The Protest Memory Network is funded by the Arts and Humanities Research Council and brings together archivists, curators, activists, artists, and researchers to think about how memories of protest are preserved, materialised, recirculated, and utilised. The Network is organising three workshops and a conference between 2018 and 2020, amongst other things. I was invited to take part in the first workshop, on the subject of Researching Protest Memory, at the University of Sussex on the 30th and 31st of May 2018.
The workshop was a combination of paper sessions and workshops exploring the methodological opportunities and challenges of researching such a broad and frequently intangible topic. A whole range of research methods were discussed, ranging from the conventional (oral histories, archival research, mapping, social media analysis) through the creative (film making and artistic engagements), to the rather unconventional (embroidering interview quotes onto handkerchiefs and baking them into empanadas). My contribution was a paper on my work on protest stickers.
We had workshops run by: the TAG Lab, (Text Analysis Group), which conducts research into the analysis of text and language by computers, and applies it to social media and other forms of communication; the Business of Women’s Words project, which explores feminist publishing in the UK during the 1970s and 80s; and the Mass Observation Archive, which is a fascinating collection about everyday life in Britain in the twentieth century. The workshop was also supported by the Sussex Humanities Lab, which looks at the ways in which digital technologies are shaping society and culture. Over the two days, I was reminded of just how many options there are when it comes to selecting a research method, and the importance of considering your options when embarking on a research project, rather than just falling back on what is easy or familiar. The workshop was a chance to learn about unfamiliar methodologies in a supportive environment, where I didn’t feel stupid asking potentially obvious questions.
Invariably, it is difficult to think of research methods without also thinking about research outputs. Over the two days, the topic of research outputs came up often, particularly in terms of how to make research more accessible and engaging for those outside of academia. The alternatives that came up ranged from working with cultural partners such as museums and libraries, to creative outputs such as documentary films and even board games. On the Tuesday evening, we were treated to a radical history of Brighton walking tour. It was fantastic, if a little fast-paced, and highly informative; I learnt a lot even though I have lived in Brighton for most of my life. There are a number of researchers who make use of walking tours as a form of public engagement, and I’d love to have a go myself.
I have written before about how much I value the academic communities I am a part of (see Parts 1, 2 and 3), and the Researching Protest Memories workshop was a nice reminder of that. It was much smaller than most of the conferences I am used to (20-30 people), which meant I had a good chance to get to know everyone and their work. I came away feeling like I was part of a new (to me) academic community of supportive, creative, and energetic researchers, and as far as I’m concerned, the more communities I am part of, the better!
I don’t think I would be alone in saying that the Researching Protest Memory workshop was a resounding success. I went home exhausted, but with my head buzzing with thoughts and ideas. I would like to thank the Protest Memory Network, particularly Pollyanna Ruiz, for organising the workshop and inviting me to participate.