memory of the World Register. The international programme started in 1992, and a UK national programme in 2010.
Both registers highlight records, or collections of records, that are outstandingly important – they tell stories that help us understand and make sense of, the history of a region, the whole UK, or even the entire world. That recognition, like listed building status, helps protect the records. The international Memory of the World Register includes the personal papers of Sir Winston Churchill, George Orwell, and archaeologist Gertrude Bell, the Magna Carta, and the film The Battle of the Somme, which was shot during the early days of the battle. Some of the collections with national inscription are the Domesday Book, Michael Faraday’s notebooks, the London County Council’s Second World War bomb damage maps, Alfred Hitchcock’s silent films, and Royal Mail’s archive.
Today one of Southwark’s collections, the Crutchley Archive, joins the UK Memory of the World Register. The collection – a group of 15 volumes or parts of volumes – came to us in 2011 as a gift from Annie Crutchley. What we learned from her was that these records were from a dyeing business her husband’s ancestors ran in Clink Street in the 18th century. We could see that there were samples of cloth in many of the volumes, and also that the nearly 300 years between then and now weren’t very kind to these records: they’ve been damaged by pests, water, and mould.
To be honest, that’s about all we knew, until Dr Anita Quye visited us in June 2014, and made it very clear that these records were special. Anita, and her colleagues Drs Dominque Cardon and Jenny Balfour-Paul, have been researching the Crutchley family, their business, and their records since then.
Some of their research gives us more background. John Crutchley, the firm’s founder, was born in 1676 – his family were dyers, and he began as an apprentice to John Trimmer, a prominent dyer, in 1691. By 1710, he was a liveryman – a full member – of the Worshipful Company of Dyers, and he’d started his own company by 1718. Four of John’s sons – Thomas, William, Coleman, and Jeremiah – trained as dyers. John died in 1727 – you can see a memorial to him in Lee Old Churchyard in Lewisham – and Jeremiah took over the business. The 15 items in our collection document the period between 1716 and 1744, a time of explosive economic growth and radical intellectual development in the fledging United Kingdom that set the stage for the Industrial Revolution; the family firm, however, continued its work until the 19th century, eventually becoming major suppliers to the British East India Company.
Dyeing was a hugely important industry in this period – as well as being a cornerstone of fashion, dyed textiles were an important export. Modern synthetic dyes hadn’t been invented in the 18th century. Instead, dyers coloured cloth using natural dyes, often extracted from plants: essentially boiling cloth in a giant vat of herbal tea. A lot of dyeplants had to be imported, and finished cloth needed to be stretched and dried – so places within easy reach of water, wharves, and wide open spaces were ideal sites for dyehouses.
It may be hard for us to imagine today, but Bankside fit that bill perfectly. Southwark’s riverfront, especially between Blackfriars and St Mary Overy Dock, was a centre of the dye trade for decades – wills and contracts the Crutchley family still hold tell us the firm had premises in Deadman’s Place (the modern Park Street), and Clink Street near Borough Market, as well as in Maze Pond, where the modern buildings of Guy’s Hospital are today. All of these places are only a short walk from our searchroom – you can walk in the Crutchley family’s footsteps – but there are only a few traces of their Bankside left: names of streets and lead seals used to mark quality of cloth bales, which are a fairly frequent find on the Thames foreshore. These records push our window into this vanished industrial Bankside open wider.
In fact, they throw it wide open — the collection isn’t just special, it’s spectacular. The collection includes two cash books, three hardcover pattern books, five dye books, and four calculation books. Taken together, they give us a complete and well-rounded view of a contemporary textile business that few other collections – in the UK or abroad – can match.
The cash books tell us that the firm took orders from more than 140 named individuals (including one woman, which is rare) between 1721 and 1725, as well as the British East Indian, Dutch East Indian, and South Seas companies. A single order could cost the equivalent of £250,000 today.
The three hardbound pattern books are large, impressive volumes that cover a period from the spring of 1736 to the winter of 1744. Each entry in the books gives brief instructions on how to create a specific colour for a specific named person; each order is dated, and most have a small sample of finished dyed fabric attached. These may well have been used in a showroom or sales office, to entice buyers with the skill of Crutchley’s employees. The colours are still vivid after nearly 300 years; they range from the delicate pastel yellows, lilacs, and pinks we associate with period dramas, to bright oranges and yellows that wouldn’t look out of place in the 1980s.
All but one of the dye books are softcover, and their instructions are much more detailed – they cover a period between 1722 and 1732, although pasted-in inserts provide details of techniques going back to 1716. Many of these recipes have fabric samples attached: they tell us that the Crutchley firm specialised in red colours. These books also record some instructions in Flemish or Old Dutch, and again translated into English – this unique survival shows the firm’s specialists learning and adopting techniques from European colleagues.
It’s the four calculation books that give us perhaps the best view into the firm’s work, though. They don’t have samples – instead, they’re working technical manuals, giving details of agents and quantities to produce specific effects. One of the books has monogram marks that resemble the notations on lead cloth seals found in the Thames: they may well specify specific cloth as well. These books even have red stains on them, proving they were used in the dyehouse itself. As Anita notes, they’re as close as we can get to watching over the shoulder of a working Crutchley company dyer.
As you may be able to tell, we’re very excited about this collection. But you may be wondering why it’s so important – there are other collections of dyeing records all over the country, including ones with samples. These records, however, are single items or small groups of records that we can’t put into context well. The Crutchley collection, on the other hand, is firmly grounded to a specific time, place, and community; that means it’s an amazing source of information on the history of an important industry.
The Crutchley collection also records techniques that were, for the most part, lost with the discovery of synthetic dyes. The hundreds of samples in the collection provide an unmatched pool of research data for chemical analysis – not only to prove that the recipes produce what they say they do, but to compare to recipes, techniques, and samples from different time periods and parts of the world. Synthetic dyes can have huge negative impact on the environment and water access; the Crutchley collection can help find ways to improve historic natural dye techniques with modern science.
Most importantly, maybe, it ties Southwark’s present back into its past in an engaging, compelling way. The pattern books pull visitors to the searchroom in with their clear Georgian handwriting and vivid colours – they’re just that enthralling. Combined with the right maps, you can use them to follow the traces of Bankside’s colourful past beyond the hundreds of years of change and development to the dyers and their vats. The collection has something to offer almost anyone – it touches chemistry, history, economics, trade, international relations, textiles, fashion, even botany. Modern Southwark is justly proud of its creative industries, not least its small fashion enterprises. We look forward to introducing designers, artists, and craftspeople looking for inspiration and collaboration to their colleagues of nearly 300 years ago.
Any effort this big is a team one, and we need to thank many people. First and foremost is the Crutchley family, whose care kept the collection safe, and Annie Crutchley, who generously donated it. Lisa Moss, our former Archive Officer, liaised with our academic colleagues and successfully applied to the National Manuscript Conservation Trust for assistance with conserving the collection: without her hard work, we wouldn’t be celebrating. Anita Quye, Dominque Cardon, and Jenny Balfour-Paul have been researching the collection since 2016 – without their efforts, it would still be a colourful curiosity in a box in our collection store. Ian Mackintosh, the archivist at the Worshipful Company of Dyers, generously assisted with research. Nell Hoare has provided support and advice on conservation. The National Manuscripts Cataloguing Trust provided financial support for conservation work; Textile Conservation Foundation and the Worshipful Company of Dyers provided research funding.
In Part 1 of this article we looked at the importance of the written word in the early history of Southwark Park.
Fast forward now to more recent times. By the 1990s Bermondsey and Rotherhithe were far different places than in 1869. The process of urbanisation that was beginning in mid-Victorian times was complete. Southwark Park, once the site of market gardens, was by now the only large green space left in a densely crowded area. Over the years the park had matured from the simple place where people promenaded, into a typical twentieth century recreational facility, catering for a variety of sports, children’s play, summer entertainments, and even an art gallery. By the mid-1990s the park required significant upgrading. At that point important words were spoken by the local community.
Reminiscent of the 1850s, passionate meetings were held in late 1995 and early 1996. The many who attended at the Southwark Park Primary School and the Rotherhithe Civic Centre called on Southwark Council to act. The Friends of Bermondsey and Rotherhithe Parks was formed and amongst those most intimately involved were Keib Thomas of Bede Centre, and residents Gary Glover, Gary Magold, Marjorie Hill, Grace Beesley and others.
Southwark Council responded by working with The Friends. A bid to the Heritage Lottery Fund was submitted in March 1998. Fundamental to the application was a Restoration Plan produced by Land Use Consultants. The case put together in that document, by Adrian Wikeley, Paul Harrison and colleagues, makes it arguably the most significant set of words written about Southwark Park since the Act of Parliament in 1864. It led directly to a substantial grant award and by 2001 the park was transformed.
Since the turn of the century words have gone on to play their part in the life of the park. An easily overlooked example is the improvement of signage which provides park users with basic information. Certain features have more detailed boards, e.g. the bees in the nature area; the bandstand; the Jabez West Memorial drinking fountain; the Ada Salter Garden; the Queen Elizabeth II Coronation Tree and the Rotherhithe Caryatids. The main entrances have historical information boards too. Local-born cricketing legend, Bobby ‘The Guv’nor’ Abel, has a plaque on the wall of the art gallery.
Festivals and performances have traditionally been part of the park’s link to the community. The Bermondsey Carnival is an especially popular event, bringing on stage a variety of musicians and singers. Everybody will have their favourite memories, but for word play surely the appearances by Londoners Chas n’ Dave, Chris Difford and Glenn Tilbrook will be hard to eclipse.
Norwegian Constitution Day is another annual event. On 17th May (syttende mai) thousands of our friends from Norway gather near the bandstand to celebrate their independence. The Norwegian language is heard in speeches and folk songs. The bi-centennial event in 2014 was a special day, including the singing of the national anthem:
“Yes, we love this country as it rises forth, rugged, weathered, over the water, with the thousands of homes, love, love it and think of our father and mother and the saga-night that lays dreams upon our earth.”
Any account of words and the park must pay tribute to the Bubble Theatre, who have regularly staged plays in the open-air of summer. Too many to mention, but what fun was had when they brought ‘Punchikin Enchanter’ (2003); ‘Alice Through the Looking Glass’ (2004); ‘The Crock of Gold’ (2005); Ovid’s Metamorphoses (2006); ‘The Dong With A Luminous Nose’ (2007); Homer’s The Odyssey (2009) and more recently ‘Tales From The Arabian Nights’ (2017).
As one of London’s oldest parks it was surprising that there was no book dedicated to it. In 1999 the restoration scheme gave impetus to myself and Len Reilly to write a very brief history in conjunction with Land Use Consultants. In 2010, following another Heritage Lottery Fund award, an oral history was published. ‘Our Park’, combined heritage information and the reminiscences of many members of the community. Written and visual work was given by children of Rotherhithe Primary School and St. Joseph’s, Gomm Road Primary School.
In 2014 the 150th anniversary of the Southwark Park Act was celebrated with many community-based activities. Words were prominent. With the support of the Metropolitan Public Gardens Association the 1st Southwark Park Brownies produced ‘Kid’s Park’, a colourful nature trail booklet.
Historians Ken Worpole and David Kynaston visited the park and gave free public talks: the former on London Parks, the latter on Bobby Abel. Gary Magold did a guided tour about the park during the First and Second World Wars, and Jon Best, Southwark Council’s Ecology Officer, organised a bat walk. Lynne Olding, Head Gardener, gave a tour of the Ada Salter Garden.
The 2015 and 2016 summer programmes continued to interpret the park through guided walks and talks. Graham Taylor spoke on ‘Famous Women of Bermondsey and Rotherhithe’; apiarist Sharon Bassey ran bee education days in the nature area; Debra Gosling fascinated us with her ‘Bermondsey Smells’ walk and talk. Alison Clayburn ran creative writing sessions, which resulted in the book ‘Voices Of The Park’.
In Part 3 we’ll look at some more recent publications.
In usual times, when the libraries are open, there is a regular group that meets at Canada Water Library to learn about museum objects and get creative: they are the Collection Creatives.
During this time when the libraries are closed, we are inviting everyone in Southwark to become a ‘Collection Creative’ and join in with our call to feel inspired by objects from the past. If you’d like to join in, this is what you need to do:
1. Have a look at the pictures and notes provided by our Curator, Judy Aitken in her article, ‘Found in the back yard’.
2. Take some time to absorb what you’ve seen and read there. What does it make you think of, or remind you about? Where does your imagination go with these items? Have you found something in your own back garden that made you curious? Maybe you’ve kept it?
3. In your own time, come up with a creative response – anything you like. Just like the work made by our regular group, it could be a sketch, a poem, a story, a memory… or you might feel moved to do something different, that wouldn’t be so easy to do in the library usually – a sculpture? A song? It’s up to you!
4. When you’re ready, share your work with us on social media with the hashtag #CollectionCreatives – we are @SouthwarkLibs on Twitter – or send it by email to email@example.com, saying clearly if you would like it to feature in a post on our Southwark Heritage blog, and how you would like it to be credited if so. (We can’t promise to feature every submission, but we will try to put some highlights together)
Stuck for inspiration?
Don’t feel pressured to come up with a masterpiece. Collection Creatives is for everyone and we’re happy simply to see simple sketches of the objects or some notes about the thoughts they evoke for you. But if you’re not sure where to start and want to try something a bit different, here are some possible starting points:
These are inanimate objects. But usually, things are put in the ground in the garden in hope that they might grow. Imagine a magical garden where anything could grow. If one of these objects had grown like a seed, what would have sprouted?Would a glass bottle grow into a glass tree? Can you draw what you imagine, or tell us about it?
Have you ever found something in your own back yard that has a story to it? Try telling us that story! Maybe you could take an artful photograph of the object to go along with it…
What would be the best thing you could imagine finding in a garden? Maybe that thought inspires a poem or a song?
Go in whichever direction you like with these ideas, or any ideas of your own that Judy’s finds inspire. We’re looking forward to seeing what you make!