Back to school: field-testing our KS2 digital interactive

On Monday 30 November Abigail Harrison-Moore and I will be joining a year 6 class (age 10-11) for a lesson to teach them about our work and test our educational materials. This is the age group at which we are aiming our online digital interactive, and as one of their science topics this year is electricity, this will give us an opportunity to integrate elements of history and art and design into their learning.

The design of our interactive focuses around floor plans of each of our three partner houses. At the beginning of the interactive, pupils will see a screen with pictures of each house, and will be prompted to move through the sections (levels) of the interactive which correspond to each of the houses in the order in which the houses were electrified (Cragside first, then Standen, as one of the first houses in the country to be built with electricity from the beginning, and finally Lotherton Hall, electrified in 1903).

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Two lamps in the Library at Cragside.

They will be able to select the first, Cragside, and on doing so will see a simplified floor plan of the house and a video introducing them to the guide character for the house. These guide characters, one for each house, will appear in videos throughout each house‘s section, or level, explaining content about the history of electricity. The guide characters, a butler for Cragside, the lady of the house, Mrs. Beale, for Standen, and a maid for Lotherton, will be played by drama students working on the Electrified musical. They will be filmed using green screen techniques and inserted into footage from each of the three houses.

Within the floor plan of each house will be four clickable rooms which pupils can select, in no set order. On selecting a room a large, wide angle photograph of the interior of the room will be displayed, and pupils will look for a hotspot within the picture. This will highlight an object in the room of electrical significance, and hovering over the hotspot will open a larger picture of the object accompanied by a question. Clicking on the question will then open a short video – 60 seconds – in which the guide character will answer the question and provide more information about the object or system to which it relates.

The questions, and their corresponding answers, will be focused around a different theme for each house. For Cragside, the theme will be science and technology; pupils will be encouraged to think about how objects and systems worked within the house, and will be introduced to circuit diagram symbols. This ties the interactive into the KS2 science curriculum. In Standen, the theme is aesthetics. One of the key novelties at Standen is the fact that electricity was built into the plans from the beginning, and thus light fittings were designed and selected iteratively to fit with the rest of the interior décor. Pupils will be prompted to consider how materials were chosen for this, and how electric lighting changed the look of a room. Lotherton represents a broader category of houses which adopted electricity slightly later, at the turn of the twentieth-century, and the theme of the questions and answers will be the social history of electricity: what different people thought of it depending on age, class and gender.

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A light fitting from Mrs. Gascoigne’s Morning Room, as compared with…
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…the lights in her husband Colonel Gascoigne’s office (the Medal Room).

The rooms have been selected to give a range of masculine and feminine rooms – such as Colonel Gascoigne‘s Medal Room or office at Lotherton Hall, and correspondingly Mrs. Gascoigne‘s Boudoir or Morning Room – and family and servant areas, such as the kitchen at Standen or butler‘s pantry at Cragside. Otherwise the clickable rooms represent the range of rooms found in a typical country house: dining room, drawing room, morning room, library, hall, kitchen.

Once the pupils have completed each of the houses in order, there will be a section which tests their understanding of the content they have just watched by asking a set of multiple choice questions. These questions will be positioned beneath an image of a circuit diagram, and each question will relate to a circuit component covered in the material over the course of the interactive. Each correct answer will place a component on the circuit diagram, and at the end, if all questions have been answered correctly, the pupil will be able to click a button to activate the circuit, for example lighting up a bulb, ringing a bell and causing a motor to turn.

We envision the interactive being used both at home and in a classroom environment. At home, the pupil would simply go through it as described above. This should take no more than 20 minutes if all the materials are viewed. In the classroom, the interactive can be projected on a large screen as a whole-class activity, and the teacher can guide the pupils through it. A pupil can be called up to select the hotspot in each room, thus involving 12 pupils in total over the course of the interactive (four rooms with one question each per house). When the question is displayed, the teacher can ask the pupils to suggest answers before clicking on it to show the video. Alternatively the teacher can pick just one of the houses to cover in this way, for example if a visit is planned or if one of the house themes is a particularly good fit with their teaching. We also intend to provide supporting resources for teachers using the interactive in this way, including information about each of the country houses, photographs used in the interactive, and further follow-up activities such as a worksheet and suggestions for related drama activities.

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Candles on the table in the Dining Room at Standen.

Thanks to Leeds Media Services, with whom we are working to produce the video content for the interactive, and to our technical officer Corey Benson, who is developing the interactive itself, we will be able to use this opportunity in the classroom to demonstrate a simple, limited version of some of the interactive content to get some feedback from the pupils and their teacher. We will then be able to incorporate this into the character scripts, which will be filmed in December.

History-onics!

Rehearsing Electrified. ©Mark McDougall

Work on our history of electricity musical has now begun in earnest, and the final year theatre and performance students in the School of Performance and Cultural Industries (PCI) are putting a lot of time into writing the script and song lyrics, composing the music and choreographing the dance scenes, as well as designing a period-appropriate set.  There are 24 students in all and they supervised by Dr. George Rodosthenous (Associate Professor in Theatre Directing) and Dr. Tony Gardner (Lecturer in Performance Processes & Techniques).

Having given them material to read over the summer I went to see them at the beginning of their project a couple of weeks ago to talk to them about our work and how they might think about adapting it for the stage, especially given my recent experience working with other drama students to produce our Light Night performance.  They have a blog, which you can visit for news, photos and podcasts about the development of the production.  They’re also on Twitter: @ElectrifiedPCI.

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Light Night: the lady of the house‘s costume.

Although working with drama students wasn’t something we originally envisioned being a large part of this project, our collaborations in this area have nevertheless produced some of our most innovative and creative outputs.  We have developed a very good working relationship with our colleagues in the School of PCI, George Rodosthenous and Tony Gardner, and have found the students very enthusiastic to take part in other opportunities to dramatise our project materials.  As a result, our dramatic outputs have now expanded to include – as well as the musical – our Light Night performance, guide characters for our KS2 history of electricity digital interactive, and a short film we will shoot at Lotherton Hall in December.  The students have also taken it upon themselves to organise an educational workshop at the University for local school children at which they will perform sections of the musical.

Our digital interactive is currently being built by our technical officer, Corey Benson.  It will benefit from the involvement of the students through the use of green screen filming techniques to insert them into video footage of the houses in order to explain elements of the history of electricity.  The interactive itself will comprise floor plans of each of the three partner houses, which pupils will navigate around in the order in which they were electrified (Cragside, Standen, Lotherton Hall).  For each house there will be four clickable rooms on the floor plan which pupils can select to learn more about the history of electricity in that particular room.  Each house will have a guide character, played by one of the students.  These characters will introduce themselves and their respective houses to pupils at the beginning of the interactive, and will then talk to them about specific areas of the history of electricity (science and technology, aesthetics, social history) in videos in each room.

The Electrified cast rehearse as the fairies of Iolanthe. ©Mark McDougall

The last dramatic output (for now) is our Lotherton Hall short film.  This will be about ten minutes long and will explore what happens when a reporter from a London ladies‘ journal visits the house in the early 1900s to talk to the family and the servants about their new electrical installation.  She is concerned in particular with the potential for accidents, especially given the number of people who have been injured or killed by domestic electricity around the country over the preceding few years.  I am currently working with a small group of the Electrified students to develop this, and we will film it in Lotherton Hall in December alongside the footage for the digital interactive and the green screen guide characters.  The film will be on display at Lotherton Hall for visitors to watch in spring 2016.

The maid from our Light Night production: scared of electricity.

I think these enthusiastic collaborations with staff and students from the School of PCI are due in part to the appeal of the stories and anecdotes Graeme brings out in his book Domesticating Electricity, the source material for the project.  These humanising stories of the fears and hopes of the people of the time, and the sometimes amusing, sometimes tragic, accidents or problems they ran into, serve to bring the period to life, and lend themselves well to dramatisation.  As we consider the ways in which we might further develop this project in the future, the success and excitement of these dramatic outputs is something which we are very much keeping in mind.

Performances of Electrified will be on Thursday, Friday and Saturday the 10th, 11th and 12th of December at 7:30pm, Stage One, Stage@Leeds.  Tickets are now on sale here.

Light Night 2015: It’s Electrifying!

The Housekeeper - in two minds about electric light.
The Housekeeper – in two minds about electric light.

On Friday evening, 9 October, we put on a special performance in the Brotherton Library’s Brotherton Room with the help of four student actors from the School of Performance and Cultural Industries (PCI). Called ‘It’s Electrifying!’, the show was organised as part of Leeds Light Night, an annual evening of free arts events (exhibitions, performances, installations) all based around the theme of light that takes place across the city, including the University. As this ties in so well with the themes of our project, this was too good an opportunity to pass up.

Working closely with a colleague from the School of PCI, George Rodosthenous, who is also one of the lecturers supervising the production of our Electrified musical, we recruited four drama students as volunteers to take part in our show. Fitting in planning, script writing, rehearsals and organising costumes around everyone’s busy schedules was a challenge, but the students worked hard, and other members of PCI staff were also very helpful; special thanks go to Allana Marsh and Steve Ansell for helping to sort us out with costumes and props at quite short notice!

The show started with the maid cleaning outside the room and humming, before noticing the audience and inviting them in.
We started with the maid cleaning outside the room and humming, before noticing the audience and inviting them in.

We used the performance to address the hopes and fears surrounding the introduction of electric lighting into people’s homes around the end of the nineteenth century. There were four characters, representing a range of classes and opinions, for example the young lady of the house, excited at the aesthetic possibilities of the electric light, and her mother-in-law, who was sceptical, didn’t understand what electricity was or how it worked, and didn’t think it should be brought into their home.

The older lady - didn't understand electricity.
The older lady – didn’t understand electricity.

We also had the housekeeper, who was happy that the new lights didn’t give off any soot or smoke to blacken the paintwork, but who was sad to need to make redundant the boy who had been in charge of the candles and oil lamps. Finally, the maid was wary, knowing that people had died through accidents involving electricity.

The 15 minute show ran four times over the course of the evening, and over 110 people came to see it. We even had a song about the electric light from the 1880s, which the characters sang and hummed over the course of the performance. The Brotherton Room itself was also the perfect venue for the show; dating back to the 1930s with the rest of the main body of the Brotherton Library, it is an incredibly atmospheric space, and made a very passable country house library for the performance. It looked great lit up with electric candles.

One half of our display of objects....
One half of our display of objects….
...and the other side.
…and the other side.

Also forming part of the event was a display of historic electrical objects from the University’s Museum of the History of Science, Technology and Medicine, which we used to tell the story of domestic electricity from its generation to its use in the home, from the 1880s until the 1940s. These included an old battery, a copy of a Mrs. Beeton book from the 1920s which dealt with electric cookery, and an Overbeck Rejuvenator, a 1920s electrical therapy kit for use by individuals in their own homes. The audience was encouraged to take a look at this display after the performance.

We got great feedback on the creativity, the costumes, and of course the singing! We’d like to thank our colleagues in PCI, in the Brotherton Library and in the Museum, and in particular the PCI students, for all their help making this event possible.

The cast.
The cast.

Lights, Camera, Standen! (And Cragside!)

I’ve recently been busily travelling around the country visiting Standen and Cragside with film crews to film and photograph various rooms for our digital interactive. At Standen we were joined by the very helpful Leeds Media Services, who will also be doing all our editing, and at Cragside we worked with the University’s own Digital Learning Team, and also filmed material which will be used in first year teaching in January.

Taking photos in the Drawing Room at Standen.
Taking photos in the Drawing Room at Standen.

The main body of the digital interactive will comprise three floor plans, one for each house, and within each floor plan users will be able to click on four rooms to find out more about the history of electricity in that room of the house. Clicking on a room will display a large photo of the interior of the room, within which will be a clickable hotspot, for example an electric lamp, a telephone, or an electric call signal board. Users will have to find this hotspot, and hovering over it will generate a larger picture of the object, and a question about electricity, which, when clicked on, will open a video answering the question and giving more information.

On these visits we had very little time as we needed to fit around the respective houses’ schedules, so we needed to be very efficient and well organised. We were also very aware of the potential dangers of using filming equipment in small spaces filled with so many invaluable artefacts! Nevertheless, we knew beforehand exactly what we wanted to film and photograph, and we got it all done carefully and in good time.

Not allowed on the carpet!
Not allowed on the carpet!

It was interesting to move around some of the rooms in areas which are normally roped off, and which the public can only see from a distance; in one room in Standen this necessitated us all removing our shoes, a slightly surreal experience which made me glad I had, however unwittingly, managed to find socks without holes in them that morning. We were very grateful for the hospitality of the teams at both houses, and especially for accommodating our requests to move interpretative materials, rope barriers, or occasionally some of their display objects around in order to improve the shot or the photograph.

The library at Cragside. ©University of Leeds Digital Learning Team and Leeds Media Services
The library at Cragside. ©University of Leeds Digital Learning Team and Leeds Media Services

One of my favourite shots, which I am looking forward to using in the interactive, is one in the Library at Cragside, where we simulated a power failure by filming the lights slowly going out. Early electrical installations often weren’t very reliable! We will be filming at Lotherton Hall, the third partner house, in December.

The Cragside Chronicles

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Graeme and me on our way to Cragside!

Over the past two weeks I’ve made a couple of trips up to one of our partner houses, Cragside, near Rothbury in Northumberland. I’ve met members of staff (including Katherine the house steward and Andrew the curator, both of whom have been very friendly and helpful), found things to film for the digital interactive (on which more here) and decided on electrical items to be animated for use around the house.

The digital interactive will tell the story of all three of our partner houses, drawing out common themes in the history of electrification as noted in the Principal Investigator Graeme Gooday’s book, Domesticating Electricity, on which this project is based. These themes will include the aesthetics of electric lighting, how electricity was used for communication, and how early electrical lighting systems were often unreliable. Where possible, we intend to illustrate these themes, and rooms in the houses to which they relate, with video footage, so it was important to look around and see what we should film. Here I was grateful to have my friend and colleague Paul with me taking photographs, while I furiously scribbled partially legible notes on my little pad.

A fire alarm in the Owl Suite.

A fire alarm in the Owl Suite. ©Paul Coleman

For example, did you know Cragside has two electric dinner gongs upstairs, which were operated by the butler from downstairs to let everyone know it was time for tea? The house was so big you wouldn’t have heard the normal gong at the bottom of the stairs! The old fire alarms are also a very practical and a very attractive technology, especially the one installed in the Owl Suite of bedrooms, where the Prince and Princess of Wales and their children stayed whilst staying at Cragside in August 1884. I can imagine it might have been a little too easy to set these off by accident though!

The animations we will produce will be cartoon-style explanations of various electrical items and systems around the house and wider estate. They will be used on tablets by volunteers and staff to show to visitors. For example, in the library are four vases which were originally oil lamps, but were converted over to use Joseph Swan’s lightbulbs in 1880, making them some of the very first such electric lamps. As there was no effective electric lightswitch yet, these lamps sat on a base which contained a small cup of mercury. When the wire which came down from the bulb through the vase dipped into the mercury, the lamps lit up; when the vases were moved, the bulbs went out. I don’t think you’d want one of those in your house today! We will also be animating the hydroelectric system to demonstrate how it worked, as well as the telephone system which was used by the butler to regulate the supply of electricity to the house.

The view from the Tower at Cragside.

Blessed with lovely weather on both of my visits, it was very useful to walk around the grounds and get a feel for the layout and the scale of the estate. On my second visit, with Graeme Gooday, the curator Andrew took us up to the top of the house to the tower, not normally seen by visitors. The view was fantastic. I also need to thank Andrew in particular for the treasure trove of primary sources he’s given me to read through, and which I’m very grateful to have. Over the course of the project I hope that maybe I can add to this, possibly by going through volumes of old electrical journals like the Electrician and the Telegraphic Journal and Electrical Review to find references to Cragside and Lord Armstrong from the 1880s and 1890s.

Later, Mark, the Cragside representative on the project, and Andrew took Graeme and myself up to the lake at the top of the hill. Armstrong had this lake built around 1886 to provide a supply of water for the turbine which, connected to a dynamo, provided electricity to light the house. This was the second major stage in a project which had begun at the other end of the estate in around 1878; however, the original hydroelectric generating system had been too far from the house and wasn’t efficient enough to deal with the increasing demand as Armstrong installed more lights, so he built a second, closer, generating system.

The lake which powered the electric lighting from 1886.

The lake which powered the electric lighting from 1886.

As you can just about make out from the photo, the view of the otherwise idyllic landscape also includes a couple of electricity pylons lurking in the background, marching their wires across the rolling hills. Some might consider this a rather unfortunate juxtaposition of natural beauty and artificial unsightliness. However, as Andrew pointed out, given Lord Armstrong’s passion for electrification, and pioneering efforts in providing electricity at a distance, maybe this symbol of progress and electrical infrastructure, forming the backdrop to a view of Armstrong’s own early attempts, is really rather appropriate.

I came back from Cragside with plenty to think about, and lots of notes, primary sources and photographs. I’m looking forward to sorting through everything and to doing the filming in early August. In the meantime, here is a photo, taken on the main staircase at the end of our visit by a very patient member of staff, of Paul and myself wearing funny hats. You’re welcome.

Look out for these funny hats at Cragside!

Not just a pretty space: using country houses to teach science and technology

One of the key project outputs I’m currently working on is an interactive resource for upper Key Stage 2 pupils (years 5 and 6, age 9-11 years) that tells the story of the electrification of each of the three houses together. This will be hosted on the MyLearning website, a repository for a variety of teaching resources developed by museums and other heritage organisations; please pay them a visit to have a look at other examples of interactive school resources hosted on their site.

Designing this resource is a challenging process because there’s so much involved that needs to be kept in mind. At the centre will be material from Graeme and Abigail’s research, but in order to apply this effectively it’s important to emphasise themes to which school pupils will be able to relate, and which also mesh well with the aims and objectives of the national curriculum guidelines both for history and for science. The interactive needs to draw out common themes from the histories of the three houses, Cragside, Lotherton Hall and Standen, but also must highlight what makes them individual and special.

An electric dinner gong at Cragside
One of two electric dinner gongs at Cragside – these could be used as a starting point for teaching a range of topics including science, technology and history. ©Paul Coleman

Something we’re really keen to promote in this project is that country houses were in the past – and often still are – important sites for technical innovation, and as such can be used as venues for teaching science and technology topics, for example electricity (obviously), but also energy self-sufficiency and sustainability (as I mentioned in a previous blog post). Whereas school groups are more likely to visit country houses to support history and art teaching, this interactive could encourage teachers to consider bringing pupils to a local country house for a trip to tie in with teaching about science and technology.

As demands on teachers’ time are many and varied, this interactive will provide an opportunity to investigate the potential of country houses for this in the classroom both before and after the visit. Even if a visit is not possible, the resource can still enable teachers and pupils to consider the scientific and technological heritage embodied in country houses. We’re hoping for example that teachers might be able to use this resource when putting together the local history study which is now a compulsory part of the new history curriculum.

I’ll write again soon about the specific elements we intend to include within this resource. I’m also going to put together a focus group of teachers to consult with in order to discuss the content and structure of this resource and make sure it will be useful in the classroom. If you’re a primary teacher, do you think you’d run a visit to a country house to teach about science and technology as well as art and history?

QR codes in country houses?

QR codeOne of the original aims of this project has always been to try to provide visitors to country houses with layered interpretation, ideally linking paper resources such as trails with digital resources online, such as videos, animations and supplementary text. We originally thought QR codes placed on an electrical heritage trail might be the way to do this, with each linking to a page on our website corresponding to a different room in the house and enabling visitors to access multimedia interpretative materials. The trail would of course also contain material about each room, and would include an explanation of the content the QR code would link to.

However, something that came out of the first project steering meeting on 18 June, and which has become clearer as I have researched more people’s experiences online, is that the QR code in the heritage sector seems to be a technology which has had its day. Indeed, I think it’s fair to say you don’t see so many of them around anywhere anymore. Feedback from projects at the Brooklyn Museum, New York and the National Museum of Scotland, Edinburgh has been largely negative, whereas other experiments, for example at the Santa Cruz Museum of Art and History, the Museum of Inuit Art, Toronto and the Museum of English Rural Life, Reading have been reviewed more positively. Overall reactions have been mixed.

Nevertheless, most of the experiences I have come across relate to museums, and not to country houses. A big difference between a museum and a country house is that, when designing a museum exhibition, you are free to utilise and organise the space available however you want. Displays, cases, boards, audiovisual presentation units and the like can be arranged however is most convenient. In a country house on the other hand, the priority tends to be preserving a certain atmosphere of authenticity in the rooms, and this limits curators and educators to stick close to their source material and avoid cluttering the space with too much interpretation.

It could be a bad idea to place too much emphasis on a technology which may already be looking outdated, especially if the resources we produce are to have a long shelf life. The content, however, and the idea of connecting the physical and virtual resources, is still key; as long as the interpretative materials remain available on the website then the gateway through which we make them accessible via the printed materials can be changed. For now though, I’m not sure there exists a better alternative to QR codes – practical within the scope and budget of this project – to accomplish this. In such cases I wonder: is there still a case to be made for QR codes?

Domesticating Electricity: The Musical!

I’m very excited to announce that, in December, a group of 24 final year theatre and performance students from the School of Performance and Cultural Industries will, as part of their course, be staging a musical inspired by material from Graeme’s book. The production has been given a working title of ‘Electrified’, and after the students have performed in December, we are hoping to take some of them to Lotherton Hall in January 2016 to film some of the scenes on location, as well as some character monologues on the subject of domestic electricity.

This collaboration has come about through meetings with our colleagues in the School of PCI Tony Gardner (lecturer in performance processes and techniques) and George Rodosthenous (associate professor in theatre directing), who are supervising the project.  In 2013 Dr. Rodosthenous was also responsible for bringing to the stage ‘Diffraction’, a musical about the lives and scientific work of father and son team Sir William Henry and Sir William Lawrence Bragg in Leeds. This was timed to coincide with centenary celebrations at the University commemorating their work on x-ray crystallography, for which they received a Nobel prize in 1915.

The students have parts of Graeme and Abigail’s research to read over the summer and I will meet with them in September to discuss their ideas and help them to stay true to the source material when writing the musical. This opportunity gives us the chance to produce a project output which we will be able to invite project partners and others to come and see, which will provide us with footage to enrich our video and other digital resources, and which we could then use as trigger material for teaching about the history of electricity.

So: anyone have any song ideas?

It’s… alive!

An early use for domestic electricity which, thankfully, didn’t really take off.

Welcome to the project blog for ‘Electrifying the country house’. Over the next 11 months I shall post updates here regarding the progress of the project in order to provide a real-time record of our activities. The main blog categories will be updates, events, resources, and one for each of the partner houses, Cragside, Lotherton Hall and Standen.

We envisage that, as well as being useful for us in terms of keeping track of our own ups and downs over time, this could also be of interest to those in academia or in the heritage sector who are also – or who might be considering – working on similar impact and engagement activities as we are developing.

If you are currently, or have previously, run such a project, or think that the aims and outcomes of this project might be applicable to your institution, organisation, group or society, do get in touch, we’d very much like to hear from you – and please subscribe to the blog to get your regular dose of electrical historical goodness!