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T HE A RCHIVE A S A N I LLUS T R at ED S P A CE FOR DISPU T ED , ‘ DUBIOUS ’ A ND HIDDEN N A RR at IVES : EMPLOYING AN ORIGINAL CONCEPT OF THE ILLUSTRATIVE TURN IN ORDER TO RE - ESTABLISH IDENTITIES FOR FAIRGROUND FEMALES WITHIN THE ESTABLISHED HISTORICAL RECORD . A MY G OODWIN A thesis submitted in partial fulfilment of the requirements for the degree of PhD at Norwich University of the Arts and the University of the Arts London. A PRIL 2 0 2 0 . A BSTRACT : This research asserts that an archive is a powerful narrative space whose structure can be manipulated to unveil and illustrate ‘dubious’ and hidden stories. This hypothesis is tested through an enquiry that physically builds an archive as illustrated space which (re-) establishes the identities of five fairground females through the utilisation of traditional signwriting and illustrative storytelling. Embedded within fairground heritage, both the research and practice elements of the enquiry are informed by an insider’s appreciation of its rich history. The research develops a relationship between the practices and theories of illustration and the archive: something under-developed when compared to the long-standing relationship between fine art and the archive. The framework of an archive as illustrated space is constructed by dissecting theories from varying standpoints. The research introduces the concept of the illustrative turn which borrows from the structure of a magic trick – involving the direction, subsequent misdirection, then reveal to the reader. The intention is for the framework to serve as a tool for illustrative practitioners to apply to their own archival research, and consequently the framework contributes to the critical discourse of illustration. The National Fairground and Circus Archive (NFCA) is utilised to establish how the existing representations of the five females are not fully recorded, despite their pivotal roles within their respective communities. Applying this research within the theoretical framework demonstrates how illustration contributes to the expansion of the historical record – and broadens audience engagement with the material: narrative fragments of the fairground females are conveyed to re-establish their identities in illustrated spaces, and consequently in the NFCA context. A CKNOWLEDGEMENTS : I am hugely indebted to Professor Hilary Carlisle and Dr. Alisa Miller for their advice, patience and support. I would like to thank: all at the National Fairground & Circus Archive and Dingles Fairground Heritage Museum for their support and the opportunity to exhibit in both spaces; Emily Juniper for her roles in the collaborative residency and the archival box-making; Hannah Rae Alton for proofreading the thesis; Jenna Foxton for photographing the practice work; and Dr. Catrin Morgan and Professor Amy de la Haye for their input and advice. I am very fortunate to have been supported in my studies by The Queen Elizabeth Scholarship Trust (QEST), The Yorkshire Ladies Council of Education (YLCE) and The York Foundation for Conservation and Craftsmanship (YFCC). I am very grateful to all of them for their financial assistance without which I may not have been able to continue my studies. I would not have been inspired to undertake this PhD if I had not spent my upbringing travelling the West Country with a steam fairground. For this, and for his continued support, I am extremely grateful to my Dad, David Goodwin. Finally, I would like to thank the many participants for their time and generosity when collating their memories. It has been a pleasure to re-establish the identities of five fairground females and I would like to dedicate the PhD to not just them, but the many more that currently remain absent, or hidden. C ONTENTS : I NTRODUCTION 7 - 1 0 CHAPTER 1. T HE R OLE O F T HE A RCHIVE : A . I NTRODUCTION 1 1 - 1 2 B . T HEORIES OF THE A RCHIVE 1 3 - 2 1 C . A RTISTIC A PPROACHES TO THE A RCHIVE 2 2 - 3 3 D . T HE A RCHIVE AS A P ARTICIPATORY T OOL 3 4 - 4 1 E . T HE F UNCTION OF THE A RCHIVE AS I LLUSTRATED S PACE 4 2 - 5 2 CHAPTER 2. I LLUSTRATION R ESEARCH A S P RACTICE : A . I NTRODUCTION 5 3 - 5 5 B . M ETHODOLOGIES 5 6 - 6 1 C . I LLUSTRATION R ESEARCH AS P RACTICE 6 2 - 6 9 CHAPTER 3. I N P RACTICE : R E - E STABLISHING I DENTITIES : A . I NTRODUCTION 7 0 - 7 3 B . M ETHODOLOGIES 7 4 - 7 9 C . P AMPHLETS : L IZZIE : S TRIDING A LONG 8 0 - 1 0 5 M ARTHA : M ESMERIC S UBJECT 1 0 6 - 1 3 2 S OPHIE : C OLOURFUL L ANGUAGE 1 3 3 - 1 5 8 A NNIE : C HALLENGING P ATRONS 1 5 9 - 1 8 4 E LIZABETH : I N T HE S HADOWS 1 8 5 - 2 1 0 ( A L IST OF I LLUSTRATIONS IS LOCATED ON THE FOLLOWING PAGE ) D . C ONCLUSION 2 1 1 - 2 1 3 C ONCLUSION 2 1 4 - 2 1 9 D IAGRAMS 2 2 0 - 2 6 7 B IBLIOGRAPHY 2 6 8 - 2 7 5 . L IST OF I LLUSTRATIONS : L IZZIE : S TRIDING A LONG : 1a. She triumphs – but only just – to become the principal performer 2a. Victory in the tug ‘o’ war ensures her golden position 2b. Preparing for WWI, she consumes a hearty meal 3a. She finds a role that only someone of her stature could fill 3b. She hauls cart no. 106 3c. Striding along – she turns – finally her true self, reflected in gold 4. The ________ in the Room 5a. Though she appears golden, is her role still majestic? 5b. At the back of the show, the gold begins to flake 5c. Failure to escape, she is no longer majestic 5d. A shadow falls on her tug ‘o’ life 5e. She was weeping M ARTHA : M ESMERIC S UBJECT : 1a. The spinning of her key burdens 2a. Despite his presence, she has no visible means of support 2b. ‘Flat’ token depicts hidden, controversial love 3a. All’s fair with our fair ladies: united on stage and on their political platform 3b. Ignited by envy, the control is turned 3c. A spectator of the remnants, her reputation begins to turn 4. The Swingboat Tips, The Balance Shifts 5a. The Phoenix: In someone’s hour of peril 5b. Unconcerned, she can finally be heard 5c. 1949: Turning the lessons over to her grand-daughter 5d. She lent a hand 5e. She remains in the West Country, (her pivotal moment stays concealed) S OPHIE : C OLOURFUL L ANGUAGE : 1a. Her fine reputation, edged in profanity 2a. Her guilt, concealed in the gild 2b. She should be wary of her own peculiar logic 3a. All’s fair with ur fair ladies: united on stage and on their political platform 3b. Ignited by envy, the control is turned 3c. Fuelled by the remnants, her reputation begins to undo 4. The Balustrade Conceals the Yellow on Yellow 5a. She lent a hand 5b. Only she remains of the Living Pictures Bioscope Show 5c. Despite the constructed stories, the golden tales catch up with her 5d. A final reflection on her hidden love 5e. She disappears from the West Country, her finery in tatters A NNIE : C HALLENGING P ATRONS : 1a. Breaking Ties and Breaking Necks 2a. Revolution at the Palace 2b. An Overnight Transformation 3a. A Frosty Reception for the Proprietress 3b. The Gainsborough Sessions 3c. She Destroys the Palace 4. The Ornate Shield (not) the Mark of Truth 5a. Forwarding Prestige and Propriety 5b. Feast your Eyes! 5c. She donated to the appeal 5d. Reputation at Stake (Three Cuts) 5e. Six Sons Stay Devoted, Despite her Bluntness E LIZABETH : I N T HE S HADOWS : 1. She was weeping 2. She lent a hand 3. She lent a hand 4. She donated to the appeal 5. She was, truly, a most gracious lady INTRODUCTION . I NTRODUCTION : This PhD enquiry argues that an archive is a powerful narrative space whose structure can be manipulated to unveil and illustrate ‘dubious’ and hidden stories, to construct a framework for an archive as illustrated space. Here, ‘dubious’ signifies narrative fragments that have been uncovered in the archive or conveyed orally, which are yet to be authenticated. The framework allows these ‘dubious’ stories to be held: creating the opportunity to establish their authenticity and value. The mechanism for constructing this space is located within the context of both illustration research and practice: the framework is built theoretically and then tested in practice to evolve its components. The archive as illustrated space framework can be used as a tool by illustrators to employ their archival research in practice, in a dynamic and engaging way for both the viewer and various audiences who may encounter the outputs through other archival practices and expositions. This is enriched through establishing a grounding between the practice and theories of illustration and the archive. This engagement of the viewer is partly constructed through what I refer to as the illustrative turn – a concept that I have developed to apply within the archive as illustrated space which involves the direction, subsequent misdirection, then reveal to the reader. Deploying an illustrative approach this PhD enquiry utilises this framework to re-establish the identities of five fairground females in the archive: Lizzie (?-1926), Martha (1878- 1953), Sophie (1854-1926), Annie (1843-1923) and Elizabeth (1859-1927). These five females are frequently spoken of as prominent, in regard to business and personal matters, within their respective travelling communities1. This time period also allows for a reflection on the effects of national experiences, including the Suffragette movement and World War I.

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